Application Process

General Info

The mission of the Anderson University Music Composition Program is to provide students with the skills and knowledge necessary to compose music for a wide variety of venues, including music for the concert hall, television and film, and digital media. The Music Composition option is designed to provide comprehensive music education, covering a wide variety of musical genres, ensembles, styles, and compositional practices.

Music Composition at AU is a rigorous program that focuses on the composition of music in a concert music environment, while simultaneously developing professional skills that are applicable to all genres of music composition. All students in the program are provided with a thorough grounding in the idiomatic writing of music for all orchestral and band instruments, as well as all voice types. Students are provided with additional instruction in the analysis of music, knowledge of 20th and 21st-century concert music literature, recording and MIDI music production skills, and advanced counterpoint. All composition students are encouraged to program their works during each semester’s Student Composers’ Recital, which is open to the public. The program culminates with a senior recital of the student’s music, performed by fellow music students and ensembles. In addition, students are often provided with opportunities to have their works performed at our ensemble concerts.

Audition Requirements
Two or Three representative compositions. These scores should be notated in music notation software (i.e. Finale, Sibelius, etc.) and should be sent in PDF format via email.

Audio recordings of each piece. Recordings may be MIDI realizations. Recordings should all be included in the same email

All prospective composition students should also audition on a primary instrument as well.

Please send all composition materials to Michelle Holmes, Enrollment Specialist, at msholmes@anderson.edu

Bassists auditioning for acceptance into the School of Music, Theatre, and Dance on electric bass are expected to prepare the following:

• You must play two major scales. You may select the E major or Eb major scales, or you may select the A major and Ab major scales to play. Please announce the selected scales before you play them. Scales are to be played two octaves when possible. Scales are to be played in ascending and descending order at an even/consistent tempo.
• One technical study from a standard method book for electric bass
• One solo chosen by the student that is representative of the player’s experience and ability level
• These selections must demonstrate the student’s ability to read music notation.

Please note electric bass auditions are for music business majors only.

Guitarists auditioning for acceptance into the School of Music, Theatre, and Dance are expected to audition on classical guitar and prepare the following:

• You must play two major scales in the first position. You may select the E major or Eb major scales, or you may select the A major and Ab major scales to play. Please announce the selected scales before you play them. Scales are to be played two octaves when possible. Scales are to be played in ascending and descending order at an even/consistent tempo.
• One solo demonstrating ability to read staff-based music notation
• If currently studying classical guitar, one technical study from a book of etudes by Carcassi or Sor or comparable repertoire

Guitarists are encouraged to audition on a nylon string classical guitar. However, guitarists may audition on a steel-string acoustic guitar if a classical guitar is unavailable.

Harpists auditioning for acceptance into the School of Music, Theatre, and Dance are expected to audition on a pedal harp and prepare the following:

• You must play two major and harmonic minor scales, hands together, at least 3 octaves. You may select the E major or Eb major scales, or you may select the A major and Ab major scales to play. Please announce the selected scales before you play them. Scales are to be played in ascending and descending order at an even/consistent tempo.
• Two solo pieces in contrasting styles chosen from the classical, romantic, or 20th-century period. Memorization is required.  The level of difficulty should be at or above Chanson Dans la Nuit by Carlos Salzedo, Theme and Variations by G. F. Handel, and Au Matin by Marcel Tournier.
• A standard orchestral cadenza such as Waltz of the Flowers (with opening arpeggios) or Swan Lake by Pyotr Ilyich Tchaikovsky, Capriccio Espagnol by Rimsky-Korsakov (including the “Fandango Asturiano” movement), or The Young Person’s Guide to the Orchestra by Benjamin Britten.

Students interested in Music Business: Entrepreneurship, Audio Forensics, Record Production, or Songwriting will submit a School of Music, Theatre, and Dance Admission Application, interview with the music business faculty, and take the Music Theory Placement Test. Admission interviews will be conducted in person on scheduled audition dates. The Music Theory Placement Test will be administered on those dates as well. Virtual interviews and an electronic theory placement test may be scheduled for students unable to attend on-campus interviews.

Music Business students interested in scholarship opportunities are required to audition on campus by the second Friday in March or submit an audition video no later than February 15, if unable to attend an on-campus audition.

Auditioning on campus is preferred. On-campus musical theatre auditions will consist of two areas: voice and monologue.

Songs: Students should prepare 2 contrasting pieces. One song should be a ballad and one song should be up tempo. An accompanist will be provided. One song should be written prior to 1970. This song can be either the up tempo or the ballad (student’s choice). One song should be written after 1970 and contrast the style of the first.

Monologue: Students should prepare 1 contemporary monologue (written during the 20th Century to present). The monologue must be from a published play. It may not be from musicals, television shows, or movies.

Video Audition Requirements

Video audition submissions will be accepted for students unable to attend on campus auditions. The Musical Theatre faculty will review your video audition submission. Based upon the outcome, you will be notified via email whether or not you are invited to a virtual “callback” audition/interview.

Overall: Each piece should be filmed/uploaded as a separate piece of media. No continuous videos. Videos should be uploaded to YouTube as unlisted and the link included on your School of Music, Theatre, and Dance Application or emailed to Michelle Holmes, msholmes@anderson.edu.

Slate: There should not be a separate “slate” video. Instead slates are to appear at the beginning of each piece. The proper slate for a song is to share your name, the song title, and show in which it appears. The proper slate for a monologue is to share your name, the title of the play, and the playwright.

Songs: Students should prepare 2 contrasting pieces.

One song should be a ballad and one song should be up tempo.
Each song file should be 60-90 seconds.
Students must sing to live or recorded accompaniment. No “a capella” singing.
Songs should be filmed in a ¾ shot which means the top of the head to the knees should be visible in the frame.

AUMT Song Requirements:

One song should be written prior to 1970. This song can be either the up tempo or the ballad (student’s choice).
One song should be written after 1970 and contrast the style of the first.

Monologue: Students should prepare 1 contemporary monologue.

Monologue must be from a published play.
Monologue cannot be from musicals, television shows, or movies.
Each monologue file should be 60-90 seconds in length

AUMT Monologue Requirements:

One 60-90 second contemporary monologue (written during the 20th Century-present) from a published play. This time limit includes the slate at the beginning of the piece and is strictly adhered to; please do not upload media files longer than 90 seconds.
The contemporary monologue should be filmed in a “close-up” shot which means the top of the head to the chest should be visible in the frame.

WILD CARD

AUMT “Wild Card” video is optional:

Submissions should be no more than 60 seconds.
This media can be ANYTHING you want: a special skill, an interesting story about yourself, a passion speech, an instrument that you play, etc. “What do you want us to know about you?” and “What makes you unique?”

Auditions for acceptance into the School of Music, Theatre, and Dance should demonstrate the student’s training and experience in snare drum, timpani, and mallet instruments. The following are repertoire recommendations for each category.

• Snare drum: a solo from upper-level state contest literature OR select one etude from numbers 8 through 14 in Audition Etudes by Garwood Whaley (Meredith Music Publications)
• Timpani: a solo from upper-level state contest literature OR select one etude from numbers 10 through 14 in Audition Etudes by Garwood Whaley (Meredith Music Publications)
• Mallet Percussion: a solo from upper-level state contest literature OR select one etude from numbers 3, 4, 5, 8, or 9 through 14 in Audition Etudes by Garwood Whaley (Meredith Music Publications)

Percussionists may also audition on drum set in addition to the above instruments.

Pianists auditioning for acceptance into the School of Music, Theatre, and Dance are expected to prepare the following:

Repertoire should consist of at least two pieces in contrasting styles, memorized if possible. Pieces from the standard classical piano repertoire are preferred, but you may play whatever you feel shows your best musicianship. Please announce your name, and then introduce your pieces with the title and the composer’s name and tell us how long you have been working on each one. 

Scales should be performed at the highest speed you are able to play with good control and correct fingering and must be played four octaves, hands together. You may play three different scales of your choice, including two major scales and one harmonic minor scale. 

Auditioning on campus is preferred. Video audition submissions will be accepted and virtual admission interviews scheduled for students unable to attend an on-campus audition. Video auditions may use recorded accompaniments. For on-campus auditions, a professional accompanist will be provided, although an auditioning student may bring their own accompanist. Regardless of a particular style or genre, the selections presented should demonstrate the singer’s full range and vocal potential.

Repertoire should consist of two or three classical songs or arias in contrasting styles appropriate for your voice. Selected repertoire must be appropriate for solo contest. At least one piece should be in English; other song(s) may be sung in a foreign language if you are trained in the singer’s diction for that language. One piece may be chosen from musical theatre. All pieces must be memorized and sung with piano accompaniment. Please announce your name, and then introduce your songs with the title of the song and the composer’s name.

The most appropriate pieces would be those selected from upper-level state contest literature. Students may select from any of the following categories and collections:

Foreign Language Art Songs:

• Early Italian art song or aria
• Suggested collections: 26 Italian Songs & Arias, Alfred; Italian Arias of the Baroque & Classical Eras, Alfred
• Other foreign language art songs
• Suggested collections: Anthology of Spanish Song, Hal Leonard; Gateway to German Lieder, Alfred; Favorite German Art Songs, Hal Leonard; The French Song Anthology, Hal Leonard

Art Songs in English:

• English language art song from the 19th-21st Century
• Suggested collections: 20th Century Art Songs, G. Schirmer; Songs by 22 Americans, G. Schirmer; Quilter, 55 Songs, Hal Leonard; Any of the “First Book” series, G. Schirmer
• Early English art song or aria
• Suggested collections: English Songs, Renaissance to Baroque, Hal Leonard; Purcell, 40 Songs, International Music; Handel, 45 Arias, in 3 Vols, International Music

Songs from Musical Theatre:

• The Singer’s Musical Theatre Anthology is an extensive collection of four volumes for each voice range. Each volume contains authentic editions of 30-40 songs in their original keys. The series is published by Hal Leonard.

String players (violin, viola, cello, and upright bass) auditioning for acceptance into the School of Music, Theatre, and Dance are expected to audition on their primary instrument and prepare the following:

Repertoire must consist of two contrasting styles. Selected repertoire must be appropriate for a solo/ensemble contest. Repertoire should demonstrate lyrical/melodic playing, as well as technical facilities. You may select two different pieces, or you may select one solo if it allows you to demonstrate the two contrasting styles of play. Please announce your name, and then announce the title(s) of your repertoire. 

Scales You must play two major scales. You may select the E major or Eb major scales, or you may select the A major and Ab major scales to play. Please announce the selected scales before you play them. Scales are to be played two octaves when possible. Scales are to be played in ascending and descending order at an even/consistent tempo.

For admission into the Theatre program, students will interview with theatre faculty and should prepare one monologue, one minute in length that showcases his/her ability. If a student would like to be considered for a theatre scholarship, he or she should prepare two monologues of contrasting styles.

Monologue Selection: Please observe the following guidelines:

• Choose a monologue that is well-written from a published play. Avoid monologues from movies, monologue books, musicals, and the internet. Never attempt an audition monologue without reading the entire play and understanding your character in the context of the play.
• Monologues should have a beginning/middle/end with a journey/discovery/change.
• Choose a character that is within 5-10 years of your playable age range and material with which you connect. Those for whom you are auditioning are looking for you to create honest relationships with clear circumstances outlined by the playwright.
• Do not choose monologues that require accents, eccentric characterizations, props, or costumes. Portray one character per monologue. Choose material that is life-affirming and avoid cynical or negative subject matter. Avoid climactic material that requires great depth or intensity of emotions. There is not enough time to achieve these emotional peaks effectively and honestly.
• A chair will be provided for your use, if you choose to use it.
• Monologues must be memorized!

Wind players auditioning for acceptance into the School of Music, Theatre, and Dance are expected to audition on their primary instrument and it is recommended that they prepare the following:

Repertoire must consist of two contrasting styles. Selected repertoire must be appropriate for a solo/ensemble contest. Repertoire should demonstrate lyrical/melodic playing, as well as technical facilities. You may select two different pieces, or you may select one solo if it allows you to demonstrate the two contrasting styles of play. Please announce your name, and then announce the title(s) of your repertoire. 

Scales You must play two major scales. You may select the E major and Eb major scales, or you may select the A major and Ab major scales to play. Please announce the selected scales before you play them. Scales are to be played two octaves when possible. Scales are to be played in ascending and descending order at an even/consistent tempo.