• Start thinking about your audition and pre-screening repertoire.   Finalized repertoire requirements for the upcoming audition season will be posted on Eastman’s website by early September, but you can take a look now to get a sense of what is expected.  Just be sure to check back in September for any updates or changes. If there is a major piece of repertoire that you need to learn, it is much better to start now than to wait until fall. To keep your repertoire list manageable, look for pieces that meet repertoire requirements at more than one school where you will audition.

• Update your resume, or create one if you haven’t yet. Now is a good time to do this, while recent accomplishments are fresh in your mind.  Eastman also provides a resume guide to help you get started.

• If English is not your native language, take a careful look at the TOEFL exam requirements for each school you are thinking of applying to. It is critical that you work on your English language skills now so that you will be able to achieve qualifying scores by the deadline.

• Start searching for outside scholarships.  Scholarship deadlines occur throughout the year, so don’t wait until it is too late to begin researching!  Fastweb.com is an excellent starting point, and many other search tools are linked at the bottom of this page.

• Look for opportunities to study music theory during the summer and in your senior year. AP music theory courses are a great way to do this if your high school offers them.  Otherwise summer programs and/or study on your own are also time well-spent.  Eastman offers an online four week course called E-Theory that many students have found useful. Having a firm grasp of the fundamentals of music theory will make your freshman year as a music major less stressful, no matter where you attend college.

Keep in mind that your college search is a long-term project that will require you to be very organized, detail-oriented, and aware of deadlines.  Getting a good start now will help to make the process easier and less stressful for you.  Don’t hesitate to contact the Office of Admissions with any questions that come up along the way.

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!
6. 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!

So, you’re about ready to finish up your undergraduate degree, and thinking about graduate school.  Here are some thoughts on the difference between undergraduate and graduate degrees, and about graduate study at Eastman.

Assistantships/Fellowships. Grad schools want to know not only how you play and what kind of student and person you are, but also what skills you have —namely, teaching and performing! Start honing your resume/CV to reflect your experiences (see here for great guides on this) and be prepared to demonstrate and/or speak about your skills in interviews. Many schools offer scholarships/tuition remissions/stipends for such work, so put your best foot forward and reap the rewards!

“Graduate Awards” is a general term for assistantships at Eastman. There is a section on the application where students can select grad awards to apply for, indicate their qualifications, etc. Don’t skip this section—it really matters! More details on Graduate Awards can be found here.  Applicants to ESM should read through descriptions of ALL Graduate Awards and find the ones for which they qualify and what the application requirements are. Scholarship amounts are based both on Graduate Award duties and audition results.

More responsibility. Teachers, supervisors, and fellow students all expect graduate students to handle themselves as the adults they are. It is assumed that performers know how to practice effectively and that everyone knows how to manage his or her time. Find a planner system that works for you and USE it! Get the basics in place—being on time, completing things by deadlines, knowing your strengths and weaknesses, etc.—so you can focus on developing the skills you’re in school to master.

Eastman balances freedom with guidance when it comes to graduate-student employment. For instance, teaching assistants assign grades and are responsible for their applied students’ progress—but a faculty advisor oversees fall auditions and spring juries and is available for consultation if needed.

Teacher-as-almost-colleague. Performance majors generally take the lead role in determining professional and performance-related goals in their relationships with teachers. Consider that grad school is most performers’ last period of regular lessons with the same person…what do you need to figure out before they end?

Scholarly work is also part of graduate study at at Eastman. MM performance majors prepare both a final degree recital and an oral presentation for department faculty on the repertoire played. DMA students play three degree recitals, take comprehensive exams, and produce over 100 pages of writing as part of Music History seminars and/or independent research projects. MA/PhD students don’t have degree-mandated performing requirements but do more research.

“Real Life.” Often, graduate students find themselves with one foot in school and the other in the “real world”—playing gigs, teaching at the school they attend or at other schools nearby, etc. Credit count may no longer reflect how busy you actually are, and your world is no longer limited to campus alone. Apartments, cars, bills, serious relationships, and children may all be factors in your or your fellow students’ lives.

Independence. Graduate school is much more “do-it-yourself” than college, both academically and socially. This can be very freeing, but it may also mean that you may need to make more of an effort to reach out and be social than you did as an undergraduate.

Eastman has a Graduate Students’ Association, which organizes bar nights, donut days, a Halloween party in the fall, a wine and cheese night in the spring, and various other activities throughout the year. Grad students live anywhere from Gibbs Street to various suburbs of Rochester—generally, housing costs are VERY reasonable here compared to bigger cities…which can significantly impact cost of attendance.

I hope you find this information helpful.  Best of luck!

• Take some time to think about each of your auditions.  What went well, and what could have been better?  What would you like to do differently in your practicing and preparations next time you have an important audition?  By making each audition a learning experience that will help you grow as a musician, you gain value from it regardless of the outcome.

• Don’t be too hard on yourself.  This might sound contrary to the previous point, but it won’t do any good to obsess over a mistake whether big or small.  Musicians have a tendency to be their own toughest critics. Keep a positive outlook, and take some time to celebrate all that you’ve accomplished thus far.  Missing a note or two doesn’t mean that you blew an audition completely. If you were already perfect, there would be no point in going to music school!

• Take on new musical challenges.  You’ve probably been so focused on your audition pieces that you are eager to set them aside for a while.  Now is a great time to start new repertoire, change up your warm-up routine and/or devote some extra time to practicing fundamentals.  Set some new goals to accomplish before the summer is over.

• Stay focused on schoolwork.  Now is the time to catch up in the classes you missed during the audition season.  Also be sure to stay on top of your academics during the upcoming months, and don’t give in to “senioritis.”  The school you attend in the fall will require a final transcript from your previous school, and you don’t want there to be any questions about a sudden downturn in grades.

• Re-connect with family and friends.  The spring and summer will go fast, and next fall you may be far away from people you care about.   Take the time to make some great memories with them now, and let them know how much you appreciate all the support and encouragement they have given you.

When will I find out?

All applicants will be notified via email of their admission decision.  Graduates will be notified by April 1^st, and undergraduates will be notified by April 15^th.  Decisions are sent as they are finalized, and are not sent all at the same time.  If your friend receives a decision before you, that doesn’t mean anything except that their decision was finalized sooner.  Rest assured that the admissions team is working feverishly to let you know as quickly as possible.

Image: Clocks by blue2likeyou

When I first came to Eastman in 2008, I was a 21-year-old Georgia girl ready to leave my home state and begin my master’s degree. Two years went by far faster than I could have imagined and before I knew it, Eastman was more than just a school to me–it felt like home.  You see, though there is a very high standard of musical excellence at Eastman, there is also a wonderful spirit of camaraderie–between faculty members and between students.  As a graduate student, you will be challenged and you will be expected to work hard but rather than being competitive, the Eastman environment fosters learning, musical development, and growth as an artist and leader in the field.  To me, this is what really sets Eastman apart.

Like other schools, Eastman has many time-honored traditions that invite you to be part of the legacy.  My favorite?  The Holiday Sing.  Each December, the Eastman and Rochester communities gather in the Main Hall to sing and listen to holiday arrangements (spoof to sublime) performed by student ensembles.  Last year, while singing the traditional closing song, “Dona Nobis Pacem,” many people found out there had been a tragic school shooting in Newtown, CT.  The words seemed more relevant than ever.

I moved away for two years after I finished my master’s but I returned last fall to begin my PhD in Music Education.  After two years of teaching, performing, and presenting concerts in a small, New England community, I knew that I had much more to learn.  I also knew that Eastman had much more to offer.  I find that Eastman is big enough to afford great opportunities, yet small enough that you can really get to know people.  As an Eastman graduate student, you will have opportunities to build relationships with faculty members and with colleagues across departments.  Every time I walk through the doors on Gibbs Street into the Main Hall, I realize what a special place this is and what an honor it is to be a part of it.

Ashley Danyew is a PhD student in Music Education at the Eastman School of Music. Read more about her at www.ashleydanyew.com.

As I write these words to my eager, excited, and potentially stressed-out prospective fellow students, I am sitting in front of a computer with a smile on my face. This smile is not there because I finally played my Bach to my teachers’ liking, or even because I just listened to an amazing concert. This smile is here because I know that dreams really can become reality. It feels like it was just yesterday when I shared a dream similar to so many of yours: to find myself in a place where I could develop into the best musician and person I could be. During my college search, I had a strong feeling that the Eastman School of Music was the place for me: a place where hard work pays off, where you can walk down the halls singing your favorite Mozart piece without getting funny looks. (I know…sounds nice doesn’t it?) It’s a place I now call home. I would love to take you through the day where it all began.

My name is Nick German and I am a sophomore pianist here at Eastman. As you read this, I can imagine how you might be feeling: anxious, nervous, and stressed. It’s OK! You are no different from me or any of my classmates when we auditioned. Sometimes you may even think “What am I doing!?” or “There is no way I can get into this school!”. I’m going to let you in on a little secret….professors here at Eastman are not looking for perfection. What they look for is a large amount of talent, confidence, and potential.

Here is a little glimpse into what my audition day at Eastman was like…

It all started when I got out of my car and glanced at the words “Eastman School of Music” on the exterior of the building. As my heart raced, I grabbed the door handle and entered. I’m not going to lie…I was a little nervous (to say the least).  Here I was, a senior in high school who came from a tiny school: a big fish in a little pond. I was suddenly thrown into this huge ocean filled with fish from all over the world. I couldn’t get over how many other students were there: musicians from China, Canada, Russia, Germany, South America, France, and of course all over the U.S.

At first, I was expecting to see serious and not-so-friendly faces among students and faculty. To my delight, I found the complete opposite! I saw smiles on the faces of every student and faculty member I encountered at Eastman. It wasn’t until August that I found out why (although that’s a completely different story!). At this point, my fear and anxiety was starting to fade. It was now time to take my theory exam. When I walked in the classroom, I felt a bit intimidated seeing all those other prospective students in the room. Don’t be worried! Just keep in mind that others are feeling the same way. After my test, I realized that I was worried for nothing.

Now, it was almost time for the audition I’d been working toward for so many years. As I pianist, I had the difficult challenge of finding the “piano basement”. Luckily, I was approached by two current students who were part of the Eastman Orientation Committee, also known as the E.O.C. (The students on the Eastman Orientation Committee were there for any questions I had, and they will be for you too!) One of the students kindly led me down to the basement, and my ears were greeted with a cascade of notes coming from the bottom of the stairs. As I reached the door, I opened it and was slapped in the face with the overwhelming sound of pianists playing Chopin, Debussy, Bach, Mozart, and Beethoven (among so many others). Once again, my heart raced. I opened the door to an empty room and started to warm up. Some advice for all prospective students: don’t feel like you need to impress the musician next to you by playing your fastest and loudest piece. They are not the ones you need to impress – just focus on you and your music.

I looked at the clock, and saw that it was time to make my way upstairs to my audition. It seemed like the longest walk I have ever taken. In the audition room, I found myself face-to-face with eighty-eight keys and several professors. I took a few deep breaths and began. Our professors have a knack for helping you feel right at home and allowing you to play your best. I finished my last note with a smile of relief and joy. The professors smiled too, and even asked me how I was enjoying my audition (just to be sure I wasn’t overwhelmed.) I walked out with a deep breath and finished up the day by meeting a few other nice prospective students. Eventually I was back in my car and headed home.

I won’t lie to you and say that the whole day was stress-free. It wasn’t. However, I will say that my audition here was made as relaxed as it could be. To those of you who will be coming here to audition, I offer a few last words of advice….

1. Get some sleep the night before and try to eat a good breakfast.
2. Relax and breathe! We all know what you are going through and we’re here to help you with anything you need.
3. Try your best and have no regrets (easier said than done, I know).
4. Be yourself and play from your heart.
5. Have fun and enjoy your experience here!

As I close, I want to wish you all the best of luck. Wear a smile and remember why you are here. No matter what the outcome is, remember: dream big and be proud of yourself! In the words of J.S. Bach: “There’s nothing remarkable about it. All one has to do is hit the right keys at the right time and the instrument plays itself.”

I wish you all the best of luck on your auditions, and I’m looking forward to seeing those big smiles!

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Performance decorum in Mozart’s day demanded that there be music on the stand, though he often played from memory. On at least one occasion, he placed a blank sheet on the stand, just to keep up appearances.

Many of you are required, or at least encouraged, to perform all or part of your audition from memory.[i]  What I’ve learned from my own performing and teaching career is that memorization is not important so much for its own sake, but more so for the musical benefits it brings.  The ultimate goal is a musically satisfying, communicative, and ‘alive’ performance.  I’ve also learned that it is rare for a student to get direct training in how to memorize effectively.  As a result, I’ve developed a whole workshop on memorization, but for the purposes of this post, I’m going to hit just on the basics.  I’ll be happy to respond to questions in more detail—just leave a comment on this page.

Memorization basics:

• Put down the instrument.  Study your music as a conductor would study.  Conduct through it.  Sing it.  Understand it (key, meter, tempo, rhythms, dynamics, form).  Get it to a point where you can ‘perform’ the piece in your head.  The better you understand what is happening with the form and the harmony especially, the better you will know the piece.  This is also a good indicator of the difficulty level of the piece relative to your current skill level.  If it is difficult for you to sight-read, and subsequently to visualize, it will be difficult for you to learn, and a more appropriate repertoire choice may be in order.

• Respond to novelty.  Our brains respond to novelty.  We remember well things which have a profound effect on us emotionally.  Repetition in practice is necessary but it is also dangerous in this regard.  It desensitizes us to what is truly remarkable in a piece of music.  Find ways to rediscover what is extraordinary about a particular piece.  There are many ways to do this, but it boils down to approaching the piece with ‘beginner’s mind.’  What would this sound like to someone hearing it for the first time?  What would it have sounded like to someone hearing it for the first time at the time that it was written?  Are their unexpected intervals, cadences, etc., that a lesser composer would have handled differently?  Allowing yourself to be ‘struck’ by these novelties will help them to stick.

• Do mindful repetition only.  It’s no secret that repetition is a necessary part of your practice routine.  But how you engage in repetition has a profound effect on how well you learn your music.  In his book, The Talent Code, Daniel Coyle writes about how learning takes place in the brain when synapses are repeatedly fired, and ‘white matter’ (myelin) wraps around the circuit.  This is good news and bad news.  Our brains learn every time we repeat something—whether we are doing it correctly or not.  This is what makes bad habits so difficult to overcome. Before repeating a passage with a mistake in it, fix the mistake.  Repeat the fix, not the mistake.  Give yourself the experience of doing it correctly, no matter how slowly you have to do it.  It’s after you’ve fixed the problem that mindful repetition should begin.  The ‘maybe-I’ll-get-it-this-time-if-I-get-a-running-start’ approach is not recommended!  This kind of mindful repetition will result in memorization (i.e. ‘learning’), without that being the primary goal.

• Let’s NOT start at the beginning.  It’s not a very good place to start…if you want to be prepared to overcome memory slips.  We’ve all experienced, either directly or indirectly, the memory slip that sends the performer back to the beginning of the piece, only to hit the wall again at the problem spot.  Set up ‘memory pillars’ throughout your piece.  These can be structural (which requires that you know the form of the piece), or they can be the beginnings of particularly vexing passages.  Learn these inside out.  Practice starting cold at each of these pillars.

• Forget perfection.  The aim here is not to avoid mistakes, but rather to be able to overcome them, and minimize them, when they do happen.  An audition jury will be more impressed with your ability to handle a little stumble than they will with a bland ‘mistake free’ performance.  They are interested in gauging your potential artistry.  Pay attention to where the mistakes tend to come.  Why are you making them?  Does your attention tend to lag at a certain point in the piece?  Have you not analyzed that passage, so the accidentals don’t make sense and are difficult to remember?  These might be good places for memory pillars…

• Study theory.  I still remember ‘train-wrecking’ in Bach’s Partita No. 2 in my junior recital.  Afterwards, the jazz guitar teacher, who was on my jury, came up to me and said, “you gotta know the changes, man.”  It seemed an odd thing to say about Bach, until I realized what he meant: you have to understand the underlying harmonic structure in this seemingly ‘linear’ music.  He was right, of course.  The better an understanding you have of how traditional voice-leading and harmony work, the more deeply you can absorb your music.  Ear training and keyboard skills help too, by the way…which is why they are a required part of your curriculum in music school!

• Prepare to be nervous.  As I mentioned above, an audition is not a typical performance experience.  In a previous post, Christina Crispin suggested ways to ‘practice being nervous,’ such as running up and down a flight of stairs before practicing.  This is great advice.  Your body chemistry changes when you are nervous (fight or flight!).  This in itself can cause unexpected memory slips, which can further throw you off.  There is, of course, a direct link between how nervous you feel and how well prepared you are.

Remember that memorization is not the end in itself.  My hope is that I’ve provided some insights to enhancing memory as a step toward the greater goal of deepening the musical experience for both the performer and the listener.  With increased confidence in your knowledge of the music, more of your artistic self is available to interpret, to react, to truly play by heart and from the heart.

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Use visualization & mental rehearsal.  Creating positive mental images of an event like an audition can be a powerful preparation technique.  Imagine yourself walking into the audition room, greeting those who will hear your audition, and performing each selection in order with musicality and precision.  The goal here is to imagine the performance exactly as you would like it to go. The more detailed your mental picture is, the more it can help you to perform at your full potential. Doing this well requires discipline just like any form of practice.  You can also use mental practice time away from your instrument to help avoid overuse injuries, and to make the most of spare moments that would otherwise be wasted (waiting in line, etc.)

Practice being nervous.   You can do this by performing your audition in a variety of situations, especially ones put you under a bit of pressure.  Even if you don’t feel quite ready yet, set up a time to perform your pieces for a group of friends.  Schedule another run- though for someone you don’t know as well, but whose playing you admire.  Let your listeners know what kinds of feedback you are looking for (musicality, stage presence, rhythmic accuracy, etc.) At least one of these “mock auditions” should be performed in the same clothes you plan to wear at the audition, so that you can test them for comfort.

Another method to simulate the effects of performing under pressure is to jog up and down a flight of stairs before playing or singing though your audition rep.  This will elevate your heart rate, and make you a little bit short of breath.  Also try playing through your audition rep with minimal warm-up time in a room that is slightly cold. Create a variety of these mildly stressful situations for yourself, and then pay close attention to how you react in the moment. Some nervousness is to be expected at an audition, but you’ll be better prepared for a reaction like dry mouth or sweaty palms if you know to expect it and know how it will affect your playing. Demonstrate to yourself that these physical factors are manageable, and that they won’t throw you off.  Also, the more you practice performing under stressful situations, the less nervous you are likely to feel when your audition day arrives.

Keep in mind: everyone wants you to perform your best.  The faculty members listening to your audition know what it is like to perform under pressure, and nothing would make them happier than to hear you play your best. Don’t be fooled into thinking that an audition is an adversarial situation where you are being harshly judged.  Instead, approach it as an opportunity to challenge yourself and to learn something new that you can use in your next performance. At Eastman, faculty members often mention that they are looking for applicants who are eager to learn, and who have the potential to develop into great musicians.

Remember that schools are also “auditioning” for you.  During your audition day and other college visits, keep in mind that you are looking for the school that feels right to you.  Does the school you are visiting offer the types of opportunities and atmosphere that you are seeking?  Don’t focus so narrowly on the question of “can I get in here?” that you neglect to ask yourself “is this a place where I can develop my talents?”

We hope these suggestions will be helpful as you prepare for your upcoming auditions.  Do you have any tips or resources to share?  If so, please use the comment section below.  We are looking forward to hearing you!

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Sean (Yusheng) Xue is a senior saxophonist at Eastman. Coming from China, he understands the differences between the application process of the two countries and the extra work that international applicants have to do. Here are his tips of how to make your application process as an international student easier and more successful.

Read this post in Mandarin Chinese here.

5. Send only the materials requested. It is understandable that the application process might be stressful for international students. A lot of times international applicants send as many complete documents as possible (for example, photocopies of passport, bank statements) because they are concerned that if something is missing then it might delay the audition scheduling and possibly the visa application. However, Eastman does not require documents such as certificates of competitions, award portfolios and fancy DVD resumes. Applicants do not need to send photocopies of passports and proof of funding until they are accepted. Also, transcripts (academic reports) and translations of transcripts can be scanned and uploaded onto the application system, so there is no need to mail these items when you apply to Eastman. This is great for students who might have to pay a lot of money to send their materials overseas.

4. Write your own essay and make your own application. Applying to colleges in the United States is quite different from applying to colleges in other countries. The English language can be a barrier for a lot of students and some agencies might offer to make the application for you or even write the application essay for you. However, please take some time to fill out the forms by yourself and write the personal statement by yourself. The Admissions staff will have a better chance to get to know you if it is your own application essay. Who better to speak about you, than you?!

3. Take your TOEFL early. Music schools across the United States have different deadlines and TOEFL test requirements. Other schools might not ask for a TOEFL score until March, but Eastman requires an official TOEFL test score by Dec 1. We cannot schedule your audition until we receive your official TOEFL score. Scheduling a TOEFL test can be difficult in some countries because of the large number of applicants. The waiting time might be up to 2 months for a TOEFL seat. Also, it usually takes a month for you to receive the score after you take the test, and it can take another two weeks for ETS to send your score to us. So, please plan ahead, prepare, and schedule the TOEFL early.

2. Communication is your friend. If you have any sort of questions during the application process, whether it be the recommendation letters, how to upload the prescreening recording, scheduling a live audition, amount of snow in Rochester NY, or food quality in the Dining Center, anything; please feel free to send us an email. We do our best to reply within 24 hours on weekdays, or call us if you have Skype or an international calling card.

1. Don’t Panic! As stressful as the college application process may be, it is still an exciting (and sometimes even fun) experience. There are a lot of people (admissions counselors, faculty members, students, and more) who are happy to help you through the process. You will meet new people, possibly travel to new places, and be making some of the biggest decisions of your life. So, stay calm and enjoy the experience.

Photo by Mariel Hope Fedde

The following guest post was written by one of our current undergraduate percussionists.  We hope you enjoy this insider’s perspective on being a student at Eastman!

As a prospective student, it can be difficult to get a gist of what it’s really like to be a student at Eastman.  My name is Ariel Jackson and I am a junior Percussion Performance/Music Education Major.  I absolutely love the energy and creativity within Eastman and being a student here is very rewarding.   In order to let you know what life at Eastman is all about, I have answered a few questions about my schedule and what it is like to be a double major.

Q.  What is a typical schedule like for a Double Major?

A.  As an Applied Percussion Major and Music Education Major, I keep a very busy schedule.  A typical Monday, this semester, for me consists of:

9:30-Early Childhood (One of my favorite classes)

10:30-Clarinet Class (A beginning methods class for Music Education)

11:30-Work at Admissions Office (My favorite part of the day!)

1:30-Quick Lunch and Warm up for Percussion Lesson

2:45-Applied Percussion Lesson

3:45-Large Ensemble Rehearsal

5:30-Quick Dinner and Starbucks (Yes River Campus has a Starbucks!)

6:15-Psychology at the U or R’s River Campus (I carpool to this class with another student)

7:30-Homework and Practice time

This may seem like a lot and it often seems like too much to me but it is manageable!  The key to managing a schedule like this is time management.  Taking advantage of little slots of time can also make life easier.  Often, I have 15 to 30 minutes between classes or rehearsals and using this time to get something done can actually make a huge difference later in the day.

Q.  What are the Music Education classes like?

A.  As a freshman, the Music Education classes I took were introductory classes or instrumental method classes.  For example, I took voice, trumpet, Intro to Music Education and Field Experience in Music Education my freshman year.  Voice and trumpet focused on the basics issues involved for those particular fields and required students to reach a certain level of proficiency by the end of the year.  Intro to Music Education and Field Experience in Music Education were led by Christopher Azzara, a faculty member in the Music Education and Jazz Departments.  These classes focused on basic theories and fundamental pedagogy for Music Education.  A lot of singing, dancing and improvising was involved in these classes which made them some of my favorite classes.  I got to dance around and act like a little kid in order to learn how kids learn and how that applies to Music Education!

Each year, Music Education classes become more in-depth and more hands-on.  This year, my junior year, I have taught pre-school aged children and elementary aged children in various schools around Rochester.  All throughout the second semester of my junior year, I will be teaching even more as I prepare for student teaching in the fall of my senior year.  Music Education courses become progressively more detailed and interactive leading up to student teaching.  For this reason, these classes are often my favorite.  Instead of listening to a lecture, I get to move around and experiment with teaching my peers as well as children of all ages!

Q.  What are the benefits of being a Double Major?

A.  As a Double Major, when I graduate, I will be certified to teach K-12 and I will hold a performance degree.  I have the option to choose from a large variety of future paths based on these two degrees.   Should I decide to teach after graduating or after I attain a Master’s degree, I will have the necessary skills and experience to help me achieve a teaching position.  This is probably the most obvious benefit of being a Double Major but there are many more.  Eastman’s Music Education Faculty is an excellent, energetic and well-respected group of people.  Working with them is always a joy and always enlightening.  The skills I receive from my Music Education classes often transfer over to performance affairs.  My schedule may be demanding, but the benefits of Double Majoring are certainly worth the time and effort.

Q.  What are some challenges of being a Double Major?

A.  The only true challenge of being a Double Major is the amount of time that is required for all of my classes.  My practice time, homework time and relaxing time are all shortened due to the mass amount of classes that I have.  It is a goal of mine to teach in the future so I know that the degree is worth my time.

The Music Education faculty strongly discourages people from pursing a Music Education degree as a backup plan.  Somebody that has no interest in teaching K-12 should not be a Music Education/Performance Major.  Pursing a Music Education degree by itself is time consuming.  It is a decision that should not be taken lightly or be thought of as something that can be easily added to a Performance degree.  To sum up, as long as you really wish to use a Music Education degree in the future, the benefits far outweigh any challenges.

Q.  How do classes differ between a Double Major and a Performance-only Major?

A.  Most Performance requirements stay the same for Double Majors.  The overall credits required for a Performance major are 125 credits and the credits required for a Music Education major are 147 credits.  The Music Education requirements are integrated into the performance requirements for Double Majors.  The only real difference is in the chamber music requirements.  Double Majors are not required to fulfill as many chamber ensemble requirements as Performance-only Majors.

Students may also be excused from a semester of Large Ensemble during the semester that they student teach.  I will be student teaching next fall so I will only be taking Music Education classes associated with student teaching and my Applied Lessons.  I do have more to do than my Performance-only Major friends but this means I always have complaining rights over them!

Q.  How does the Forte Program Work?

A.  One way to ease the stress of being a Music Education/Performance Major is by participating in the Forte Program.  Forte allows students to add a tuition free ninth semester for student teaching.  This permits Double Majors to spread out their classes over eight semesters instead of seven.  A lot of students choose to apply for this program since it makes life a little easier.  Students that wish to participate in the Forte program can turn in an application and teacher recommendation by the middle of the fall semester their junior year.