by MYSO Executive Director Fran Richman

While we realize that not all MYSO grads will go on to be music majors in college, we hope the following will be useful even to those who are just looking for a good musical experience apart from their non-music college study.

The hunt for a conservatory or musically advantaged college is a time-consuming, labor-intensive, expensive and messy process.  This statement probably falls somewhat short of revelational for most of you.  If someone had told me that our dining room table would be out of commission from July (arrival of college application materials and catalogs) through April (arrival of college decision letters), I might have been considerably less sanguine about assisting our daughter with this process several years ago.  But since this is still a relatively “fresh wound” for me, perhaps I can ease the pain for at least a few people with a stream-of-unconsciousness (because you’ll be unconscious by the time you finish the process!) list of things to consider.  The key, of course, is to prioritize the list yourselves--and that may very well be the most difficult task in the entire process.  

You’ll first need to commit a major horizontal surface (dining room table, coffee table, bath tub, or whatever) for a few months.  And be sure to budget for travel and/or recording expense, accompanists and application fees.

Reading the Chicago Youth Symphony Orchestra’s guide to music schools (borrow a copy from the MYSO office) is an excellent place to start, with general information about many of the larger and/or better known music schools.  A next step might be to prepare a list of solo repertoire studied, annotating which works have been performed in public.  Prepare a similar list of chamber repertoire.  These are both often required in conservatory applications.  I don’t recall that a similar list of orchestral repertoire was ever requested.  A third list of extracurricular activities/honors/awards is required for virtually all college/university applications, but the required format varies from school to school.  Beginning now to create such a list is important, so that you can continue to add to it over time.  Preparing a separate résumé of music activities, honors and awards is probably not a bad idea, though you don’t want to overwhelm the admissions office with materials.  If a parent is looking for a legitimate way to assist with the application process, helping to prepare these materials can be an enormous aid.

Considering a wide variety of variables which differ from one school to another might be the next step and may help narrow the field in terms of places to apply.  The list that follows is not exhaustive, by any means.  I guarantee there are some glaring omissions, and I would certainly welcome suggestions for additions.  The list is in no particular order--and that, in fact, will probably be your primary task when the time comes to make choices as to where to apply or which school to choose.  Be sure to allow plenty of time.  The analysis of schools on paper takes time; and preparing applications themselves takes forever--the sheer mechanics of typing the applications (look into the possibility of completing some of the forms online), the writing of essays, etc.  Applying to music schools within colleges or universities may double the work, since there is often a separate application, not to mention, of course, a taped or site audition.

The audition is certainly a major issue.  Most schools will accept a taped audition, but the message I hear most often is that a live audition is almost always preferable.  Regional live auditions are an option, but a campus visit is generally the best choice and offers an opportunity to check out some of the other variables.  It can be expensive and time-consuming--but I’m told it really is the way to go, if at all possible.  If a live audition simply isn’t possible, be sure that you make the best tape you possibly can, in terms of performance and also in terms of quality of tape, recording equipment, acoustics, positioning of microphone, etc., etc.  Get help with this--a school audio-visual person may be a good resource (and MYSO offers a recording day a few times a year).  Study the audition requirements carefully and discuss them with your current private teacher.  Perhaps design a chart of schools and audition requirements to keep things straight.  Check for memorization requirements, guidelines with regard to accompaniment, etc.

The conventional wisdom is that choice of teacher is generally the overriding issue for performance majors.  Are there any teachers with whom you would be particularly interested in studying?  Where are they? What do you know about the teachers (of your instrument) at the other schools you’re considering?  Which teachers would provide a smooth transition from your current teacher?  (It is, needless to say, always nice to be able to avoid the horror scene of changing embouchure, totally revamping bow technique, etc.--assuming you have confidence in your current teacher’s approach.)  Try to arrange a lesson or at the very least a meeting with the person who would be your teacher.  Ask current students about the experience.

Are there any alumni you could talk to?  Is there anyone in your local symphony who might have studied with this person?  What sort of track records do the potential teachers have in terms of placement following college--either in jobs or graduate schools?  Do they have lots of students entering/doing well in major competitions?  Do they send students to the major summer festivals, etc?  Do they stay in touch with their students and help with the “follow-up?”  How important are these things to you?

Do you want to be in a school with graduate students?  What is the likelihood of your being placed with a graduate student for lessons rather than with a faculty member?  Does that matter to you?  How often are you guaranteed a private lesson?  Length of lessons?  Accessibility of the teachers outside of lessons?

What do you think of the school’s orchestra?  Is that important to you?  How many orchestras are there, and what is their composition?  Levels of the groups?  Who conducts the orchestra(s)?  Who gets to play in them?  Is participation required?  Are there non-majors in the orchestra(s)?  Do grad students get all the principal spots?  Does the orchestra travel?  Who pays for this touring?  What kind of repertoire do the ensembles play (ask to see programs from the last few years).  Try to attend at least one rehearsal and one performance of the ensembles you are interested in.

Is there a major orchestra nearby?  Do students have access to complimentary or discounted tickets for performances?  Are there other high quality performances for students to attend?  Does the school bring performing groups/individuals to the campus?  Are there visiting artists on campus often, with master class opportunities?  Does that matter to you?

What chamber music opportunities are there?  Is that important to you?  Is chamber music a priority for the school?  Does the school provide faculty coaching for the ensembles? What opportunities are there for chamber groups?  Are there opportunities within the community for paying gigs?

What are the performance requirements and what are the opportunities?  Are you guaranteed recital space and time?  How often?  How are the practice facilities?  Compare the number of students in the music department to the number of practice rooms--how does that ratio vary from one school to another?  Can you practice in your dorm room?  Do all practice rooms have pianos?  What hours are the rooms available?  Do you need to reserve them in advance?  Do any students get preference over others?  Will that impact you negatively?  Ask students at the school if the number of practice rooms is adequate.

Is there financial aid? Does the school offer merit/talent-based scholarships as well as need-based aid?  What percentage of the students receive aid?  Is it renewable?  (Be sure you’re not lured to a school by money which may disappear after the first year.)

How large is the music school?  What is your preference--big fish/little pond, etc?  (There are, of course, students who will be big fish in the big ponds, but it may be dangerous for most students to rely on that possibility in making their decision!)  How many performance majors are there on your instrument?  What might that mean for you?  What Music Ed. opportunities are there?  How is the school’s music ed. placement record?

What is the quality of the curricula in music theory, music history and other music academics?  What is the caliber of the concert and recital halls?  Are the music buildings well-maintained?  Is the music program a priority at the school?  Does the school commit financial, faculty and administrative resources to the music school?  Ask students and faculty members these questions.

Do most students complete their degrees in four years?  What are the degree options--BA, BM, BS, etc?  What is the balance of liberal arts to music courses?  What is the caliber of the liberal arts offerings?  How important is that to you?  Is it feasible to double major/double degree?  Is it still possible to finish in four years?  Are the liberal arts campus and music campus geographically convenient to each other?  How far are the dorms from the music facilities?

Add to this list, of course, all the usual questions regarding college choice--size of campus, urban vs. rural, public/private, etc., and you have a full-blown research project in the making--both harrowing and exciting!  Good luck!