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Admission Procedures

Instructions For Application

The Yale School of Music application for the 2014–2015 academic year is available online at http://music.yale.edu. The information that follows will assist applicants in filing the application. For an explanation of requirements and structure of various programs, please refer to the section entitled Degrees in this bulletin.

Although the deadline for receipt of application material is December 1, 2013, applicants are urged to submit credentials well before the deadline.

Application Fee

Each application submitted to the School of Music Office of Admissions must be accompanied by an application fee in the amount of $100 (U.S.). This application fee is non­refundable and will not be credited toward tuition or any other account upon admission. There are no fee waivers. There is no additional charge for audition appointments.

Master of Music (M.M.) Degree

Applicants who will have earned a bachelor’s degree or its equivalent prior to September 2013 qualify to apply to the M.M. program, a two-year curriculum.

Doctor of Musical Arts (D.M.A.) Degree

Applicants who will have received a Master of Music degree or its equivalent prior to September 2014 may apply to the D.M.A. program.

Certificate in Performance Program

Applicants who have not received a bachelor’s degree or its equivalent may apply to the Certificate in Performance program, a three-year curriculum.

Artist Diploma (A.D.) Program

Applicants who will have received a master’s degree prior to September 2013 may apply to the Artist Diploma program, a full-time curriculum requiring a two-year residency. Candidates who have earned the M.M. degree at Yale may apply to the program and will be expected to complete work for the Artist Diploma in one year.

Recording and Audition Repertoire Guidelines

Prescreening recordings are required from all applicants. We strongly prefer that all applicants (except cellists) submit prescreening recordings online, as part of the online application, instead of by mail. It is very important that the audio quality is as high as possible on audio and video recordings. If you are given a choice between submitting audio or video recordings, and your video does not have high audio quality, we prefer that you submit an audio recording. DVDs must be in NTSC format. Copies of recordings and scores should be sent, as these materials will not be returned.

The works listed below have been designated by the faculty as appropriate repertoire for the recording and audition. Some substitution may be acceptable, but students should adhere to the suggested repertoire as closely as possible. Please note that the repertoire guidelines listed below are subject to change. The most up-to-date repertoire and detailed instructions may be found online at http://music.yale.edu.

Keyboard

Piano Prescreening Recording (Audio or Video): (1) a Bach prelude and fugue or another original work by Bach (not a transcription); (2) a sonata or variations by Haydn, Mozart, Beethoven, or Schubert (for the recording, provide at least two contrasting movements; for the live audition, prepare an entire work); (3) a larger Romantic nineteenth-century work; and (4) a twentieth- or twenty-first-century composition (for a multi-movement work, provide at least two contrasting movements).

Live Audition: Audition and prescreening repertoire may be the same or different, as long as both programs adhere to these guidelines.

Organ Prescreening Recording (Audio): Representative works from the major areas of organ literature: (1) a major Bach work; (2) a Romantic work; and (3) a contemporary work.

Live Audition: Organ applicants are strongly encouraged, though not required, to perform different works from those on the prescreening recording. However, works should be chosen from the same three categories above. Applicants will also be asked to demonstrate sight-reading ability and other essential musical skills.

Harpsichord Prescreening Recording (Audio): (1) Bach: a contrapuntal work taken either from the Well-Tempered Clavier or from the set of keyboard toccatas; (2) a series of French dances from either the seventeenth or eighteenth century; (3) candidate’s choice: in contrast to the above repertoire, please choose a representative example from either the English Virginalist school, early-seventeenth-century Italian toccata, two contrasting sonatas of Domenico Scarlatti, or twentieth–twenty-first-century literature.

Live Audition: Candidates will be responsible for the above-mentioned literature and, additionally, a French seventeenth-century unmeasured prelude. Also, candidates will be tested on their expertise in continuo realization.

Strings

Violin Prescreening Recording (Video preferred, with high-quality audio): (1) a movement of an unaccompanied Bach sonata or partita (A.D. and D.M.A. applicants must provide two movements); (2) a movement of a Romantic or twentieth-century concerto; (3) any Paganini caprice; (4) a short work of the applicant’s choice that shows off his/her violinistic style; and (5) a movement of a Mozart concerto.

Live Audition: Audition and prescreening repertoire may be the same or different, as long as both programs adhere to these guidelines. (A.D. and D.M.A. applicants must play Mozart at the live audition. M.M. and Certificate applicants will play Mozart only for the prescreening recording, not the live audition).

Viola Prescreening Recording (Video or Audio; piano accompaniment required, where applicable): Applicants must provide at least fifteen minutes of music of their choice, including three works of contrasting style. One movement of each work is acceptable. It is not necessary to include the pieces required for the live audition.

Live Audition: All applicants must prepare: (1) the prelude from any Bach cello suite or the first movement of any Bach sonata or partita for solo violin; (2) either the first movement of a Romantic viola sonata by a composer such as Brahms, Glinka, Franck, Schubert, or Vieuxtemps, or a transcription of a piece such as Brahms Op. 38, the Rachmaninoff Cello Sonata, the Grieg Cello Sonata, etc.; (3) the first movement of a viola concerto by a composer such as Bartók, Hindemith, Walton, Martinu˚, Bowen, Penderecki, Schnittke (first and second movements), or Elgar (Cello Concerto, arr. L. Tertis); (4) a short required piece that will be announced to invited applicants four to six weeks before the audition; (5) A.D. and D.M.A. applicants only must include (in addition to the pieces above) the Bach-Kodály Chromatic Fantasy, or one of the Primrose transcriptions, or another piece of similar character and degree of difficulty (with approval from the viola faculty).

Cello Prescreening Recording (DVD in NTSC format must be mailed, not submitted online): (1) the second movement of the Prokofiev Sinfonia Concertante or the first movement of the Shostakovich Concerto No. 1; (2) the first movement of the Haydn D Major Concerto or the last movement of the Haydn C Major Concerto.

Live Audition: Prepare the same two pieces that were submitted on the prescreening recording.

Bass Prescreening Recording (Video required): (1) a movement of a Bach cello suite; (2) two contrasting movements from concertos, sonatas, or virtuoso pieces; and (3) two contrasting orchestral excerpts.

Live audition: Prepare the same pieces as the prescreening recording, plus a short contemporary work by a composer such as Carter, Kurtág, Berio, Henze, or Perischetti.

Guitar Prescreening Recording (Audio or Video): (1) a major work by Bach; (2) a major work or two shorter works by Mertz, Regondi, or Legnani; (3) a major work of the twentieth or twenty-first century, such as Villa-Lobos études, or a major work of Torroba, Rodrigo, Turina, Ponce, Jose, Britten, Martin, Brouwer, Walton, Ginastera, Takemitsu, Carter, or Lindberg. Guitar applicants who are composers are encouraged to include a work of their own (although it cannot replace requirement number 3).

Live Audition: In addition to the prescreening pieces, invited applicants must prepare a short required piece that will be announced and e-mailed to applicants four to six weeks before the audition.

Harp Prescreening Recording (Audio or Video): (1) a work by Bach or another Baroque composer; (2) a solo work from the standard repertoire, such as Impromptu by Fauré, Suite by Britten, Légende by Renié, works by Parish Alvars, Rhapsodie by Grandjany; and (3) a sonata from the standard repertoire by composers such as Casella, Tournier, Tailleferre, Hindemith, Houdy.

Live Audition: Audition and prescreening repertoire may be the same or different, as long as both programs adhere to these guidelines.

Woodwinds

Flute Prescreening Recording (Video required): (1) Sonatine of Dutilleux (with piano); (2) the second movement of Mozart’s Concerto in D Major; (3) on piccolo: Rossini’s Semiramide Overture (select one of the standard excerpts); and (4) a work of the applicant’s choice.

Live Audition (pianist required): (1) Jolivet’s Chant de Linos; (2) from memory: the second movement of Mozart’s Concerto in D Major; and (3) the first movement of any Vivaldi C Major piccolo concerto.

Oboe Prescreening Recording (Audio or Video; piano accompaniment required, where applicable): Applicants provide fifteen to twenty minutes of music of their choice, sampled from each of the following: (1) a major sonata; (2) a solo piece or étude; (3) a major concerto; and (4) four varied orchestral excerpts.

Live Audition (pianist required): (1) two movements of a major sonata; (2) two movements of a Baroque concerto, sonata, or solo piece; (3) two movements of a major concerto (with cadenzas where applicable); and (4) six varied orchestral excerpts.

Clarinet Prescreening Recording (Audio or Video): (1) exposition of the Mozart Concerto with accompaniment, orchestral or piano; (2) Stravinsky: second of the Three Pieces for solo clarinet; (3) Mendelssohn: Scherzo from A Midsummer Night’s Dream (through the trill passages); (4) exposition of a Brahms clarinet sonata of the applicant’s choice with piano; and (5) a five-minute selection of the applicant’s choice that shows his or her best qualities, preferably a contemporary work.

Live Audition: selections from the above may be requested, in addition to possible sight-reading.

Bassoon Prescreening Recording (Video preferred; piano accompaniment required, where applicable): Applicants provide no more than fifteen minutes of their playing, excerpted from the following: (1) a sonata; (2) a concerto; and (3) two to four varied orchestral excerpts.

Live Audition (pianist required): (1) at least two movements of a major sonata; (2) at least two movements of a major concerto (with cadenzas where applicable); and (3) six varied orchestral excerpts.

Brass

Horn, Trumpet, Trombone, Tuba Prescreening Recording (Audio or Video): Applicants should prepare repertoire that will show their playing to the best advantage with the most variety possible both instrumentally and musically. Repertoire should display a broad range of styles, genres, and technical demand, with examples covering the full range of the instrument, and should include the following: (1) four or more varied standard orchestral excerpts; and (2) four or more varied selections from the solo repertoire. A “selection” is defined as a solo piece, étude, or individual movement of a sonata or concerto.

Live Audition: Audition and prescreening repertoire may be the same or different, as long as both programs adhere to these guidelines.

Percussion

Prescreening Recording (Video required; unedited): (1) a major work for either marimba or vibraphone; (2) one piece from Elliott Carter’s Eight Pieces for Four Timpani; (3) a solo piece for multiple percussion; and (4) an étude for snare drum.

Live Audition (each audition lasts one hour): (1) a major work for either marimba or vibraphone (examples of acceptable works include, but are not limited to, Minoru Miki’s Time for Marimba; Gordon Stout’s Two Mexican Dances; Steven Mackey’s See Ya Thursday; Philippe Manoury’s Le Livre des Claviers; or Franco Donatoni’s Omar); (2) a solo piece for multiple percussion (examples of acceptable works include, but are not limited to, Iannis Xenakis’s Rebonds or Psappha; David Lang’s Anvil Chorus; or James Wood’s Rogosanti); (3) Jacques Delecluse’s Étude No. 1; (4) Anthony Cirone’s Étude No. 32; (5) two pieces from Elliott Carter’s Eight Pieces for Four Timpani; (6) two- and four-mallet marimba sight-reading will be required; (7) the following orchestral excerpts: (a) timpani: Beethoven, Symphony No. 9; (b) timpani: Richard Strauss, Burleske; (c) timpani: Mozart, Symphony No. 39; (d) snare drum: Rimsky-Korsakov, Scheherazade; (e) xylophone: Messiaen, Exotic Birds; (f) glockenspiel: Debussy, La Mer.

Voice

Opera Prescreening Recording (Audio or Video; video strongly preferred for one selection): Provide seven selections from the operatic, oratorio, and/or art song repertoire of contrasting style and language. Four of these selections should be operatic arias.

Live Audition: Audition and prescreening repertoire may be the same or different, as long as both programs adhere to these guidelines.

Early Music, Oratorio, and Chamber Ensemble Prescreening Recording (Audio or Video): Include seven selections of contrasting style and language from the sacred music (oratorio, mass, cantata, sacred song, etc.), opera, and art song repertoire. Selections can be chosen from any period, including contemporary compositions. However, at least three selections should be from the Renaissance and Baroque periods. At least one aria by J.S. Bach is required. Applicants should choose selections that highlight their versatility as a performer.

Live Audition: Prepare five pieces of contrasting style, language, and period. These selections may be the same or different works from the prescreening recording. Of the five selections, prepare at least two Baroque selections (including one aria by J.S. Bach) and a third selection written prior to 1700. All works should be chosen from the same reportorial categories as above. Applicants will be asked to demonstrate sight-reading ability and other essential musical skills.

Composition

Prescreening Recording: Applicants must submit scores and recordings of three recent works (no more than three, please), each written for a different group of instruments, voice, and/or electronic media.

Composers may upload recordings and PDFs of scores to the online application, or submit hard copies by mail. Large (oversized) scores that would be difficult to review on a computer screen should be sent by mail. Applicants should submit all scores/recordings by the same method (either online or by mail), not a combination of both methods.

Interview: Those applicants who advance beyond the prescreening round will be invited to New Haven for a thirty-minute interview with the composition faculty.

Conducting

Orchestral Conducting Prescreening Recording (Video required; online submission strongly preferred): Applicants must submit a video of up to twenty-five minutes in length. The video camera should be positioned behind the orchestra and pointed toward the front of the conductor. We are primarily interested in rehearsal footage, although some concert footage may be included.

Live Audition: Those applicants invited to New Haven for a live audition will be expected to demonstrate a highly developed level of comprehensive musicianship, including theory, transposition, keyboard skill, performance on their primary instrument, and score reading. In addition, invited applicants will be asked to conduct several selections from the standard orchestral repertoire (announced in January) with a University ensemble.

Choral Conducting Prescreening Recording (Video required): Applicants must submit a video of up to fifteen minutes in length showing the conducting of both rehearsal and performance.

Live Audition: Those applicants invited to New Haven for a live audition will be expected to demonstrate a highly developed level of comprehensive musicianship, including theory, transposition, keyboard skill, and score reading. Individual conducting assignments for the live audition will be made in the letter of invitation to audition.

Recommendations

Each application must include three reference letters to support the applicant’s candidacy for graduate study.

Transcripts

Applicants must submit official transcripts (academic records) from all colleges or universities attended. Faxes and photocopies are not acceptable.

Graduate Record Examinations (GRE)

All applicants to the composition department must take the GRE General Test, with the exception of those who already hold a degree from, or are currently enrolled in, the Yale School of Music. Our institution code for the GRE is 3992.

Further information about the GRE can be found at www.ets.org/gre.

Note: Applicants who have not submitted the required test scores will not be considered for admission.

Test of English as a Foreign Language (TOEFL)

Students for whom English is not a native language must demonstrate a level of language proficiency appropriate for graduate study. The School of Music requires a minimum TOEFL score of 86 on the Internet-based test (equivalent to 227 on the computer-based test and 567 on the paper-based test). TOEFL applications may be obtained online at www.toefl.org. The institution code for TOEFL reports is 3992. Students are advised to make testing arrangements at least six months before the application deadline. More information can be found at www.ets.org/toefl.

Note: Applicants who have not submitted the required test scores will not be considered for admission.

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Auditions/Interviews

Applicants are invited for a personal audition (interview for composers) in New Haven on the basis of the prescreening recording and other credentials. Applicants will be notified in January or February and must be prepared to perform all material specified in the repertoire guidelines. Qualified Yale undergraduates who are interested in studying with School of Music faculty may request to audition at the same time as graduate applicants. High school seniors who have been admitted to Yale College may request to audition for School of Music faculty during Bulldog Days in April. Applicants may be asked to demonstrate sight-reading ability and other essential musical skills during the audition. Auditions are held in New Haven.

Audition/Interview Schedule, 2014

Auditions and interviews for all applicants will take place during audition week: Monday, February 24, through Tuesday, March 4, 2014. Audition dates for specific instruments are posted online at http://music.yale.edu/admissions.

The D.M.A. proficiency tests and entrance examination, required of all D.M.A. candidates, will be given on Friday, February 28, and Saturday, March 1, 2014, respectively. Applicants are required to be present on both days. The exams are not offered on any other dates and will not be rescheduled.

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