Viola Studio: An insider’s view

ViolaThe Eastman viola community will be sharing their thoughts and experiences throughout the 2014-2015 academic year on The American Viola Society Studio Blog.  Professors Carol Rodland, George Taylor and Phillip Ying, along with students and alumni, will give readers an insider’s view of all things viola.

Some of the topics covered so far include:

Stay tuned throughout school year, as there is much more to come!


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Winning a professional orchestra audition: an interview with Zac Hammond

HammondHeadshot3Zac Hammond is an oboist and a recent graduate of Eastman who won the principal oboe position with the Charleston Symphony Orchestra. At Eastman, Zac earned the Bachelor of Music degree in Applied Music, and studied with Prof. Richard Killmer. He also earned the Arts Leadership Certificate. We recently interviewed Zac about his orchestral experiences and the audition process.

Q: What led you to Eastman, and why did you choose to attend?

A: As a high school student, I had always been aware of Eastman’s reputation as an outstanding music school. I had a few band directors who would frequently mention how great the Eastman Wind Ensemble is. So, when I was looking at schools, Eastman was definitely on my list. As a senior in high school, I was confident that I wanted to study music but I was pretty conflicted about whether I wanted to be in a conservatory or a university environment, so I decided to apply to a few of both. What sold me on Eastman though was that despite the high level of motivation and dedication amongst the students, there was still an incredibly supportive and encouraging atmosphere that made it feel like a great place to study. Also after learning how dedicated and successful my teacher, Richard Killmer, had been at preparing his oboe students for careers, the decision to attend Eastman was a no-brainer for me.

Q: How would you describe your past four years at Eastman?

A: I would describe my years at Eastman as diverse and intense. One of the best parts about the school is that you really are able to try anything you want. I was able to play chamber music with different groups every year, I took baroque oboe lessons, I was able to perform in jazz recitals and I also was a part of Eastman’s Arts Leadership Program (ALP).  For me, ALP was especially helpful. It allowed me to get out into Rochester’s community by interning with the Rochester Philharmonic Youth Orchestra and also allowed me to focus on other aspects of music outside of just performing such as, technology and business. I really feel as though Eastman and ALP did a great job of making me as “well-rounded” a musician as I could be.

Q: Tell us about your experiences performing with Symphoria.

A: I am extremely grateful to Symphoria for the experience it gave me and how supportive the organization has been the past couple years. Symphoria is the new professional orchestra in Syracuse, NY. After the Syracuse Symphony folded in 2011, the musicians in Syracuse banded together and created this new orchestra called “Symphoria” to ensure that classical music remained in Syracuse. I began playing with Symphoria at the beginning of their 2013-14 season, which happened to be their first full season. They were in need of a principal oboist for their opening concert and they hired me as a substitute. I was lucky enough to continue playing with them as the season went on and was eventually hired as a regular member. This of course gave me an amazing amount of orchestra experience in addition to my studies at Eastman. What has also been very helpful to me during my time with Symphoria was being able to take part in more of the “behind the scenes” aspects of the orchestra. The orchestra actually functions as a “musician’s collective”, meaning that the majority of the management and administrative responsibilities are carried out by the musicians themselves. As a result, I was able to attend meetings and learn about many of the aspects of orchestra outside of the music like budgeting, ticket-sales, securing venues etc.

Q: What was your audition in Charleston like?

A: I learned about the opening with the Charleston Symphony this past summer and the audition took place at the beginning of September. I had just graduated from Eastman that spring and my plan was to spend another year in Rochester, continuing to play with Symphoria and then apply to graduate programs in the spring. I wanted to begin taking some professional orchestral auditions over the summer because ultimately that’s what I really wanted to be doing and I needed more experience with those types of auditions.

For this particular audition, they did a “resumé round” first in which they said that only about half of the applicants were invited to audition after submitting their resumé (again, this made me thankful for my experience with Symphoria). The audition itself was three rounds that they managed to do all in one day. The first two rounds were “blind” so the audition committee was behind a screen. For the third and final round they removed the screen so I could interact directly with the committee. In that round I played for about half of the time and then the committee held an interview. This is something that more orchestras are implementing at auditions so that they can learn more about candidates as people, not just as musicians. I believe this was especially important for this position because in addition to playing principal oboe in the orchestra, I am also going to be frequently performing with the Charleston Symphony’s woodwind quintet, which does a lot of outreach and interaction with the community. The interview itself was pretty straightforward. They asked me about my background, education and previous orchestra experience. Then they asked if I had any chamber outreach experience and I was lucky enough to have been in a very active outreach quintet during my sophomore and junior years at Eastman. They also asked about what I think should change about the current orchestra culture/model and about any “memorable musical experiences” I have had. My impression was that the interview was used not so much as a way to learn about my qualifications, but more to just see if I would potentially be easy to work and interact with. It all went smoothly and I am happy to say that at the end of the day they offered me the position!

Q: What do you think gave you the edge that helped you win the job?

I think there were a few things that worked in my favor at the audition. Aside from my actual audition going reasonably well (which was of course important), I think my answers during the interview and the experience I had acquired at Eastman made me come across as ideally suited for this particular job. They were especially excited to learn about my experience in the Arts Leadership Program and my internship with the Rochester Philharmonic Youth Orchestra. That, on top of my administrative experience with Symphoria, probably made them feel confident that I understood the inner-workings of an orchestra and also that I was interested and open to new and innovative ways of presenting classical music, something that the Charleston Symphony has been actively trying to do. Also my previous woodwind quintet outreach experience at Eastman made me a good fit for the frequent outreach that they do.

Q: Do you have any advice for younger students who are preparing for a career in music?

A: My advice to young students looking to pursue music would probably be to explore every opportunity you can and keep an open mind. I think that the music industry, and especially the classical music industry, is changing very rapidly. In order to be successful, a musician is required to do so much more than just log hours in a practice room. You need to figure how to be a businessperson, use new technology, network, build audiences, manage money etc. That kind of experience only comes from putting yourself out there and trying new things. Although as an orchestral musician, I am in what is probably considered a more “traditional” niche of classical music, there are so many different paths in music you can take now and I believe it is important to open yourself up to all of them.

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The Absolute #1 Best Music School for You (and why I can’t tell you what it is)

This is a guest post from Matthew Ardizzone, Eastman’s Associate Dean of Admissions.

Eastman admissions director (not pictured) on why college rankings "get his goat"

Eastman admissions director (not pictured) on why college rankings “get his goat”

US News & World Report recently came out with its highly anticipated annual ranking of colleges and universities. Now that music schools are no longer separately ranked by the Report, I tend to view this list with even greater bemusement than I once did. Sure, I look to see how Eastman’s parent institution, the University of Rochester comes out (tied for #33 this year) and how the Princeton vs Harvard contest for 1st place played out. But then I can’t help but ask myself – so what? What’s in a ranking anyway? And how do they help you, the college-bound student, find the best schools for you?

Music schools might consider themselves lucky to be in a ‘niche market’ in which we don’t breathlessly anticipate a single high profile national ranking. But I am often asked how Eastman ranks among other music schools. I’m also sometimes surprised when I ask applicants why they chose to apply to Eastman and they quickly say “it’s one of the top-ranked music schools!” It’s true – there have been more recent listings in which we’ve done very well. But compared to US News & World Report, many of these other rankings lack any sense of analytical rigor. That might seem a strange thing for me to say as the admissions director of the “#1 ranked music school” according to But I can’t figure out for the life of me who is behind this ranking. Although they list their “methodology” here, it’s not clear how they are measuring things like “teaching quality,” “median salary of graduates,” and “alumni.” Clearly on this list, reputation counts for a lot, but does it go beyond that? The 2011 Fiske Guide to Colleges listed Eastman as one of the top undergraduate music program (that listing is not available online). And we were the “hottest music school” in 2008 according to Kaplan/Newsweek. That was gratifying, and we appreciated the recognition of our arts leadership curriculum. According to the, we’re #11 among the top 20 conservatories this year. This ranking, by a recent University of Michigan graduate, seems sincere in its intentions, but shows no evidence of any quantitative methodology, and reeks of the anecdotal. In his own words, his ranking is “one man’s evaluation” (a quote taken from the comments section, which is as far as he goes in answer to the question, “what exactly are the criteria?”).

Although there is no single high-profile ranking that all music schools aspire to dominate, these other rankings still infect the world of music admissions, and unfortunately cause some confusion. Two recent examples are USA Today’s ranking of ‘music colleges’ (not to be confused with ‘music schools’ or conservatories, apparently) and Musical America’s “Guide to Music Schools,” which I should hasten to clarify is a listing of advertisers and not a ranking.

In the case of the former, the methodology seems clear, and the list confirms this. These are universities that offer music as a subject that can be studied, and it is a formidable list of higher education institutions with strong reputations. But most of the schools on this list don’t offer the professional degree, the bachelor of music. So if that is the degree you are seeking for your undergraduate studies, this list doesn’t help you at all.

In my circles, more buzz was created by Musical America’s “Guide.” I found this to be especially disheartening since there is no guidance provided by any research or expertise in higher education. Musical America functions primarily as an industry directory for performers, artist managers, and presenters of classical music. Many schools are listed as venues and presenters since we have performing arts series. I often read their articles about the classical music industry. But their readership consists mainly of industry insiders more than parents, teachers, and prospective music students. The result of their ‘pay to play’ approach is an alphabetical listing of schools that prioritizes those that chose to purchase ad space and expanded profiles. All of the information provided in the profiles comes directly from the schools. It’s my hope that this listing will be as inconsequential as I believed it would be when I chose not to purchase a listing for Eastman.

So let’s get down to it. If you can’t rely on rankings, how do you know which schools are “the best” for you? And as Eastman’s dean of admissions, don’t I think that Eastman is the best school ever? Well, maybe, but here’s what I can tell you with absolute certainty: Eastman is the best music school for the students who will be successful in our curriculum and thrive in our environment. And this is true of any of the many excellent schools that are out there.

There is no shortage of good music schools with excellent, even “world-class” faculty, impressive facilities and performance halls, and extensive performance opportunities. A number of schools can claim these things to various degrees. But we should also be able to demonstrate what separates us from each other. Unearthing these distinctions will enable you to discover the “best” school for you.

Since no one is going to compile a personalized top-ten list of best schools for you, honing in on your list will require some work on your end. Asking yourself these questions might help get you started:

  • What kind of environment am I most likely to thrive in? Music schools come in many shapes and sizes. There are stand-alone conservatories, conservatories and music schools that are part of a college or university, urban campuses, small town or rural settings, etc.
  • What sort of academic experience do I want to have outside of my lessons, ensembles, and the practice room? How challenged do I want to be in my liberal arts requirement? Am I someone who will take the absolute minimum requirement, preferably in classes populated by other music majors taught by adjunct teachers who realize I’m more focused on something else? Or do I want to take my academic classes in a college or university setting where I’ll be ‘swimming with the other fish’ in a more challenging academic environment? This might help steer you toward a stand-alone conservatory or toward a conservatory or music school that is part of a liberal arts college or university.
  • Who do I know who has attended a music school? Are there music school graduates teaching in my school? Have I talked with them about their experiences, and why they would or would not recommend certain schools for me?
  • Do I have access to music school representatives via college fairs, info sessions, or online forums where I can ask questions about environment, culture, course offerings, etc., and the all-important question: what distinguishes your school from other music schools?
  • Undoubtedly your private teacher, ensemble director, and/or school music teacher should have recommendations based on their experience. Often these recommendations are based on a strong sense of loyalty to a particular teacher and it might be more or less about a school as a whole. So just be sure when you have this conversation you push a little into the question of why your teacher thinks a particular school is a good match for you.
  • Cost is, of course, a source of major concern for most families. But my first piece of advice is to assemble your list of ‘best schools for you’ without including cost as a factor. Then, revisit your list and ask yourself if you have included schools that you know will be financially within your reach. The truth is, you won’t know what each school will actually cost you until you have been admitted and have an offer in front of you. Many schools have merit-based scholarships and each school considers need differently. Some schools will focus on meeting demonstrated need first, and others will be more merit-driven. Many fall somewhere in between, meeting need ‘selectively’ based on the applicant’s merits, but also the enrollment needs of the school. I urge you not to exclude schools based on ‘expected cost’ alone.

Once you’ve honed in on a list of schools of interest, do everything you can to familiarize yourself with the places, the people, and the offerings of those schools. In a perfect world, this would mean visiting each school. Geographic or financial restrictions may limit your ability to do this, of course. So pick and choose your most important visits, and communicate with admissions offices to fill in any gaps. Find out when school representatives might be near you. Can the school recommend an alumnus in your area who might be willing to meet for coffee (your treat!) and share his or her experience? Does the school offer an online forum for talking with admissions people and/or current students or faculty? Is the school and/or its students engaged in social media, and can you connect there and get a sense of the community, student life, etc. through Twitter, Facebook, or Instagram, etc.? Is a faculty member from the school visiting your area in the near future?

Also remember that as a music applicant you will ultimately have the opportunity to audition on-campus at many of the schools you apply to. Take advantage of that visit to try and engage with current students, observe a rehearsal, etc. You will be auditioning schools as much as they are auditioning you.

So the next time you see me, please don’t ask me how Eastman ranks among music schools. Instead, ask me what distinguishes us, and then expect a lot of questions about you. That’s a conversation I look forward to having, and it will be the subject of my next post.

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Five Tips for Attending a College Fair

Each fall across the US there are many college fair events where students and parents can talk to representatives from college and universities to gather information and ask questions.  Some fairs are aimed specifically students who are interested in the performing and visual arts.

If you are within driving distance of Rochester, you should definitely consider attending the Upstate New York Music College Fair. We have put together the following tips to help you get the most out of any college fair:

  1. It is never too early.  You’ll want to be thinking about college options throughout your high school years.  Sophomore and junior years are an excellent time to attend college fair to learn about a wide range of options.  If you are a senior, your “short list” may be close to complete, but you can still get useful information and answer to specific questions you may have about applications and auditions.  Freshmen and younger students are also encouraged to attend, as are parents and siblings.
  2. Make a plan.  Before going to the college fair, spend some time looking at the list of attending schools and making a plan about which ones you definitely want to speak with.  Target five to eight schools that you either want to learn more about, or are definitely thinking of applying to.  You won’t have time to speak with every school, so having a game plan will help you stay focused.  There will also be plenty of brochures and printed materials available.
  3. Do your research.  Visit school websites and develop a list of specific questions that you want to ask the college representatives during the fair.  You will likely have different questions for different schools.  Walking up to a college rep and saying something along the lines of “I don’t know anything about your school.  What can you tell me?”  is not a great way to start.   Think carefully about what matters to you, and what is unclear to you about the process.  Every school is different, so it is important to look beneath the surface to examine those differences.  Also be ready to discuss your specific interests and goals in college so that the college representatives can focus on aspects that will be meaningful for you.
  4. Address labels (or a scan code) are your secret weapon.  Print a sheet of labels that include the following pieces of info (1) your name, (2) email address (3) mailing address (4) high school graduation year (5) desired major (such as music performance, composition, music education), and (6) instrument. When you are invited to provide this information to join college mailing lists, you won’t need to write it again and again.  Instead you will be able to focus a face-to-face discussion.  Also note that some college fairs provide printable scan codes to registrants that schools can use to capture this information from your fair registration.
  5. Speak for yourself.  Families have a very important role in the college search, and parents in particular can offer invaluable advice on your college choice. However, you want to make sure that you are part of the conversation too. Don’t expect your parents to lead the way by asking all of the questions. Your college experience will be your own, so now is the time to get comfortable talking with the people who can help to guide you. The representatives you meet at a college fair may be admissions counselors, alums, and/or faculty members.  They will be eager to learn about your interests and help you find the answers you are looking for.

We hope these tips are helpful, and we look forward to seeing you at an upcoming college fair!

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How Many Colleges Should Music Students Apply To?

As high school seniors are getting their applications underway (or at least thinking about getting started!) a question often comes up: how many schools should I apply to? What is the right number for your “short list”? The answer to this question is as individual as each student, but I would like to offer some guidance here that may be useful.


The standard advice that you will hear from many sources (such as here) is that seniors should be applying to between 6 and 8 schools. These applications, seniors are counseled, should fall into three categories:

  • Two or three “reach” schools, which the applicant would like to attend, but where admission is not a sure thing due to higher selectivity
  • Two or three “match” or “probable” schools, which are schools where it seems likely that the student will be admitted
  • Two “safety” schools where the student is nearly certain of being admitted

You’ve probably heard this advice before. However, it can be a bit bewildering for music students who can’t necessarily use a grade point averages and test scores to gauge their chances of admission to any particular school. Grades and tests may be a factor, but the quality of your audition is likely to have a bigger impact on your chances of being admitted.

So, music students are left wondering “what are my chances?” and “what’s a safety, and what’s a reach?” At Eastman we frequently hear questions about how many openings will be available for a particular instrument in a given year. Unfortunately these questions don’t help the student much. Even if you know that your first-choice school is looking to enroll X number of kazoo players (insert your instrument here) this year, that still doesn’t tell you whether that means your chances are good. These numbers could even mislead you about your chances, and discourage you from applying to a school that could be a great fit for you.  Top music schools receive applications from all over the world, and students don’t really have an effective way to judge how they compare on a national or international level – ultimately, that’s what the audition process is for!

Here are a few ideas that can help alleviate this problem:

  1. Visit at least some of the colleges/conservatories that you are thinking of applying to.  If you can take a lesson with a professor during your visit, set that up well in advance. During the lesson, ask if the professor thinks you are on the right track, or if there are specific things you should be working to improve as you prepare to audition. While on campus, try to listen in on a rehearsal or attend a concert so that you can hear the level of music-making going on at the school.  (Keep in mind that you may be hearing upperclassmen or graduate students, so don’t get spooked if that is the case!) Talk to current students during your visit to get a feel for the campus culture. You can also ask about their admission experiences and why they decided to attend. (Also see our advice here on campus visits.)
  2. Be as involved as possible in the top musical groups in your area. For many students this means performing in youth orchestras, All-County, All-State, and the like. These types of activities are common among successful applicants to music schools, but keep in mind that getting into All-State ensembles does not automatically translate to acceptance at your preferred music school. Keep looking for opportunities that will stretch you including competitions, recitals and professional gigs.
  3. Talk to your current music instructor(s) about the schools you are thinking of. They will likely be able to guide you and help to tailor your list.

Don’t be too focused on the question of “where will I get in?” Instead, focus on creating a targeted list of schools which will offer the kinds of experiences that are most important to you – in other words, schools that will be a great “fit” for you. That might mean regular access to full-time resident faculty, small class sizes, lots of ensemble opportunities, a high quality curriculum, a close-knit community of students, or any other number of factors that will shape your next four years.

So, this leads us back to the original question of how many schools to apply to. For many music students, submitting between five and ten applications is a good number, even if the schools on your list can’t be easily categorized as “reaches,” “matches,” or “safeties.” Applying to a much larger number of schools may seem like a tempting strategy to hedge your bets, but it can backfire if it leads you to spread yourself too thinly with applications and auditions. Here are some steps to help you arrive at the right number for you:

  • Develop a list of schools that you like, and would be happy to attend. Think in terms of which schools are a good fit for you. (This means you should not be applying to any school “just to see if I can get in.”)  For each school you are considering, make yourself a list of things you have already learned about the school, and what aspects you want to learn more about.
  • Consider the time and money you will need to invest in applications and pre-screen recordings (if required for your intended major/instrument).  This is a labor-intensive process, and application fees can add up quickly. Each school will also have its own set of unique requirements that you will need to keep track of.
  • Factor in the expense and time it will take to prepare for and perform your auditions, especially if you will be traveling to audition. It is not realistic to think that you could audition at 20 schools during the 2-3 months of audition season. However, an on-campus audition is a good investment of both time and money for a school in which you have a serious interest.
  • If you play an instrument which you know is typically more competitive (such as piano, flute or voice) you may want to have a slightly longer “short list” than if you play a more rare instrument.
  • Brace yourself for some surprises. You may find that you are waitlisted at a school that you thought was a sure thing. Or you might be admitted somewhere you didn’t really expect.  The admissions process is subjective and often a bit unpredictable.

Ultimately the right number for you depends on how well you have done your research on each school, and your unique situation. However, I hope these suggestions provide some helpful guidance as you finalize your list.  Best of luck!

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Eastman application is now open

Old Computers

Unlike this, the Eastman application is neither overwhelming nor old-fashioned

We are pleased to announce that the application for Fall 2015 admission is now open!  We’ve spent the summer making updates and improvements, and we are excited to get the admissions season underway.  The Eastman application allows you to upload recordings and videos directly within your application on the “Recordings” page (if recordings are required for your instrument or major).  Be sure to record each selection in a separate file to make the upload process go smoothly.  Recommendations and transcripts can also be submitted electronically.

Now is a great time to get your application started through the links below.  Let us know if you have any questions!

Undergraduate application instructions

Graduate application instructions

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Applying to Music School on More than One Instrument

guitars and drum on park benchThe question of applying on more than one instrument comes up frequently in the music admissions process. There are some cases in which applying on more than one instrument makes sense, and others in which it is not recommended. This post will discuss some factors you should consider in making this decision.

The first question is “can I apply on more than one instrument?” The answer is yes, Eastman allows students to apply and audition on more than one instrument (or an instrument and voice). Applicants who do this should select both instruments within a single application. There is no need to submit two applications.

Sometimes applicants have the misconception that applying on multiple instruments will automatically increase their odds of being offered admission – almost like buying multiple lottery tickets! Some think that playing many different instruments will be more impressive than playing one instrument. Unfortunately, this is not the case. Your qualifications will be considered separately for each instrument, and your ability with one instrument has no effect on your chances of being admitted for another instrument. (The exception is Eastman’s Master of Music Woodwind Specialist degree, a specialized graduate-level program which requires proficiency in multiple woodwind instruments.) It is very important to keep in mind that, if you successfully pass the pre-screening round, you will be simultaneously preparing all of the audition requirements for each instrument. This can be a daunting task, particularly if you are preparing auditions for several schools. Students who audition on more than one instrument may discover that they don’t have enough practice time to prepare all of their audition pieces. In fact, you could actually reduce your chances of admission by diluting your efforts in a highly selective admissions process. The phrase “too many irons in the fire” comes to mind. In most cases it is better to apply only on the instrument with which you have the most expertise, and which you think of as your “primary” instrument.

Applying on more than one instrument does make sense if you are equally skilled on both instruments, and you prefer not to narrow your focus yet. Completing the admissions process (pre-screening and audition) may help you to see where your strengths and preferences lie. Each year at Eastman we typically see only one or two applicants who are qualified for admission on more than one instrument. Before starting their degree, these students are required to choose one instrument as their primary focus. We believe that this helps students to focus the efforts of their studies, and ultimately to succeed in their future careers.

Students have the option to take half-hour weekly “secondary” lessons on another instrument, which is an excellent way to continue progressing on another instrument that you enjoy, but which is not your major focus. Students do not need to apply or perform an admissions audition on the secondary instrument in order to take these lessons, but they need to have at least intermediate skill level on the secondary instrument.

If you are trying to decide whether you should apply on more than one instrument, we recommend that you discuss the issues mentioned above with your current music teacher(s), think about how your practice time will be divided, and make a well-considered decision.  When in doubt, focusing on one instrument is usually a safer route. Also feel free to contact the Office of Admissions  if you would like to discuss your options.

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Survival Guide for Parents of Music Students

If you are the parent of a music student, you might want to check out a new book from Amy Nathan called Music Parents Survival Guide.  It is full of advice and info to help you navigate the many steps your child will take between first lessons and heading off to college and beyond.  The book includes interviews with lots of professional musicians, educational leaders, and admissions experts from top music schools, including Dr. Matthew Ardizzone, Eastman’s Associate Dean of Admissions.  Definitely worth a read!

Cover for Music Parents Survival Guide

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Making the most of your visit to a music school or conservatory

Visiting a college campus is a great way to get a more complete picture of what studying there would be like. Websites are a useful starting point, but they can’t replace the first-hand experience of meeting faculty, students and staff members and seeing the campus in person.  Here are some tips to make the most of these visits:

  1. Maximize your travel by combining college visits with other trips.  If you have a family vacation planned near a college you are interested in, try to set aside some time for a campus visit.  Some families plan road trips with stops at several schools, which can work well too. However, visiting more than three or four different colleges in a single trip can become a bit overwhelming.
  2. Contact the Office of Admissions well in advance. Ask about tours and/or information sessions available during your visit. These may be offered only on certain days or times of day, so plan accordingly. Also ask about any other opportunities that might be available, such as sitting in on a rehearsal or attending a concert. When visiting Eastman, you may also want to consider a visit the University of Rochester’s River Campus. Spring and summer are the most popular seasons for college visits, but other times of year can also work very well.
  3. Connect with faculty. If you are hoping to meet with a faculty member during your visit, contact him or her via email as far in advance as possible to introduce yourself and inquire about availability. A lesson or meeting is an excellent way to get a feel for teaching style and “fit.” A lesson can also be particularly useful if you have started preparing your audition repertoire so that they can give you specific tips on how to improve. Most faculty members do charge a fee for sample lessons, so be sure to inquire about this when you arranging the lesson time. Also keep in mind that faculty members have very busy schedules, and may not be available if you haven’t made an appointment in advance.
  4. Talk to current students during your visit and ask about their experiences. Spend some time in the cafeteria, local coffee shop or any common areas where students gather. (A visit to Eastman would not be complete without a stop at Java’s!) Your tour guide may be a student, or you may be able to meet up with some of the students who play your instrument. Don’t be shy – students are usually more than happy to meet fellow musicians and tell you about their school.
  5. Before you go, make a list of specific questions you want to ask. Some topics you might want to learn more about include coursework, ensembles, student life, study abroad, dual degrees, financial aid, and the application & audition process. Your questions will become more focused as you learn more about different schools. There’s a lot to learn, and each school is different, so come prepared and take notes and pictures!
  6. Want to pick up a t-shirt or hoodie from the colleges you visit?  The campus bookstore is a great place to do this, but make sure to leave extra room in your suitcase for this purpose, or pack an extra bag!
  7. After your visit, take some time to review any brochures you collected as well as your notes. Think about what you learned, whether the school feels like a “fit” for you, and any new questions you might want to add to your list for future visits.

We look forward to meeting you on campus!

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Apartment Search Advice for New Grad Students

The following post was also written by guest poster Amy Skjerseth, who is a recent alumna and has done her share of apartment searching.  Thanks for sharing, Amy!

So you’ll be attending Eastman for graduate school in the fall—congratulations!—and you are wondering about finding an apartment in Rochester. As a recent undergraduate alumna of Eastman and the University of Rochester, I’ve lived in four different apartments during the past three years. I’d like to share some tips and resources with you that will help you get started on finding a place.

You can start by visiting the Office of Residential Life’s Off-Campus Housing database. The database includes listings from nearby property management companies and is easily searchable. If you would like to find a roommate, you can search listings posted by students who already have housing and want a roommate, or you can browse postings by students who do not yet have housing but wish to live with roommates.  You can also try posting the new student Facebook group to connect with another new student.

Besides contacting property management companies, Craigslist is another way to narrow down potential apartments and locations. You could start your search by clicking the “apartments/housing for rent” category in Rochester, and type “East End” into the search bar. This will produce results for the closest apartments to Eastman; look on Gibbs Street, Grove Street, and Windsor Street. You can also expand your search to the nearby streets of East Avenue, University Avenue, Alexander Street, and Park Avenue, which transitions from the East End neighborhood to Park Avenue and Neighborhood of the Arts (NOTA). You can find out more about the neighborhoods surrounding Eastman in the section below.

Other useful search engines are Padmapper and Rent Rochester, where you can either search for listings on a map of the city, or search by neighborhood.

Where should I live in Rochester?

Eastman is located in the East End, which is home to many of Rochester’s cultural attractions. With the Little Theatre (an independent movie house), many cafés, restaurants, and the Rochester Public Market, the neighborhood surrounding Eastman has no shortage of fun things to do. If you come to Rochester during the summer to look for apartments, be sure to check out the Rochester International Jazz Festival, which is held each summer on Gibbs Street.

If you want to live as close as possible to campus, you should start your search very early. There is a huge demand for apartments on Gibbs Street, where the Eastman school and dorms are located. Just past the dorms, there are several apartments on both sides of the street. Some of the closest houses and apartment complexes fill up quickly for the coming year, with current students typically signing leases in April or May.

Here are some of the apartment complexes and management companies closest to the Eastman campus (contact them as soon as possible, as they fill up quickly!):

University Place is located across the street from Eastman, on 328 Main Street. Many students choose to live there for the convenience of being steps away from the school, and it’s a nice building with several amenities.

Halo Lofts are modern, well-managed, and contain many amenities (free internet and cable, as well as a washer and dryer in each unit). They are very close to the Eastman dorms, on 60 Grove Street.

Grove Street Management owns many apartments on Gibbs Street, as well as Windsor Street, which is only one street over from Gibbs. Look at their “Grove Place” neighborhood for the closest apartments to Eastman.

If you are looking to live a little farther away from campus and a 10-15 walk doesn’t bother you, consider living on Alexander Street, Park Avenue, or Prince Street. These streets offer an array of things to do that are only a short distance from Eastman, and often, apartments in this location are on the cheaper side of the spectrum.

Alexander Street, only a ten minute walk down East Avenue from Eastman, is home to many bars and restaurants. Just slightly past Alexander is Park Avenue, truly a neighborhood within itself. It has endless restaurants and shops on the “main drag,” in addition to several side streets where individual property owners rent out apartments. A walk down Park Avenue in the fall is a dream; its snow-covered buildings make it unbelievably beautiful in the winter; and in spring or summer, it is a favorite destination for Eastman students when venturing out on a walk or grabbing a bite to eat. The Park Avenue website is a great starting point for exploring the area.

If you want to live on or near Park Avenue, Flower City Management has a good reputation. Several Eastman graduate students rent with them every year and overall seem to be very happy with the apartments and the management’s attentiveness. Flower City also owns a beautiful building located on 8 Prince Street—a side street between University and East Avenues—that offers housing slightly removed from the liveliness of Alexander and Park.

Prince Street is near the beginning of the Neighborhood of the Arts (NOTA). Home to the University of Rochester’s Memorial Art Gallery and a public magnet arts high school, this neighborhood is an eclectic mix of arts facilities and residential streets. Scattered throughout this pocket of the city are charming, Victorian-style houses that are reasonably priced. It is close enough to walk or bike to campus, but I would recommend driving in at night and taking advantage of the free parking on the city streets next to Eastman (parking is free on weekdays starting at 6 pm and all weekend).

The South Wedge is a really nice neighborhood to the south of Eastman, but it is usually the farthest away that graduates students choose to live. You would definitely need a car (or at least a bike) for the commute, and Eastman students typically pay around $40 a month for the parking garage right next to Eastman (that’s the student discount). If you biked to campus during the day but wanted to drive in during the night, you could park free at the meters by Eastman starting at 6 pm or anytime on the weekend. The South Wedge is a really hip neighborhood with great restaurants, a European market, pubs, and shops. The apartments I have seen in the Wedge are newly renovated, and there are plenty of great deals in that area.

East End, Park Avenue, NOTA, and the South Wedge are all great places to live—it just depends on how close to campus you want to be. If you can’t find a place on Gibbs Street or would like to find a place farther away from campus, you would be fine waiting until late June or early July to visit Rochester for your apartment search. It is always a good idea to see the apartment before signing the lease. If you absolutely cannot make it to Rochester before school begins, the management companies that I have listed above have excellent reputations. Find out all of the information you can from them before you make your choice, regardless of whether you visit or not. Best of luck on the apartment search!

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