School of Music Admission
All students desiring to declare any music-related major or minor must first complete and pass an audition on their principal instrument as part of the admission process.
» What to Expect on Audition Day
Audition Process and Requirements
Step One: Apply for Admission
Apply for admission to Stetson University. This is a separate application process from the School of Music.
Step Two: Schedule an Audition
You must schedule your audition at least three weeks prior to your audition date.
- Friday, January 27 - tenor and baritone/bass voices only in conjunction with the Stetson Men’s Choir Festival
- Saturday, January 28
- Saturday, February 4 – preferred audition date for piano
- Saturday, February 11
- Saturday, February 18
- Saturday, February 25
If you cannot make an audition date, you may schedule a weekday audition.
- Monday: Voice, brass, piano, percussion and strings
- Tuesday: Woodwinds
- Friday: Saxophone
- Monday through Friday: Guitar and organ
If you can't travel to campus for your audition, please contact the music admission recruiter.
All auditions must be performed by March 1, 2017.
Step Three: Audition Day
If you have any questions about the admissions or audition process, contact our music admission recruiter, Hannah Austin, by phone at 386-822-8975 or email at firstname.lastname@example.org. For guidelines specific to your instrument or category, please choose it from the following list:
All String Instruments
Candidates should be able to play all major and minor scales three octaves.
Etude comparable in difficulty to Simandl 30 Etudes or Bille 18 Etudes, and two contrasting movements from a standard sonata or concerto (candidate may substitute two contrasting short works from the standard repertoire).
Studies comparable in difficulty to Popper, Schroeder and Duport. Candidates should prepare a movement of a Bach Suite and a movement from a standard concerto such as Boccherini, Saint Saëns, Haydn C or Lalo.
Candidates for study in music composition must interview with the Director of Composition - Manuel de Murga, Ph.D. - before being admitted into the music composition degree program. If the candidate is unable to arrange an in-person meeting, the interview may be done over the phone. Prior to the interview, candidates should submit a portfolio containing at least two scores of their compositions with recordings if available. Composition candidates must also successfully complete a School of Music performance audition.
Candidates for classical guitar study should be able to play all major and minor scales (Segovia Edition); studies corresponding in difficulty to those of Sor, Carcassi and Brouwer; and perform two contrasting solo works from memory. Candidates will be asked to sight-read and demonstrate knowledge of the rudiments of music.
Candidates for study in harp should prepare an etude in comparable difficulty to Bochsa, Dizi or Pozolli. Candidates should have two pieces of contrasting styles: comparable works include a Naderman or Dussek sonatina and a work by Renie, Grandjany, Salzedo, Tournier, Andres, etc.
In order to ensure that students are directed to the best program for their needs, applicants for the music technology program must interview with the area coordinator, Nathan Wolek, Ph.D., before being admitted into the degree program. Prior to the interview, applicants must submit a one-page personal statement that:
- Explains why they are interested in music technology
- Details any prior experience with digital media
- Describes their anticipated career goals
Although it is not required, candidates may strengthen their application by including up to three digital media projects. Candidates for the bachelor of music must also audition on an instrument following the above guidelines, while candidates for the bachelor of arts may audition at their option for talent scholarship consideration.
Candidates for study in composition must interview before being admitted into either the bachelor of music theory or composition program. If the candidate is unable to arrange an in-person meeting, the interview may be done over the telephone. Prior to the interview, composition candidates should submit a portfolio containing at least two scores of their compositions with recordings if available. Candidates must also successfully complete a School of Music performance audition.
Candidates should be able to play works such as: The Eight "Little" Preludes and Fugues of Bach, chorale preludes from Bach's Orgelbüchlein, the Chorale Preludes of Brahms, Op. 122, or works of comparable difficulty. Pianists with a desire to study organ should demonstrate proficiency by performing Two-Part Inventions of Bach, Sonatas by Beethoven or Mozart, or works of comparable difficulty. Strong potential should be demonstrated in aural training.
Candidates for percussion study should bring their own sticks, mallets and music. Candidates should know all major scales (minors preferred as well), and be prepared to sight read on mallets and snare drum. The music chosen and prepared for the audition should represent the candidate's current playing ability on mallets (two and/or four mallets), snare drum (a concert solo or etude is required, additional rudimental solo optional) and timpani (tuning required). Performance on any other instrument in the percussion family is welcomed, but not required.
Candidates should be able to play all major and minor scales and arpeggios, including dominant and diminished sevenths in a moderately rapid tempo. Repertoire should include: a work from the Baroque style period (for example, from J.S. Bach a Two-or Three-Part Invention, a dance/movement from a Suite or Partita, or a Prelude and Fugue); a movement from a Classical sonata (for example, Clementi, Haydn, Mozart or Beethoven); and a work from either the 19th or 20th century. Audition material must be performed from memory. Candidates may be asked to sight-read and/or demonstrate scales and arpeggios.
Studies comparable in difficulty to Fiorillo, Kreutzer or Bruni; concerti such as Hoffmeister, Stamitz or J.C. Bach and/or solo works of similar difficulty.
Etude comparable in difficulty to Kreutzer, Mazas or Dont. A movement from J.S. Bach Solo Sonata or Partita. Concerto from the standard repertoire, such as Bach, Mozart, Mendelssohn, Saint-Saëns, Vieuxtemps, Dvorak, Bruch, Wieniawski, Paganini, Kabalevsky, Lalo or Barber.
Candidates for voice study must prepare two contrasting songs in English, Italian, French, German, Latin or Spanish with good diction, correct phrasing and musical intelligence. Audition material must be performed from memory. Students will be asked to sight-sing two or three brief lines of music as well as demonstrate other musicianship capabilities through basic rhythmic, ear training and keyboard skill examples. An accompanist and rehearsal session will be provided upon request at no charge. A copy of the music must be provided for the accompanist. No taped accompaniments will be allowed.
Woodwinds and Brass
All applicants should be able to play the chromatic and all major scales. Performance of scales with an extended range suitable to the specific instrument is encouraged. Repertoire for the audition may include: studies or etudes; sonata or concerto literature; and orchestral excerpts. Repertoire should represent contrasting periods and musical styles. All candidates for admission will be asked to sight-read at the audition.