UNDERGRADUATE

TOUR THE WELLS SCHOOL OF MUSIC

Tours of Swope Music Building:

Interested in getting a chance to see the Swope Music Building? Join us for a tour of our facilities. You’ll get the chance to look at classrooms, performances spaces, practice spaces as well as our own Presser Music Library.

Register Here!

VISIT DAYS & PROSPECTIVE STUDENT EVENTS

Academic Shadow Days

These shadow days are a great way to get to see what it would be like to be a real student at the Wells School of Music! During this program students will have the opportunity to sit in on two different music classes, participate in a studio hour with their primary instrument faculty/current students, and get to eat lunch with the WSOM Student Ambassadors.

*Spring dates are for ACCEPTED students only or students looking to transfer*

*Spring Date will be Feb. 23rd, March 23rd, March 30th & April 13th

RamBand Ready Shadow Days:

Wanting to learn more and experience our Incomparable Golden Rams Marching Band in person?! This is the opportunity for you! Get the chance to meet with our Marching Band leadership, learn about the audition process and even get to sit-in and participate in the rehearsal that day!

*Open to all percussion, brass, wind, students wanting to learn more*

Click on the date below to register!

APPLYING TO THE WELLS SCHOOL OF MUSIC

Step One:

Apply to the University. First Year Students should apply using The Common Application Transfer students can either use the Common Application or our own West Chester University Application.

Step Two

After your university application has been submitted, you will be able to register for an Audition Day in your Admissions Portal. Attending an Audition Day is required for admission to the Wells School of Music. Our Audition Days will be held in person this year. If you are not able to attend an in person day please reach out to us at musicinfo@wcupa.edu for other arrangements.

2022-2023 Audition Days

  • Tuesday, December 6th
  • Saturday, January 28th
  • Tuesday, February 7th
  • Saturday, February 11th
  • Tuesday, February 21st

*Please note there are instrumental and degree requirements for auditions*


Step Three:

Notification of Acceptance: Students are required to earn a minimum audition score for acceptance into their chosen major program within the Wells School of Music. We will notify you of your audition results by email. You will only hear if you have been admitted to West Chester University if your application and audition is complete. Final admissions decision will be sent by the Office of Admissions.

 

AUDITION REQUIREMENTS

All prospective music majors must complete an audition on their primary instrument only. Please review the requirements for your studio instrument and degree program.

All supplemental degree program material should be submitted through the admission portal where students register for their auditions at least 3 days prior to their audition.

Transfer students should bring a list of repertoire performed in recent recitals or juries.

Still have questions and want to learn more about the Wells School of Music – check out our FAQ or contact us at musicinfo@wcupa.edu.

BASS

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • Examples: Bach, Marcello, Vivaldi, Corelli, Eccles, etc.
    • Examples: Dragonetti, Dittersdorf, Koussevitzky, Proto, Rabbath, etc.
    • One movement from a Baroque Sonata
    • One movement from a Classical, Romantic, or Contemporary piece
    • All major scales
    • Sight-reading

Should you have additional questions, feel free to contact our Bass studio faculty – Prof. Peter Paulson

BASSOON

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • example but not limited to: Telemann Sonata in f minor, Bourdeau Premier Solo, Pierne Solo de Concert, von Weber Concerto in F major.
    • Two pieces/movements of your choice, in contrasting styles
    • All major scales, minimum two octaves, three octaves when possible, i.e. B-flat or C;
    • Sight-reading

Should you have additional questions, feel free to contact our Bassoon studio faculty – Prof. Jon Gaarder

CELLO

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
    • Examples of repertoire: Haydn concerto in C Major, 1st movement, Saint-Saens – Allegro Appassionato, Faure – Elegie, Eccles – Sonata in G Minor, Bach Suite no 1.
    • Two pieces/movements of your choice, in contrasting styles
    • Scales up to four accidentals, minimum of 3 octaves
    • Sight-reading
  • Bachelor of Music Performance
    • Examples of acceptable repertoire: A movement of a concerto by any of these composers: Saint-Saens, Haydn, Lalo, Boccherini/Grutzmacher. Sonatas by Brahms, Sammartini/Berteau, Breval G Major. Studies: Capricces by Franchomme, Popper, Duport. Pieces: Saint-Saens – Allegro Appassionato, Faure – Elegie, Tarantella by Popper, Gavotte by Popper.
    • Two pieces/movements of your choice, in contrasting styles
    • Scales up to four accidentals, minimum of 3 octaves
    • Sight-reading

Should you have additional questions, feel free to contact our Cello studio faculty – Dr. Ovidiu Marinescu

CLARINET

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
    • Examples of acceptable repertoire: Weber Concertino, Hindemith Sonata, Mozart movements 1 and 2 or 2 and 3, Saint-Saens Sonata, movements 1 and 2, Rose 32 Etudes or Rose 40 Studies to name a few.
    • Two pieces/movements of your choice, in contrasting styles
    • All major scales, slurred, in two octaves and an E chromatic scale in three octaves.
    • Sight-reading
  • Bachelor of Music Performance
    • Two Pieces/movements of your choice in contrasting styles
    • Examples of acceptable repertoire: A movement or complete section from works such as Stravinsky Three Pieces, Harvey Three Etudes on Themes of Gershwin, Weber Concerti nos. 1 and 2, Copland Concerto, Mozart Concerto, Finzi Concerto, McAllister Black Dog, Muczynski Time Pieces, Rabuad Solo de Concours.
    • Examples of acceptable excerpts-Kodaly Dances of Galanta, Brahms Symphony no 3, movement 1 and 2 solos, Beethoven Symphony no 8, Minuet, Beethoven Symphony no. 6, solos from movements 1 and 2
    • Major and melodic minor scales, slurred, in two octaves with E,F,F# and G in three octaves, a G chromatic scale three octaves, major thirds and an orchestral excerpt.
    • Sight-reading

Should you have additional questions, feel free to contact our Clarinet studio faculty – Dr. Karen Dannessa

FLUTE

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
    • Two contrasting works (or a movement from each work) that display both lyrical playing and technical proficiency. Examples: Bach Flute Sonata, Mozart Flute Concerto, Faure Fantasy, Hindemith Sonata
    • All major scales – 2 octaves, slurred eighth notes at the tempo of your choice
    • Sight-reading
      *Piano accompaniment not required
  • Bachelor of Music Performance
    • Mozart Flute Concerto in G Major OR D Major, mvt 1
    • Contrasting work that displays both lyrical playing and technical proficiency. Examples: Faure Fantasy, Chaminade Concertino, Poulenc Sonata mvt 1, Hindemith Sonata, mvt 1
    • All major scales – 2 octaves, slurred eighth notes at the tempo of your choice
    • Sight-reading
      *Piano accompaniment not required

Should you have additional questions, feel free to contact our Flute studio faculty – Dr. Kim Reighley

FRENCH HORN

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
    • Two contrasting pieces or movements of a solo work from your current repertoire
    • An etude of your choice
    • Sight-reading

*If you have questions about selecting repertoire, please contact our Horn Studio Faculty

  • Bachelor of Music Performance
    • Two contrasting pieces or movements of a solo work from your current repertoire
    • An etude of your choice
    • Three orchestral excerpts
    • Sight-reading

*If you have questions about selecting repertoire, please contact our Horn Studio Faculty

Should you have additional questions, feel free to contact our Horn studio faculty – Dr. Liz Pfaffle

GUITAR

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • Two classical guitar solos (melody and supporting parts are all played simultaneously on one guitar). Guitar solos by any of the following composers are acceptable: Sor, Giuliani, Carcassi, Aguado, Carulli, Tárrega, Sagreras, Villa-Lobos, Barrios, Brouwer, Dowland, Milan, Visée, Weiss, and Bach.
    • All major and minor scales in open position meaning the first four frets. One-octave and two-octave scales must be played at quarter note = 60 (with 8th notes, triplets, and 16th notes) with index and middle right-hand finger alternation, rest stroke scales.

Should you have additional questions, feel free to contact our Guitar studio faculty – Prof. David Cullen

HARP

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • Solo Repertoire: Salzedo, Grandjany, Bach (tempos and dynamics are noted in music.)
    • Repertoire: Concerto in B flat, Grandjany version (tempos and dynamics as marked in music.)
    • Scales and Arpeggios four octaves.
    • Tempo 90 on the metronome per quarter note.

Should you have additional questions, feel free to contact our Harp studio faculty – Prof. Gloria Galante

OBOE

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • Solo piece - must include one slow and one fast movement. Examples include works by Handel, Telemann, Bach, Haydn, Mozart, etc.. In leu of two separate movements, an auditionee may perform a piece that has both slow and fast sections within the same movement. Please have at least 5 minutes of solo material ready for the audition.
    • Scales - please be prepared to play all major scales, with Bb, B, C, C#, and D prepared at 2 octaves and the rest one octave.
    • Sight reading

Should you have additional questions, feel free to contact our Oboe studio faculty – Dr. Henry Grabb

ORGAN

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • Examples: Prelude & Fugue by J.S. Bach, 19th century work, 20th/21st century work, hymn
    • Repertoire – memory is not required
    • Sight-reading – a solo organ example

Should you have additional questions, feel free to contact our Organ studio faculty – Prof. Anita Greenlee

PERCUSSION

Students must demonstrate proficiency on snare drum, keyboard percussion, and timpani

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
    • Snare Drum: Perform a concert snare drum solo/etude (e.g. Cirone, Delecluse, Firth, etc.). Be prepared to play standard snare drum rudiments (applicants can elect to perform a rudimental snare drum solo/etude - e.g. Pratt, Wilcoxon, etc. - in place of the rudiments).
    • Keyboard Percussion: Perform a 2-mallet or 4-mallet keyboard percussion solo/etude (marimba is preferable, vibraphone and xylophone are acceptable).
    • Timpani: Perform a 2-drum, 3-drum, or 4-drum timpani solo/etude (e.g., Carroll, Firth, Goodman, Peters, Whaley, etc.).
    • All applicants should prepare 2-octave major scales in all keys.
    • Sight Reading: All applicants will be asked to sight read on snare drum and 2-mallet marimba.
  • Bachelor of Music Performance
    • Snare Drum: Perform a concert snare drum solo/etude and a rudimental snare drum solo/etude. See above for more detail.
    • Keyboard Percussion: Perform a 2-mallet solo/etude and a 4-mallet solo/etude.
    • Timpani: Perform a 2-drum, 3-drum, or 4-drum timpani solo/etude (e.g., Carroll, Firth, Goodman, Peters, Whaley, etc.).
    • All applicants should prepare 2-octave major scales in all keys.
    • Sight Reading: All applicants will be asked to sight read on snare drum and 2-mallet marimba.

Should you have additional questions, feel free to contact one of our Percussion studio faculty – Dr. Ralph Sorrentino

PIANO

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
    • Repertoire:
      • A two or three-part Invention of J.S. Bach or Scarlatti Sonata
      • The first movement of a sonata by Haydn, Mozart, Schubert or Beethoven (excluding Op. 49 & Op. 79)
      • Any piece from the 19th, 20th or 21st century, equivalent in difficulty to the sonata movement above.
        *All works are to be performed from memory. In certain cases, literature substitutions may be made upon request
    • All major and minor scales (harmonic and melodic), four octaves
    • Arpeggios, majors and minors, four octaves, hands together, at a fluent tempo
    • Sight-read a solo piano example
  • Bachelor of Music Therapy
    • 2 selections from the standard piano repertoire from contrasting style periods:
      Baroque (Ex. Bach, Handel, Scarlatti)
      Classical (Ex. Mozart, Haydn, Clementi, Beethoven, First movement of Classical era sonata)
      Romantic (Ex. Chopin, Grieg, Liszt)
    • major and harmonic minor scales
    • sight-read a short selection
  • Bachelor of Music Performance
    • Repertoire:
      • A prelude and fugue, Toccata, or several movements from a Suite or Partita by J.S. Bach
      • A complete sonata by Haydn, Mozart, Schubert or Beethoven (excluding Op. 49 & Op. 79)
      • A solo work of substantial length and difficulty from the 19th, 20th or 21st century.
        *All works are to be performed from memory. In certain cases, literature substitutions may be made upon request
    • All major and minor scales, four octaves (harmonic and melodic), hands together. Suggested minimum tempo, M.M. = 132 (4 notes/click)
    • Arpeggios, majors and minors, four octaves, hands together. Suggested minimum tempo, M.M. = 112 (3 notes/click)
    • Sight-reading a solo piano example

Should you have additional questions, feel free to contact one of our Piano studio faculty – Dr. Igor Resnianski

SAXOPHONE

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • If the work is a sonata, a movement is acceptable as one selection.
    • Etudes from the Mule edition of Ferling are also acceptable.
    • An example list of composers and collections, but not limited to: J.B. Singelee, Bozza, Gurewich, Debussy, Karg-Elert, Koechlin, Creston, Teal & Patrick Solo Collections, Rascher Collection
    • Sight-reading example
    • Scales – all major scales, full range, slurred.
    • Two contrasting works from the body of classical saxophone repertoire.

Should you have additional questions, feel free to contact our Saxophone studio faculty – Prof. Jonathan Ragonese

TROMBONE

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy

One lyrical selection and one technical selection which best show your proficiency. Selections could be movements from the standard solo repertoire or advanced etudes from Bordogni, Tyrell or similar works. Be prepared to play all major scales (2 octaves with arpeggios if possible) and complete a sight-reading example.

Suggestions for tenor trombone solo literature:

  • J. Edouard Barat – Andante et Allegro
  • Ferdinand David – Concertino
  • Friedebald Grafe – Grand Concerto
  • Alexandre Guilmant – Morceau Symphonique
  • Lars-Erik Larsson – Concertino
  • Nikolai Rimsky-Korsakov – Concerto
  • J. Guy Ropartz – Piece in E-flat Minor
  • Enst Sachse – Concertino
  • Camille Saint-Saens – Cavatine
  • Stjepan Sulek – Sonata Vox Gabrieli

Suggestions for bass trombone solo literature:

  • G.F. Handel/Yeo – Sonata in F
  • Gordon Jacob – Cameos
  • Jan Koetsier – Allegro Maestoso
  • Pierre Lantier – Introduction, Romance et Allegro
  • Eduard Lassen/Bollinger – Zwei Fantasiestucke
  • Alexej Lebedjew (Lebedev) – Concerto No. 1 or Concerto Allegro
  • Patrick McCarty – Sonata
  • Ralph Vaughan Williams – Tuba Concerto
  • Bachelor of Music Performance

Two complete works from the standard trombone concerto or sonata repertoire, in contrasting styles, which best show your proficiency OR one complete standard work and three contrasting orchestral excerpts from the standard audition literature. Be prepared to play all major scales (2 octaves with arpeggios if possible) and complete a sight-reading example.

Suggestions for tenor trombone solo literature:

  • J. Edouard Barat – Andante et Allegro
  • Ferdinand David – Concertino
  • Friedebald Grafe – Grand Concerto
  • Alexandre Guilmant – Morceau Symphonique
  • Lars-Erik Larsson – Concertino
  • Nikolai Rimsky-Korsakov – Concerto
  • J. Guy Ropartz – Piece in E-flat Minor
  • Enst Sachse – Concertino
  • Camille Saint-Saens – Cavatine
  • Stjepan Sulek – Sonata Vox Gabrieli

Suggestions for bass trombone solo literature:

  • G.F. Handel/Yeo – Sonata in F
  • Gordon Jacob – Cameos
  • Jan Koetsier – Allegro Maestoso
  • Pierre Lantier – Introduction, Romance et Allegro
  • Eduard Lassen/Bollinger – Zwei Fantasiestucke
  • Alexej Lebedjew (Lebedev) – Concerto No. 1 or Concerto Allegro
  • Patrick McCarty – Sonata
  • Ralph Vaughan Williams – Tuba Concerto

Suggestions for tenor trombone orchestral excerpts:

  • Berlioz – Hungarian March
  • Borodin – Polovetsian Dances
  • Mahler – Symphony 3
  • Mozart – Tuba Mirum from Requiem
  • Ravel – Bolero
  • Rimsky-Kosakov – Russian Easter Overture
  • Rossini – La Gazza Ladra
  • Saint-Saens – Symphony 3
  • Wagner – Introduction to Act 3 of Lohengrin, Ride of the Valkyries, Tannhauser

Suggestions for bass trombone orchestral excerpts:

  • Berlioz – Hungarian March
  • Haydn – Creation
  • Kodaly – Hary Janos
  • Mozart – Overture to Magic Flute
  • Schumann – Symphony 3
  • Verdi – Nabucco Overture
  • Wagner – Introduction to Act 3 of Lohengrin, Ride of the Valkyries, Tannhauser

Should you have additional questions, feel free to contact our Trombone studio faculty – Dr. Dan Cherry

TRUMPET

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance

Students should be able to present 2 pieces in contrasting style, one lyrical and one articulated. Some examples to choose from are:

  • Lyrical:
    • Haydn Trumpet Concerto, 2nd movement
    • Senée Concertino, 2nd movement
    • Hummel Trumpet Concerto, 2nd movement
    • One of the Bordogni or Concone Etudes
    • Charlier Etudes 2, 4 or 6
  • Articulated:
    • Neruda Trumpet Concerto, 1st movement
    • Kennan Trumpet Sonata, 1st movement
    • Hummel Trumpet Concerto, 1st movement
    • Brandt Etudes Nos. 1–5
    • Bousquet Etudes Nos. Nos. 1–4
  • All Major scales in two octaves when possible and a 2-octave chromatic scale starting on low C.
  • sight-reading

Should you have additional questions, feel free to contact our Trumpet studio faculty – Dr. JC Dobrzelewski or Prof. Rob Skoniczin

TUBA/EUPHONIUM

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • Examples - One etude from Bordogni/Rochut (lyrical) and a Tyrell or Blazhevich (Technical)
      or
      Euphonium - Morceau Symphonique or (Guillmant)/Rhapsody for Euphonium (Curnow)
    • Tuba - Sonata in F (Marcello ed. Little) or Suite for Unaccompanied Tuba (Hartley)
    • Please prepare two contrasting works or one work that has contrasting sections or movements.
    • Major scales at quarter note equals 100. Play with an accurate and beautiful sound.

Should you have additional questions, feel free to contact our Tuba/Euphonium studio faculty – Dr. Jon Fowler

VIOLIN

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
  • Bachelor of Music Therapy
  • Bachelor of Music Performance
    • Example, 1 movement from a Bach sonata or partita, any movement from a violin concerts, and/or a short piece of your choice. Does not need to me memorized.
    • Two pieces/mvt of your choice in contrasting styles and tempo.
    • One etude by Wohlfahrt, Kayser, Mazas, Kreutzer, Fiorillo, Rode op 35 or 37, or equivalent
    • All major scales in either 2 or 3 octaves. Quarter note=72: please be prepared to slur two quarter notes per bow as well as six eighth note triplets per bow. Memorized.
    • sight-reading

Should you have additional questions, feel free to contact our Violin studio faculty – Prof. Carlos Rubio

VIOLA

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
    • One major and one minor scale in 2 octaves
    • One mov. of a Sonata, concerto, or show piece.
    • One mov. of a Bach Suite
  • Bachelor of Music Therapy
    • One major scale in 2 octaves
    • One mov. Of a concerto, Bach suite, or sonata.
  • Bachelor of Music Performance
    • One major and one minor scale in 3 octaves
    • One etude or caprice
    • One mov. of a Sonata, concerto, or show piece.
    • Two movements of a Bach Suite

Should you have additional questions, feel free to contact our Viola studio faculty – Prof. Adrianna Linares

VOICE

It is not necessary to bring an accompanist. One will be provided for you. You may bring your own pianist if you prefer.

  • Bachelor of Music Education
  • Bachelor of Music Composition, Theory, Music History, and Elective Studies
    • No choral music excerpts or Musical Theatre
      *All selections must be memorized
      • 2 songs from the classical repertoire
        • Examples include selections from 24 Italian Songs and Arias, Joan Boytim vocal books, spiritual and folk song arrangements, British or American Art song (Britten, Vaughn Williams, Barber, Hundley, Beach)
  • Bachelor of Music Therapy
    • No choral music excerpts or Musical Theatre
      *All selections must be memorized
      • one classical selection (may be in a foreign language)
        • Examples include selections from 24 Italian Songs and Arias, Joan Boytim vocal books, spiritual and folk song arrangements, British or American Art song (Britten, Vaughn Williams, Barber, Hundley, Beach)
      • one additional selection. Please choose from the following
        • Music Theater (1940-1980 preferred, or similar style), sung in a "legit" or lighter technique
        • Hymn
        • Spiritual
        • Folk song
  • Bachelor of Music Performance
    • *No choral music excerpts or Musical Theatre
      *All selections must be memorized
    • 3 songs from the classical repertoire; English and Foreign language must be represented
      • Examples include selections from 24 Italian Songs and Arias, Joan Boytim vocal books, spiritual and folk song arrangements, British or American Art song (Britten, Vaughn Williams, Barber, Hundley, Beach)

 

DEGREE PROGRAM SUPPLEMENTAL MATERIALS:

All Supplemental material should be submitted through the admission portal (where students register for their auditions) at least 3 days prior to the in-person audition.

JAZZ PERFORMANCE

The jazz performance major is generally only offered for saxophone, trumpet, trombone, guitar, double bass, percussion, and piano. Please contact the Associate Director of Admissions if you have interest in the degree, but your instrument is not listed.

All applicants must complete the classical studio requirements for their instrument, in addition to the following jazz components:

  • Tunes: Perform three songs of contrasting styles
    • Interpret a melody in an effective and creative way
    • Improvise on chord changes in a confident manner to perform an original solo that is creative and musically effective
  • Scales (except percussion)
    • Major, harmonic minor, melodic minor (modes from the ascending melodic minor only), diminished (half/whole & whole/half), whole tone, pentatonic
  • Drum Set:
    • Demonstrate three contrasting styles including jazz, funk/rock, and Latin (acceptable play along tracks include Tommy Igoe's Groove Essentials, John Riley's The Art of Bop Drumming, or equivalent).
    • Demonstrate trading 4 bar phrases as a soloist in a jazz style.
    • Sight read a jazz band chart (provided during the audition).

* Please bring a copy of the tunes you will perform, if you have any further questions please contact the Director of Jazz Studies, Jonathan Ragonese

MUSIC COMPOSITION

All applicants must complete the above classical requirements on their primary instrument, and the following components:

  • Three scores and recordings (an mp3 of MIDI playback is acceptable) of original compositions (no arrangements). Please submit material prior to the audition through the admission portal.

All students should come prepared on audition day to have a conversation style interview with the Music Composition faculty during their audition regarding their interest in Music Composition.

MUSIC EDUCATION

All applicants must complete the above classical requirements on their primary instrument, and the following components:

  • Submit an essay (100-150 words) about why you are interested in a career in music education. Material should be submitted through admission portal 3 days prior to audition.

All students should come prepared on audition day to have a conversation style interview with the music education faculty during their audition regarding their interest in Music Education.

MUSIC ELECTIVE STUDIES

All applicants must complete the above classical requirements on their primary instrument, and the following components:

  • Submit a music resume including performances, ensemble experiences, repertoire, private study experience or lessons, and any other information you think is relevant.

All students should come prepared on audition day to have a conversation style interview with the instrumental studio faculty regarding their interest in this degree during their audition.

MUSIC HISTORY AND THEORY

All applicants must complete the above classical requirements on their primary instrument and the following components:

Theorists: Roman numeral analysis and written analysis in the form of short essays of three compositions from different eras (Baroque, Classical, Romantic, etc.). Please submit material prior to the audition through the admission portal.

Historians: A writing sample (minimum 700-1,000 words) on any musical topic and a minimum GPA of 3.0.

All students should come prepared on audition day to have a conversation style interview with the Music History, Theory and Composition faculty during their audition regarding their interest in Music History or Theory.

MUSIC PERFORMANCE

All applicants must complete the above classical requirements on their primary instrument, and the following components:

  • Submit a music resume including performances, ensemble experiences, repertoire, private study experience or lessons, and any other information you think is relevant.

All students should come prepared on audition day to have a conversation style interview with the instrumental studio faculty covering career aspirations during their audition.

MUSIC THERAPY

All applicants must complete the above Music Therapy requirements on their primary instrument, and the following components:

  • Sing a song from any genre of music (pop song, children's song, etc.), while self-accompanying on piano or guitar, if possible.
  • Submit an essay prior to the audition through the admission portal, no more than 2 pages, answering the following questions:
    1. Why are you interested in becoming a music therapist?
    2. Based upon your experience, please describe at least one example as to how music therapy may provide benefits to clients and patients.

Please Note: It is recommended that prospective music therapy majors either observe a music therapy session or speak with a board-certified music therapist prior to applying for the degree program. This will allow prospective candidates to have a better understanding of the field before auditioning.

*If you are a transfer student, it is encouraged that you reach out to Dr. Guerriero, Music Therapy Program Director (aguerriero@wcupa.edu), to set-up a conversation regarding transfer credits. *

STUDIO COMPOSITION

All applicants must complete the above classical requirements on their primary instrument, and the following components:

  • 2-3 recordings of music that you have recorded, produced, composed, and/or performed. At least one recording must include original music that you have composed. For each recording, you have the option to submit a score of sheet music and the option to submit a visual medium (film, animation, video game samples, etc.) to which the music is synchronized. Scores and visual media are not required. 
  • A single PDF that describes each recording. Were you a producer, engineer, performer, composer? If the work is a scored scene, is there a plot background we should know? Feel free to include any other information you think would be useful for us.  

PLACEMENT TESTS

Placement tests for the Wells School of Music occur after students place their deposit to secure a spot in our fall class. Students will receive emails during the month of May providing access to the below exams via D2L.

Basic Musicianship Evaluation 

This test is required of all incoming students and is used to determine if a student begins in the core courses or in MTC Q14. Basic Ear Training and Sight Singing. The material tested on this quiz is as follows:

  • Section 1: Identification: Students must name scale-degrees (what pitch is the 2nd step in D Major, etc.), identify notes on a keyboard, name triad qualities based on music notation (major, minor, etc.), name intervals between two pitches, and find what rhythmic duration is required to complete an incomplete bar.
  • Section 2: Chord Quality Identification: Students must label a sounded chord as major, minor, or neither major nor minor.
  • Section 3: Identifying melodic contour: matching sounded melodies to musical notation
  • Section 4: Melody singing: reading musical passages and singing them using solfège. For this, students will need to access the camera and microphone features of the device being used to take the placement exam. 

ADVANCED MUSICIANSHIP PLACEMENT EXAM

This quiz may be taken to determine if it is appropriate for an incoming student to “pass out” of Aural Activities I (MTC 114) and instead be placed in Aural Activities II (MTC 115). Incoming students do not need to take this quiz if they feel that entering in the first level of musicianship is appropriate; they will instead be placed directly into MTC 114.

No musical instrument may be used as a reference while taking this placement test.

The material tested on this quiz is as follows:

  • Section 1: Identifying intervals: identifying sounded intervals by size and quality (major second, minor sixth, etc.)
  • Section 2: Identifying chord qualities: identifying sounded root-position chords by quality (major, minor, diminished, augmented, dom7, sus)
  • Section 3: First scale degrees: identifying the first scale degree heard in recordings.
  • Section 4: Solfege: reading musical passages and singing them using movable-DO solfège. For this, students will need to access the camera and microphone features of the device being used to take the placement exam. 

ADVANCED THEORY PLACEMENT EXAM

This quiz may be taken to determine if it is appropriate for an incoming student to “pass out” of Music Theory I (MTC 112) and instead be placed in Music Theory II (MTC 113). Incoming students do not need to take this quiz if they feel that entering in the first level of music theory is appropriate; they will instead be placed directly into MTC 112.

The material tested on this quiz is as follows:

  • Time signatures: reading a musical passage and choosing what time signature would be appropriate based on note durations and beaming patterns.
  • Scales and modes: reading scales and determining if they represent modes such as major, harmonic minor, whole-tone, chromatic, octatonic, etc.
  • Intervals: identifying the size of musical intervals, such as major second, augmented fourth, etc.) and choosing a pitch that is a specified interval above or below a given note.
  • Chords: reading chords and determining root (by pitch name), quality (major, minor, dom7, etc.), and position (5/3, 4/3, etc.).
  • Non-chord tones: labeling non-chord tones by type (passing tone, appoggiatura, etc.).
  • Harmonic function analysis: assigning Roman numerals to chords based on their relationship to a key.
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