winds & percussion piano performing arts technology

undergraduate
theatre & drama music education
music theory jazz & improvisation strings

programs
musical theatre composition dance
voice organ musicology
The University of Michigan School of Music,
Theatre & Dance encourages the total college
experience. Artistry and scholarship meet
as students receive not only individualized
mentorship from a world-class faculty but also
full access to the limitless range of academic
possibilities found only in a world-renowned
research university.
What makes the School unique is our
comprehensiveness: we strive to maintain a
balanced emphasis on both performance
and scholarship while presenting students
with the training necessary to excel within
their chosen field.
www.music.umich.edu 1
2
 www.music.umich.edu 3

“In my role as dean, I strive to keep the arts

central to the University as a whole. The
arts are here for more than entertainment;
they are here as part of the same fabric that
interweaves science, engineering, medicine,
law, public policy and business. The arts are
here to provide perspective, create depth of
understanding, and teach the creative process
that increasingly drives the global economy
and is intrinsic to our very humanity.”

Christopher Kendall, Dean and Paul Boylan Collegiate Professor of Music, Theatre & Dance
4
 5
6
Degree Programs
9
Application Procedures
12

Table of Contents
Résumé & Repertoire List
15
Auditions & Interviews
17
Scholarships & Financial Aid
19
Performing Arts Facilities
22
Fast Facts
24
Composition
29
Dance
32
Jazz & Improvisation
36
Music Education
40
Music Theory
42
Musical Theatre
50
Musicology
54
Organ
57
Performing Arts Technology
62
Piano
66
Strings
72
Theatre & Drama
82
Voice
88
Winds & Percussion
96
Contact Information
6
Degree Programs
The School of Music, Theatre & Dance offers the
following undergraduate degree programs:

Bachelor Of Music
Composition
Music and Technology
Music Education (Choral and Instrumental)
Music Theory
Musicology
Performance
Bassoon, Cello, Clarinet, Double Bass, Euphonium,
Flute, Harp, Horn, Oboe, Organ, Percussion,
Piano, Saxophone, Trombone, Trumpet, Tuba,
Viola, Violin, Voice
Performance with Teacher Certification
Bassoon, Cello, Clarinet, Double Bass, Euphonium,
Flute, Harp, Horn, Oboe, Organ, Percussion,
Piano, Saxophone, Trombone, Trumpet, Tuba,
Viola, Violin, Voice
Performance: Wind Instruments Major

Bachelor Of Fine Arts

Dance
Interarts Performance (with Art & Design)
Jazz and Contemplative Studies
Jazz and Contemporary Improvisation
Jazz Studies
Musical Theatre
Performing Arts Technology
Theatre Design and Production
Theatre Performance (Acting and Directing)

Bachelor Of Science
Sound Engineering

Interdisciplinary Degree
Programs Available
Bachelor Of Musical Arts
with a concentration in Composition, Jazz and
Improvisational Studies, Musicology, Music Theory,
or Performance

Bachelor Of Theatre Arts

Yehonatan Berick, Associate Professor of Violin

Degree Programs continued www.music.umich.edu 7

The Bachelor of Music • Four terms of musicology exploring European and

The Bachelor of Music (BM) degree is the most
traditional degree offered by the School of Music,
Theatre & Dance. Approximately 75% of the
coursework of a BM is in music, while the balance
is completed in other areas, most typically in liberal
arts courses within the College of Literature, Science,
and the Arts. Apply for the Bachelor of Music if
you are interested in studying Composition, Music
Education, Music Theory, Musicology, Performance, or
Performing Arts Technology (Curriculum A only).
American music history, as well as the sounds and
concepts of many world music traditions.
• One music theory, musicology, or jazz improvisation
elective course at the junior or senior level.
• English 124, 125 or equivalent, and English 225
(Argumentative Writing) or an upper level Sweetland
Writing Center-approved junior/senior course.

Undergraduate Core Curriculum The Bachelor of Fine Arts

Every undergraduate student enrolled in either a
Bachelor of Music (BM) or Bachelor of Musical Arts
(BMA) degree will take a curriculum that is designed
to provide a comprehensive foundation in basic
musicianship skills. Typically, the coursework for the
first two years in these degree programs is focused
on completing this Core Curriculum, although some
requirements may be met through proficiency training primarily as a performer, whether on stage or
examinations, while others may be taken out of
sequence:
The Bachelor of Fine Arts (BFA) degrees are intended
for those students who want professional performance
training in Dance, Jazz and Contemplative Studies,
Jazz and Contemporary Improvisation, Jazz Studies,
Musical Theatre, Performing Arts Technology or
Theatre (Acting, Directing, Interarts Performance,
and Design and Production). If you are interested in
behind the scenes, you should choose the BFA.

• Twenty-four hours of private performance instruction The Bachelor of Science

in the principal instrument or voice or the equivalent The Bachelor of Science (BS) degree is only available
by examination. in Sound Engineering, and is intended for those
students who seek rigorous professional training in
• Four terms of ensemble most commonly selected acoustics, the physics of sound, sound engineering,
from the University Orchestras, University Bands, computer science, and sound recording. Because of
University Choirs, or Jazz Ensembles. the academic rigor of this program, there are higher
academic expectations for applicants than in other
• Five terms of music theory including the study of the music programs.
structure of primarily tonal music through
ear-training and sight-singing, written work in
construction and composition, and musical analysis.
8 Degree Programs continued

The Bachelor of Musical Arts and

Bachelor of Theatre Arts
The Bachelor of Musical Arts (BMA) and Bachelor
of Theatre Arts (BTA) degrees are interdisciplinary
degrees. The overall balance of coursework in these
curricula is evenly divided between music or theatre
studies and academic coursework. While these
degrees include some level of professional training,
they are intended to allow a student wider exposure
to the liberal arts within the scope of a traditional
four-year program. As such, they tend to be most
appropriately selected by those students who
intend to pursue studies in music or theatre with an
academic emphasis, or who wish to consider career
paths other than performance upon graduation.

The Bachelor of Musical Arts degree allows students

the flexibility to develop secondary (cognate) fields
of interest through the design of a large part of their
programs within stated guidelines and through
consultation with a faculty adviser. Applicants are
asked to explain their educational and professional
goals in the application.

Dual Degree Programs

A variety of degree programs are available at the
University of Michigan that allow students to increase
the academic options available to them. The most
common way to do this is either by enrolling in the
Bachelor of Musical Arts (BMA) degree or by choosing
to pursue a dual-degree program with another school
or college within the University.

These programs are intended for students who

seek the technical or academic studies associated
with the College of Engineering, the Ross School of
Business, or the College of Literature, Science, and
the Arts in combination with the professional training
in performance-based or academic music studies
associated with the School of Music, Theatre &
Dance. Students interested in these degree programs
seek concurrent admission to both colleges, and, if
successful, their programs of study lead to bachelor’s
degrees from both units. It is usually possible for
students electing 16-17 credits per term to meet all
requirements in ten or eleven terms.
JONESIN’

Application Procedures
The School of Music, Theatre & Dance is a highly
selective professional school for the performing arts
encompassing programs in music, dance, theatre,
and musical theatre. An undergraduate applying
for admission should complete the University of
Michigan undergraduate application. There is
no separate application for music, dance, theatre or
musical theatre applicants.
Required Application Materials
Application materials and supporting documents
required by the Office of Undergraduate
Admissions (OUA):
• University of Michigan online application
• test scores
• transcripts
• high school counselor recommendation
• academic teacher recommendation
• essays
Supporting documents required by the School of
Music, Theatre & Dance Admissions Office (SMTD),
which may be uploaded via the University of Michigan
online application unless otherwise noted:
• All applicants: professional résumé.
• All applicants: music/arts-related teacher Deadline for Merit Award consideration: Application
recommendation.
• Music and Musical Theatre Applicants: recording submitted by January 15).
comprehensive repertoire list (include with résumé)
• Bachelor of Theatre Arts, Musicology, & Music quickly in most programs, requests that are received
Theory Applicants: writing samples (send to SMTD
Admissions Office).
• Composition, Performing Arts Technology, and
Theatre Design & Production Applicants: portfolios
(send to SMTD Admissions Office).
More Questions? Read our FAQ! It’s on
our website under “prospective students”.
9
Timeline
1. Applicants submit the online application, including
all of the required supporting documents.
2. An invitation to audition/interview will be
extended approximately six weeks after submission
of the application, upon favorable review of all
application materials.
3. Applicants attend the audition/interview or submit a
recording as required by specific department.
4. The School of Music, Theatre & Dance notifies
applicant of admission decision.
Deadlines & Considerations
We begin accepting applications in late summer.
School of Music, Theatre & Dance applicants apply
for the Fall semester, with limited openings in
Winter semester.
The priority deadline to apply is December 1. Look
ahead though: Each audition/interview date has a
“must apply by” date associated with it, and for early
auditions, these application deadlines may be earlier
than December.
materials due by December 1, with an audition/
interview completed by March 12 (or audition
Apply early! Since audition/interview schedules fill
in November or later can be difficult to schedule. Once
assigned, you will receive an e-mail confirmation of
your audition/interview date.
Admission to all undergraduate programs in the
School requires a successful academic review and
audition, portfolio, and/or interview, depending upon
program requirements. All application materials will be
considered in the final decision.
10 Application Procedures continued

Academic Preparation Transfer Applicants

Admission as a transfer student from another
Freshmen Applicants accredited college or university is based, in general,
Minimum academic requirements for freshman on the high school academic preparation listed plus
applicants: the following:

• Graduation from an accredited high school. • Evidence of ability and preparation to successfully
pursue courses in academic fields that constitute
• GPA of 3.0 (calculation based on 10th and 11th a part of the desired curriculum; some prerequisites
grade standard academic subjects). may be required.

• High school curriculum requirements, demonstrated • Evidence that the student is in good standing with at
on an official transcript: least a 2.5 GPA at the previous school or schools.

Academic Four years (or units) of English, plus a

minimum of 12 other year-long courses selected Performing Arts Preparation
from social studies, foreign languages, sciences,
mathematics or any combination of these Admission to the School of Music, Theatre & Dance
subjects. Two years of foreign language study is highly selective. Most students who receive an
is recommended. offer of admission have an extensive background in
their intended areas of study. While not all applicants
Performing Arts Credits in music, theatre, and/ will have had access to the same amount and/or
or dance demonstrating an ability to succeed in quality of instruction and performance opportunities,
the professional curriculum. successful applicants have taken full advantage
of the opportunities available to them. These can
• Completion of the SAT or the ACT. Minimum score include major youth orchestras, bands and/or choirs;
requirements: ACT of 24 or better, or SAT of 1650 or national arts competitions; state solo and ensemble
better including writing. competitions; community and professional theatre or
dance companies. Many successful applicants have
(The Bachelor of Science in Sound Engineering also received local, state, regional, or national awards.
requires a GPA of 3.5, an SAT math subscore of 630
or better, or ACT math subscore of 28 or better). The background of admitted students varies, so don’t
make quick assumptions. It is possible for a student
• Home-schooled students must submit two SAT II who does not have access to these activities to be
scores and the SAT I writing test, along with records competitive for admission based on the audition and
detailing material studied. related admission material. The only way to know for
sure is to apply!
• Dual degree applicants must also meet the unique
requirements of each school or college within the
University of Michigan to which they apply.
 www.music.umich.edu 11

“We’re preparing students to live in an ever-changing

landscape. We’re trying to find ways to make them
prepared and steeped in the past, but also aware
of and available to the future. The School is a great
environment for that. All the resources are right here.
That’s the beauty of the place.” Michael Haithcock, Director,
University Bands and Professor of Conducting
12
Résumé & Repertoire List
A professional résumé is a great way to tell us a
lot about your background. Include the following
items so we get a full and accurate picture of your
previous training and experience. Upload your
résumé with your online application.
• A list of any related experience, such as ensemble
officer or manager, teaching, theatre or dance
experience, or participation in community service
arts programs that you feel completes the picture
of you as a musician.

2. Applicants to Performing Arts Technology

Résumé degrees should also include the following:

General Information • A list of all mathematics and computer science

All students should include on their résumé: courses taken.

• Full name, address, phone number, e-mail address, • A comprehensive list of all software and hardware
University of Michigan ID number (if known), and the skills, and any experience in sound recording.
program(s) to which you are applying.
3. Applicants to Musical Theatre should also
• A list of activities and awards related to academics, include the following:
athletics, or leadership within your school
or community. • All roles you have had and the production
company for which you performed. Include
• A list of any community service in which you both musical and straight theatre, film or television
have participated. experience, and other related theatre activities.
Include all school, community, and professional
• A list of any work experience you have had while theatre experience.
in school.
• All formal training in dance, acting and music.
Arts Specific Information Include particular years of classes and styles of
1. Applicants to Music programs (i.e., composition, dance studied, years of training in voice and/or
jazz, music education, musicology, performance, other instruments, and acting classes or
performing arts technology, and theory) should workshops. Include the names of teachers with
include the following: whom you have worked and the dates you studied
with them.
• The name(s) of your current and most recent
private teachers. Include the dates you studied • Related experience such as playwriting,
with them, and their phone numbers, if known. production work, teaching, or community service
theatre that you feel completes the picture of you
• A list of all music organizations with which you as a theatrical person.
perform, and the dates of your participation.
This can include school ensembles, youth 4. Applicants to any Theatre degree should list
organizations, and ad hoc ensembles you have the following:
formed yourself.
• All roles you have had, the production company for
• A list of any music competitions in which you which you performed, including school,
participated and all related awards or recognition community, and professional theatre experience.
you have received while in high school. This can
include school, local, state, and national
level awards.
 www.music.umich.edu 13

• Any technical theatre experience, including

directing. For students interested in performance,
this can be a simple list of activities. Students
interested in directing or design and production
should include a comprehensive list of
these activities.

• All formal training in acting, dance, or music. This

can include both straight and musical theatre, film
or television experience, and related theatre
activities. Include any acting classes or workshops
you have attended, particular styles of dance
studied, and/or years of training in voice or other
instruments if any. Include also the names of
teachers and the dates you studied with them.
Comprehensive Repertoire List
• Related experience such as playwriting,
production work, teaching, or community service All applicants are required to submit a comprehensive
theatre that you feel completes the picture of you list of repertoire studied on their principal instrument/
as a theatrical person. voice. This is optional for those applying to the BFA
and BS programs in Performing Arts Technology.
5. Applicants to Dance should list the following: Applicants in Dance and Theatre are exempt.

• All dance training you have undertaken including This list is different from the list of repertoire you will
years of study in particular styles, teachers or bring to perform at the audition. Include the following
studios, and any intensive summer workshops information on your repertoire list:
or institutes.
• All major works you have studied on your principal
• All roles or company experience including school, instrument/voice. You may also include any major
community, or professional dance organizations. works you have studied on a secondary instrument.

• Awards or recognition you have received based • Musical Theatre applicants should list all vocal
on your dancing including school, local, state, and music studied, including both classical and musical
national level awards. theatre repertoire.

• All experience in acting or music including • Include ensemble pieces in which you had
musical and straight theatre, participation in music featured solos. Do not list all large ensemble works.
organizations (bands, choirs, or orchestras), and
any formal training in voice or other instruments. • Label those pieces you have performed from
memory with “M” following the title, and “P” if you
• Related experience such as choreography, performed the piece in public.
teaching, gymnastics, or community service arts
programs that you feel completes the picture of • Focus on those pieces studied during high school
you as a dancer. and college (when applicable), although you may
include earlier works if they represent significant
milestones in your artistic development.
14

“What I’m looking for in an audition is

someone who takes chances in making
music, rather than someone who comes
in and plays all the notes very safely.”
Adam Unsworth, Associate Professor of Horn
 15
Auditions & Interviews
• Every undergraduate applicant to the School of
Music, Theatre & Dance must demonstrate, by
an in-person or recorded audition, portfolio, and/
or interview, sufficient ability and skill to successfully
pursue one of the curricula of the School. Your
private teacher knows the depth of your artistic
ability and your technical facility. It is best to
discuss appropriate audition repertoire that meets
our requirements with the individual instructor(s)
who know you best.

• Auditions and interviews are by appointment

and scheduled only after approval of your application
by School of Music, Theatre & Dance Admissions
Office personnel. All components of the application
must be received before approval can be granted.

• If approved, the student will be contacted by email to

confirm the scheduled audition/interview date. Do
not make travel arrangements until you have received
confirmation by email of your audition/interview date.

• Applicants must perform the repertoire specified

and/or meet all other requirements listed by the
department unless a substitution has been
approved in advance.

• We strongly recommend auditioning or interviewing

in Ann Arbor, especially for merit-based scholarship
consideration. If this is not possible, regional
auditions, recorded auditions, and phone interviews
are alternate methods of completing the audition/
interview process.

• The School of Music, Theatre & Dance has a policy

of rolling admission and qualified applicants may be
offered admission after each audition day. Although
a late March audition date is published for some
programs and instruments, typically few openings
remain in those programs.

Applicants who wish to be considered for

School of Music, Theatre & Dance merit
awards must audition by March 12, 2010.
16

STRAVINSKY REVISITED
 17
Scholarships & Financial Aid
The School of Music, Theatre
& Dance and the University
of Michigan are committed to
educating talented performing
artists and scholars. We strive to
make it possible for all admitted
students to attend the school,
regardless of their individual or
family’s financial situation.

We believe that students should

choose a school that offers the best
educational fit in the combination of
faculty, curriculum, student peers, and
environment for their individual goals.
We recommend that you develop a
ranked evaluation of college options
purely on educational merits, then
weigh in financial considerations. Try
to avoid choosing a school based
solely on the amount of money offered.
Rather, attend the school that will best
enable you to achieve your long-term
educational goals.

Consideration for financial assistance

begins after a student has submitted the
applications for admission and financial
aid, completed the audition/interview
process, and has been accepted.

Michigan’s admission policies and

decisions are independent of financial
aid decisions. Applying for financial aid
will have no impact on your application
for admission.
18 Scholarships & Financial Aid continued
School Scholarships
(Merit-Based, Need-Informed)
School scholarships are “merit-based, need-
informed.” This means that while encouraging
and rewarding artistic and academic excellence
is our top priority, we also consider the
extent of the student’s access to additional
financial resources.
The School of Music, Theatre & Dance commits
over three million dollars annually in scholarships for
undergraduates. You will be considered for School
scholarships if you submit all the application for
admission materials by the deadline for your program
(typically December 1), submit the Free Application
for Federal Student Aid (FAFSA) and CSS Profile,
complete the audition/interview no later than March
12, 2010, and are subsequently offered admission.
Scholarship decisions are based on a combination
of the student’s artistic and academic merits in
combination with the financial need of the student
as indicated by the 2010 FAFSA and CSS Profile. Federal School Code 002325. There is no cost to
Currently, we are unable to award scholarships to all
who apply, yet we make every effort to assist as many
students as possible to attend the School.
The Department of Theatre and Drama and the
Department of Dance administer their scholarship
programs separately. Scholarships for the Department
of Musical Theatre and all the music departments of
the School are administered by the Associate Dean for
Academic Affairs, Betty Anne Younker. Award notices
will be mailed in early April.
University Awards, Work-Study
and Loans (Need-Based,
Merit-Informed)
Financial aid administered and awarded by the
University’s Office of Financial Aid includes grant
funds, college work-study, a variety of loan
programs, as well as some scholarships.
It is a fundamental principle in college financial
aid that every student and his or her family should
contribute to their education as they are able.
1. Entering freshmen: complete the College
Scholarship Service (CSS) Financial Aid PROFILE. Be
sure to list U-M’s CSS Code 1839. The PROFILE costs
$9 (application fee) plus $16 for each university to
which you want your information sent.
2. Entering freshmen & transfers: complete and submit
a 2010 Free Application for Federal Student Aid
(FAFSA) to the federal processor between January 1
and (approximately) February 15. Be sure to use U-M’s
complete the FAFSA.
• The FAFSA should be filed after January 1 but
before the end of February, in order to have the
results to Michigan by March 15.
• Late filing of the FAFSA will delay the notification
and availability of federal, institutional, and School
financial aid.
We also recognize that the information provided
on the FAFSA does not always tell the whole story.
We encourage families to provide us with whatever
supplemental information they feel is important to give
us a clearer picture of their financial circumstances.
The Office of Financial Aid www.finaid.umich.edu
provides additional details on the process, costs,
award types, and notification on their web site. We
encourage you to read the information and gain as
much insight as you can.
 19
Performing Arts Facilities
The School of Music, Theatre & Dance is located
in a park-like setting on the University’s North
Campus. The distinguished Earl V. Moore Building,
designed by the renowned Finnish architect Eero
Saarinen, contains two rehearsal/concert halls,
forty-five performance teaching studios, eighteen
classrooms, forty offices, one hundred twenty practice
Earl V. Moore Building rooms, a computer lab with forty stations, and other
special facilities for piano, harp, organ, harpsichord,
fortepiano and percussion practice. The School of
Music, Theatre & Dance is also home to one of the
foremost music libraries in the United States.

The University of Michigan maintains state-of-the-art

computing resources for all students, and the School
of Music, Theatre & Dance provides rich opportunities
for applications of technology in the performing
arts. Facilities for music composition, recording and
production include the Music Listening Lab, the
Music Technology Lab, the Surround Lab, the VRoom,
the Electronic Music Studios and a state-of-the-art
Audio Studio.
Lydia Mendelssohn Power Center for the
Theatre Performing Arts
The Margaret Dow Towsley Center contains the
Blanche Anderson Moore Hall, an organ recital hall
with a magnificent tracker-action organ modeled on
the organs of Silberman; the McIntosh Theatre, a
vocal arts rehearsal and performance space; and the
Stearns Collection of Musical Instruments.

The Walgreen Drama Center is home to the

departments of Musical Theatre and Theatre & Drama.
It houses the Arthur Miller Theatre, the Stamps
Auditorium, and multiple classrooms and studios for
instruction.

The Dance Building, which houses four studios, is

attached to the Central Campus Recreation Building,
where dancers can use the Olympic-size pool, sauna,
track, and weight and exercise equipment.

The William D. Revelli Hall, home to the Michigan

Marching Band, and the Burton Memorial Tower
house offices and classrooms of the School.

Walgreen Drama Center

20 Performing Arts Facilities continued

Performance Venues Lydia Mendelssohn Theatre

Built in 1928, this lovely and intimate theatre
Hill Auditorium provides seating for 650 as another venue for the
This renowned, acoustically magnificent, and recently School’s opera, theatre, dance and musical
refurbished concert hall seats 3,710 and features most theatre productions.
of our large orchestral, choral and band concerts
each year. It is also home to many of the concerts Rackham Auditorium
presented by the University Musical Society and other The site for many chamber music and jazz concerts,
University events. this luxurious art deco 1,129-seat auditorium was built
in 1941 and refurbished in 2002.
Power Center for the Performing Arts
Seating 1,500, this modern theatre venue is a Betty Pease Studio Theatre
showcase performance space, with a thrust stage of This dance studio, housed in the Dance Building,
flexible shape and size and a rehearsal room as large is the setting for student-choreographed works,
as the stage. It is used primarily by the Dance, Musical as well as guest master classes and visiting
Theatre, and Theatre departments and the opera artist performances.
program for large-scale mainstage productions.
Arthur Miller Theatre
Burton Memorial Tower and The Ann This 250-seat theatre is the only theatre in the world
and Robert H. Lurie Carillon and Tower to bear the name of U-M alumnus and Pulitzer
The University of Michigan owns two world-class Prize winning playwright Arthur Miller. The theatre
carillons: the Charles Baird Carillon in Burton Memorial room is a highly flexible courtyard format theatre to
Tower on the Central Campus (55 bells, weighing from showcase both professional and student productions.
12 tons to 21 pounds, dedicated in 1936) and the Ann Designed for proscenium productions and able
and Robert H. Lurie Carillon and Tower on the North to accommodate an orchestra of up to 16 players
Campus (60 bells, weighing from 6 tons to 12 pounds, with forward seating rows removed to expose the
dedicated in 1996). orchestra pit, the space is more often set up in a wide
thrust stage configuration, which provides seating on
three sides and an extraordinarily intimate dimension
between actor and audience.

Stamps Auditorium
The Stamps Auditorium is a multi-purpose hall with a
solid oak trapezoid stage with an arched downstage.
It is used in many ways – for classes, rehearsals,
performances, and exhibits. These activities mix
together artists, engineers, performers, information
scientists, architects, and many others.

Lurie Tower Burton Tower

www.music.umich.edu 21

Hill Auditorium
 22
Fast Facts

• Library: One of the world’s

major music collections
(19 total University
Libraries with extensive
collections on campus)

• Retention Rate: More

than 96% of non-
graduating students return
for continuing study

• Founded in 1880
• Degree Programs:
BM, BFA, BS
• Located in Ann Arbor, MI,
66 miles southeast of the
• Interdisciplinary Degree
capital, Lansing
Programs: BMA, BTA
• Presenter of over 450
• Dual Degree Programs:
concerts, recitals, and
College of Engineering,
staged performances
College of Literature,
Science & the Arts,
• Number of students: 1050
Ross School of Business
• Number of undergraduate
students: 770

• Number of graduate
students: 280

• SMTD: 5.5% Dance, 7.7%

Musical Theatre, 13%
Theatre, and 73.8% Music

• Number of Resident
Faculty: 150

• Student/faculty ratio: 7:1

Distinguished Alumni www.music.umich.edu 23
Jessye Norman, Jack
O’Brien, James Earl Jones,
Leslie Bassett, Bob James,
George Crumb, Richard
Crawford, William Bolcom,
David Daniels, Aaron
Dworkin, Cynthia Phelps,
Christine Dakin, Derek
Bermel, Gavin Creel…
and many more

Fraternal and Professional

Music Organizations
Phi Mu Alpha Sinfonia,
Sigma Alpha lota, American
Choral Directors Association
(ACDA), Audio Engineering
Society (AES), American
String Teachers Association
(ASTA), Music Educators
National Conference
(MENC), National Society of
Teachers of Singing (NSTA),
Arts Enterprise

Fall 2009 Admitted Freshmen Characteristics

• 3.56 Average HS GPA • 28.2% Michigan Residents
• 4.0 GPA – 13.8% • 68.4% non-Michigan
• 70% in the top 10% residents
of high school class • 3.4% international
• 14% in the top 1% • 50/50 women/men
of high school class • 8.6% under-represented
• 1967 Average SAT score students
• 28 Average ACT score
24

Department of Composition

A distinguished faculty of internationally known composers

provides students with guidance and encouragement in
the search for the student’s individual voice, without
imposing stylistic regimentation.

Student composers enjoy premiere Faculty, students, and alumni of the

performances of their work in the
Composers Forum concert series, through
annual participation in the Midwest
Composer’s Symposium (a forum for
student composers from five schools)
and in concerts by University of Michigan
ensembles. Students also have access
to the incredible resources of the School,
including the Audio Studio and the
Electronic Music Studios.
Department of Composition continue to
win an extraordinary number of national
and international awards, receiving
virtually every prize and award available
to American composers.
All of these factors combine to make
the School one of the country’s
most important centers for the training
of young composers.
 www.music.umich.edu 25

compositio
Degrees offered:

Bachelor of Music in
Composition (BM)
For students who wish to become composers and/or to
pursue academic careers.

Bachelor of Musical Arts (BMA)

Pre-College Preparation
An extensive background in piano or another instrument and
“Michigan, for me, was evidence of creative capacity in composition.

incredible. I worked Curriculum

with everyone… . There The BM is a four-year professional degree. Students take
75% of their classes in their major area of study and 25% in
are many schools that liberal arts courses.

have great teachers, The professional coursework includes intensive studies in

but few where you composition, theory, musicology, ensembles and private
instrumental or vocal lessons.
can work with them
intensively. I was not The liberal arts coursework includes required studies in
college-level writing. All remaining academic electives are
shy about approaching free choice, and may be selected from across the range of
UM offerings.
them, but there was
something about The BMA is also a four-year professional degree, but with a
larger commitment to liberal arts. Students take 50% of their
Michigan that made classes in their major area of study and 50% in liberal arts
courses.
me feel that I could.” Advising is done by faculty mentors and School officials to
Derek Bermel, MM Composition ensure student progress and success.
1993 & DMA Composition 1997

Composition Faculty
Evan Chambers (Chair)
Michael Daugherty
Kristin Kuster
Erik Santos
MM Student Bernard Holcomb performing a selection Paul Schoenfield
from THE OLD BURYING GROUND, composed by Bright Sheng (Leonard Bernstein Distinguished
Evan Chambers, Associate Professor of Composition University Professor)
26

“I came to Michigan…to work with

composers like Michael Daugherty, Bill
Bolcom, Bright Sheng,…Evan Chambers,
Erik Santos, and the many guests who
come to campus – Louis Andriessen, John
Corigliano, Michael Colgrass, Christopher
Rouse – all of the creativity going on…”
Michael Haithcock, Director, University Bands and
Professor of Conducting
Composition continued www.music.umich.edu 27

Audition & Portfolio Requirements

All composition applicants must perform an audition on
their principal instrument or voice (guidelines are listed
under the appropriate department). In addition, submit
up to seven scores of your musical compositions
with recordings of each work on indexed compact disc.
We do not accept MP3 disks or data CDs. All musical
styles are welcome, though it should be noted that the
departmental curriculum is geared toward composing
for classical instruments and ensembles.

All materials should be sent to the School of Music,

Theatre & Dance Admissions Office, and must be
received by December 1. Write your name, UMID if
known, address, phone, and the program to which you
are applying on all your materials. Send copies of your
work rather than originals.

After a preliminary review of portfolios, a select number

of applicants will be invited for on-campus interviews
and auditions. Please indicate your preference for an
audition/interview date on your application. Though an
in-person interview is highly recommended, it is not
required. All applicants must perform an audition on their
principal instrument or voice, and complete a placement
evaluation in piano. Sight-reading, harmonization
and transposition, scales and arpeggios, and chord
progressions will be tested in order to determine your
keyboard placement.

For candidates not living in the continental United States

for whom the cost of a campus visit would be prohibitive,
a telephone interview can be arranged and a recorded
audition submitted.

To facilitate discussion of your work, please bring a

second copy of your scores to the composition interview.
28

STRAVINSKY REVISITED
 29

Department of Dance

The Department of Dance is committed to excellence,

innovation, learning in action, and entrepreneurship.
Our mission is to bridge dance practice and
scholarship and to foster interdisciplinary
inquiry. As an internationally renowned faculty, we bring
a challenging range of perspectives to our teaching and
research, and we continually reexamine our curriculum
in order to prepare both young and mature dancers for
careers in an ever-evolving field.
The Dance Department embraces and leadership and team skills, technological
extends the legacies of 20th-century competencies and an appreciation
American modern dance and ballet, ever for artistic, intellectual and social diversity.
mindful of the necessity to invigorate The fundamentals and finer points of
contemporary dance forms. Students dance technique, performance and
forge their own creative voice, consolidate composition are stressed; all practical
a range of technical skills, and enjoy learning is underpinned by compulsory
extensive performance opportunities. academic courses both within and
From dancing in the first year Freshman beyond our discipline.
Touring Company to performing onstage
at the Power Center, creating multi-media Dance can be also be studied as part of a
collaborations in the Duderstadt Video dual degree program. Many of our dance
Studio or working in the community, dance majors graduate with a Bachelor of Arts or
students develop discipline, independent a Bachelor of Science degree concurrently
thinking, creative problem-solving, with their BFA.
30 Dance continued

Bachelor of Fine Arts in

Dance (BFA)
This degree is intended for students seeking a career
in performance and choreography.
Pre-College Preparation
Significant experience in dance performance
and choreography.
Curriculum
The BFA is a four year professional degree. Students
take 75% of their classes in their major area of study
and 25% in liberal arts courses.
The professional coursework will include intensive
studies in modern dance technique and composition,
ballet, world dance, and repertory. Cognate studies
in dance history, music for dance, teaching methods,
dance production, music electives, and anatomy for
dancers are also required.
Audition Requirements
Prepare a two-minute solo in a contemporary
dance idiom, preferably choreographed by the
applicant. The solo should be appropriately titled
and the accompaniment clearly acknowledged.
Please avoid classical repertory and pointe work.
All applicants are also required to participate in
two technique classes, respectively ballet and
modern, as well as an improvisation session.
Each audition day begins with an introduction to
the Department and a tour of our facility. Parents
are encouraged to attend these sessions but
may not observe the audition.
All applicants must audition in Ann Arbor. The
Dance department does not offer regional or
recorded auditions.

The degree culminates with a Senior Concert and

Senior Seminar.

The liberal arts coursework includes required studies

in college-level writing and art history. All remaining
academic electives are free choice, and may be selected
from across the range of UM offerings.
Dance Faculty
Angela Kane (Chair)
Advising is done by faculty mentors and School officials
Melissa Beck Matjias
to ensure student progress and success.
Amy Chavasse
Mary Cole
Bill DeYoung
Sandra Torijano DeYoung
Jessica Fogel
Beth Genné
Christian Matjias
Judy Rice
Stephen J. Rush
Peter Sparling
Robin Wilson

Associated Faculty
Jean-Claude Biza
Amy Cova
The University of Michigan Dance Department is accredited Amy West
by the National Association of Schools of Dance (NASD). Khita Whyatt
dance www.music.umich.edu 31

“There’s not one element of my life

that doesn’t revolve around dance…
Dance is a metaphor for what’s
possible in life. To be able to move as
a dancer has been a source of joy my
whole life.” Daniel Gwirtzman, BFA Dance 1992
ARCS IN TIME
32

Department of Jazz & Improvisation

Art forms evolve through the interplay of two contrasting,

yet complementary forces – the ongoing quest for new
possibilities, and the continual inquiry into past
forms and practices. When this present-past interplay
is centered at the heart of artistic training, students not
only gain optimal mastery of skills and concepts within
their field, they also experience their field as a vehicle for a
broader cross-disciplinary exploration.
The Department of Jazz & Improvisation schools can match by combining the finest
has harnessed these principles and in traditional jazz training with systematic
emerged as a leading new educational study of jazz’s eclectic offshoots, along
voice. The department offers students with innovative, interdisciplinary options at
a variety of educational pathways few the cutting edge of pedagogical thought.

Degrees offered:
Bachelor of Fine Arts in Jazz
and Contemplative Studies (BFA)
Bachelor of Fine Arts in Jazz
and Contemporary Improvisation
Bachelor of Fine Arts in Jazz
Studies
Bachelor of Musical Arts (BMA)
The undergraduate degrees in jazz are designed for
students who wish to explore jazz, its related idioms,
and more eclectic forms of improvised music.
The BFA degrees are four year professional degrees.
Students take 75% of their classes in their major area or Religion. All remaining academic electives are free
of study and 25% in liberal arts courses. The BMA is choice, and may be selected from across the range of
also a four-year professional degree, but with a larger
commitment to liberal arts. Students take 50% of their
classes in their major area of study and 50% in liberal
arts courses.
Jazz & Improvisation Faculty
Ellen H. Rowe (Chair, piano, jazz ensemble)
Geri Allen (piano)
Andrew Bishop (saxophone)
Michael Gould (drums and percussion)
Robert Hurst (bass)
Edward W. Sarath (flugelhorn)
Dennis Wilson (trombone, arranging)
Associated Faculty
Dwight Adams (trumpet)
Sean Dobbins (drums)
Marion Hayden (bass)
Ingrid Jensen (trumpet, guest instructor)
Mark Kirschenmann (Creative Arts Orchestra)
Edwin Levy (guitar)
Frank Portolese (guitar, guest instructor)
Richard Stoelzel (trumpet)
Martha Travers (creativity & consciousness studies)
www.music.umich.edu 33
Bachelor of Fine Arts in Jazz and
Contemplative Studies
This highly interdisciplinary program combines a solid
grounding in jazz and improvised music study, with
courses involving meditative practices and other areas
related to creative development.
Curriculum
The professional coursework includes intensive
studies in jazz improvisation and composition,
contemplative practices seminar, creativity and
consciousness, piano, music theory, musicology,
ensembles and private lessons.
The liberal arts coursework includes required studies
in college-level writing and five courses selected from:
Psychology and Spirituality Development, Islamic
Mysticism, Buddhist Studies, Greek Religion, Jewish
Mysticism, History of Christian Thought, History of
Art Special Topics, or other courses in Psychology
UM offerings.
Bachelor of Fine Arts in Jazz and
Contemporary Improvisation
This program combines strong foundations in both
mainstream jazz and classical training, as well as
more eclectic approaches to contemporary
improvised music. A classical audition is required
along with the jazz audition. This degree is not
available for jazz guitar.
Curriculum
The professional coursework includes intensive
studies in jazz improvisation and composition, piano,
music theory, musicology, performing arts technology,
jazz and classical ensembles and private lessons.
The liberal arts coursework includes required studies
in college-level writing. All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.
Opposite Page: Jazz Ensemble with Ellen Rowe, Associate
Professor and Chair of Jazz and Improvisation
34 Jazz & Improvisation continued

jazz & improvisatio

Bachelor of Fine Arts in
Jazz Studies
This curriculum allows students to focus on
mainstream jazz studies through rigorous and
focused jazz coursework. Students may also
augment their jazz training with other areas
of study through electives.

Curriculum
The professional coursework includes intensive
studies in jazz improvisation and composition, jazz
arranging, piano, music theory, musicology, jazz
ensembles and private lessons.

The liberal arts coursework includes required studies

in college-level writing. All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.

Bachelor of Musical Arts

This is an interdisciplinary degree. The professional
curriculum is classical, with only ten credits required
in jazz coursework; more jazz can be taken if
time allows.

Advising is done by faculty mentors and School

officials to ensure student progress and success.
 www.music.umich.edu 35

Audition Requirements Students will also be asked to do simple hand/foot

timing and coordination exercises, as well as some
sight-reading. Performance of scales or melodies of
All applicants will demonstrate their skills in
jazz tunes on any mallet keyboard instrument such as
mainstream jazz according to the guidelines below.
vibraphone, marimba or piano is encouraged.
Applicants with original compositions, or who are
involved in creative areas that may not fall within the
Drummers are welcome to perform pieces outside the
categories listed, are strongly encouraged to present
areas listed above, including but not limited to multiple
their work at the audition.
percussion, snare drum and electronic pieces.
Along with the jazz audition, a classical audition is
All other jazz applicants should prepare an F blues and
required for Jazz and Contemporary Improvisation
B-flat rhythm changes tune of their choice. In addition,
and for the BMA degree. List both classical and
select one piece from each of the following three
jazz repertoire in your audition repertoire, as well
categories:
as on your comprehensive repertoire list. The
classical audition will be played for the appropriate
Category 1
performance faculty, following the standard
• All the Things You Are
audition parameters.
• There Will Never Be Another You
• Autumn Leaves
Applicants auditioning by CD must demonstrate
improvisational skills on their recorded audition.
Category 2
• Body and Soul
Note to guitar applicants: There are two jazz
• Lover Man
degree options for guitarists: the BFA Jazz Studies
• In a Sentimental Mood
and the BFA Jazz and Contemplative Studies.
Because we do not offer classical guitar, Jazz and
Category 3
Contemporary Improvisation and the BMA are
• Impressions
not available to guitarists.
• So What
• Little Sunflower
Note regarding jazz voice: We do not offer a program
of study in jazz voice. Students in other programs,
It is highly recommended that all selections be
such as voice performance, are able to perform with
memorized, including tune melodies and chord
jazz combos and ensembles by audition.
changes. All applicants will be asked to perform the
melodies and improvise over the progressions for
Drum set players will be asked to demonstrate
each piece they select. Pianists and guitarists will be
proficiency in the following areas: Brushes (slow,
asked to comp changes; bassists will be asked to walk
medium and fast swing), trading 4’s and 8’s,
the bass lines in addition to soloing and performing
Afro-Cuban and Brazilian grooves – such as
melodies. Bassists should prepare the melody to the
the mambo, cha cha chá, songo, 12/8, partido
ballad they choose and perform it arco if possible.
alto, samba, and the bossa nova. Additionally,
contemporary styles such as rock, funk and fusion
Accompaniment will be provided at the audition.
as well as odd meters may be requested.
36

Department of Music Education

The Department of Music Education’s exceptional range

and depth of programs provide the specialization and
breadth of training to meet both the individual needs of
students and the demands of today’s music educators.
The department’s mission is to provide the future educator
with the necessary knowledge for successful
teaching: Intensive training as a musician,
theoretical and practical education as a teacher,
and a sound general college education.
The faculty strives to refine and promote education students also benefit from
the exchange of musical skills and participation in orchestras, choirs, bands,
information between teacher and student and smaller ensembles under the direction
in both group and studio teaching. Music of eminent faculty and guest conductors.
 www.music.umich.edu 37

Bachelor of Music in Curriculum

The professional coursework includes intensive
Music Education studies in voice and piano, theory, musicology,
ensembles, conducting, music technology, and
The Bachelor of Music in Music Education (BM) has vocal techniques.
two distinct curricula: Choral Music Education and
Instrumental Music Education. This enables students to The liberal arts coursework includes required studies
prepare for the field of teaching most compatible with in college-level writing, psychology, social science
their backgrounds and career goals. Students seeking (1), and natural science (2). All remaining academic
a greater focus in performance - who still wish to electives are free choice, and may be selected from
across the range of UM offerings.
teach in the elementary or secondary schools - should
choose the Performance with Teacher Certification The education coursework includes studies
degrees offered in Organ, Piano, Strings, Voice, and in teaching methods, secondary instruments,
Winds & Percussion. psychology and human development, multicultural
society, and student teaching.
Requirements for the Bachelor of Music in Music
Education fall into two categories: Instrumental Music Education
Designed for students who wish to teach instrumental
1. Requirements related to course work include courses music in elementary and secondary schools.
in instrumental or vocal performance, ensembles,
Pre-College Preparation
conducting, musicology, music theory, piano, and Applicants should have an extensive background in
general studies. at least one band or orchestral instrument, including
private lessons and experience in bands and
2. Requirements related to teacher certification include orchestras. Study of other instruments, including
acceptance into the Teacher Education Program piano, is desirable. Demonstration of performance
(Professional Sequence Application) and completion of competence on a band or orchestral instrument
all applications, courses, directed teaching, and audits is required.
necessary for the K-12 Michigan Teacher’s Certificate.
Curriculum
The professional coursework includes intensive
The BM is a four-year professional degree. Students take studies in instrumental performance, piano,
75% of their classes in their major area of study and 25% theory, musicology, ensembles, conducting, music
in liberal arts courses. technology, and vocal literature.

Choral Music Education The liberal arts coursework includes required studies
Designed for pianists or singers who wish to specialize in college-level writing, psychology, social science
in teaching choral or general music in elementary or (1), and natural science (2). All remaining academic
secondary schools. electives are free choice, and may be selected from
across the range of UM offerings.
Pre-College Preparation
Applicants should have two years or more of voice The education coursework includes studies
and piano study. Participation in choral or instrumental in teaching methods, secondary instruments,
groups prior to application is recommended. psychology and human development, multicultural
Demonstration of competence in voice and piano is society, and student teaching.
required for admission.
Opposite Page: Marie McCarthy, Professor and
RENT Chair of Music Education
38 Music Education continued

Audition and Interview Instrumental Music Education

Requirements Applicants must complete a performance audition
following the specific requirements listed for that
instrument. Applicants whose principal instrument
Choral Music Education is piano will also be required to demonstrate
Prepare to audition in both piano and voice. You will
proficiency on a band or orchestral instrument,
declare either piano or voice as your principal, with the
sufficient to fulfill the curriculum’s instrumental
other as a secondary instrument. An interview with a
ensemble requirement. Indicate both piano and this
music education faculty member will also be scheduled
second instrument on the application. An interview
on your audition day.
with a music education faculty member will also be
scheduled on your audition day.
Piano Principal
For the piano audition, prepare a work of J. S. Bach,
a movement of a classical sonata and a romantic or
contemporary work of your choice. Memorization UM graduates are sought after and hired
is preferred. Sight-reading, harmonization, and
transposition skills will be tested in order to determine by school districts across the nation.
your keyboard placement.

For the voice audition, prepare two memorized songs.

An accompanist will be provided when auditioning
in Ann Arbor if requested in advance. If you have no
private voice teacher, ask your school or religious choir
director for assistance in preparing for the audition. Aural
skills may also be assessed at Ann Arbor auditions;
auditionees will hear several short phrases played at the
keyboard and be asked to sing them.

Voice Principal
For the voice audition, prepare two memorized songs
in any language. An accompanist will be provided when
auditioning in Ann Arbor if requested in advance. Aural
skills may also be assessed at Ann Arbor auditions;
auditionees will hear several short phrases played at the
keyboard and be asked to sing them.

For the piano audition, prepare a composition from

the standard repertoire (such as Bach, Haydn, Mozart, Music Education Faculty
Clementi, Chopin, Bartók, or Kabalevsky). Memorization Marie McCarthy (Chair)
of the piano piece is preferred. Sight-reading, Colleen M. Conway
harmonization, and transposition skills will be tested in Robert Culver
order to determine your keyboard placement. Kate Fitzpatrick
Julie Skadsem
Betty Anne Younker (Associate Dean for
Academic Affairs)

Associated Faculty
Kristi Bishop
RENT Alice Van Wambeke
 www.music.umich.edu 39

usic educatio
40

Department of Music Theory

The Department of Music Theory is distinguished by

its range of achievement in scholarship of
both faculty and students, and by the broad
diversity of approach that it fosters. A guiding
principle of the department is that music theory does
not stand alone as a discipline.
Faculty members are active as composers, interest represented by faculty members
performers, and interdisciplinary scholars and in course offerings include theories of
in such areas as philosophy, psychology, musical experience, as well as post-tonal
and critical studies. Students explore theory, Schenkerian theory, twelve-tone
cognate fields such as art history, theory, transformational theory, theories of
literature, philosophy, linguistics, and style, gender, jazz, popular music, and the
psychology to advance inquiry in the study of the compositional process.
field of music theory. Areas of scholarly
 www.music.umich.edu 41

Degrees offered: Admission and Audition

Requirements
Bachelor of Music in Music
Theory (BM) Students must audition on a principal instrument or
voice following the guidelines listed by department in
Bachelor of Musical Arts (BMA) this publication.

All applicants must also submit two or three examples

Pre-College Preparation
of English writing and one of either of the following:
Applicants should have an extensive background in
an original composition or a musical analysis. Send
performance or composition, college coursework
these written materials to the School of Music, Theatre
in music theory with no grades less than a “B,” and
& Dance (SMTD) Admissions Office at least four
a background in a keyboard instrument. Freshman
(4) weeks before the desired audition date. (These
applicants without college credits in music theory should
writings are in addition to the required university and
not apply as a Music Theory major. Current SMTD
SMTD essay questions.)
students should apply after completing the music theory
core curriculum.
The audition day will include individual appointments
for a keyboard harmony exam, a theory exam on part-
Bachelor of Music in Music Theory writing and analysis, and an audition on your principal
For those who wish to balance theoretical and applied
instrument or voice.
approaches to the study of music. Elected courses range
from developing musical craft, such as counterpoint,
improvisation, and music composition, to aesthetics,
music cognition, and music technology.

Curriculum
The BM is a four-year professional degree. Students take
75% of their classes in their major area of study and 25%
in liberal arts courses.

The professional coursework will include intensive

studies in theory, musicology, composition, piano,
ensembles, and private instrumental or vocal lessons. Music Theory Faculty
The liberal arts coursework includes required studies in Walter T. Everett (Chair)
college-level writing and foreign language. All remaining James Dapogny (Professor Emeritus)
academic electives are free choice, and may be selected Karen Fournier
from across the range of UM offerings. Alan Gosman
Marion A. Guck
The BMA is also a four-year professional degree but with Kevin E. Korsyn
a larger commitment to liberal arts. Students take 50% Andrew W. Mead
of their classes in their major area of study and 50% in Wayne C. Petty
liberal arts courses. Ramon Satyendra
Aleksandra Vojcic
Advising is done by faculty mentors and School officials
to ensure student progress and success. Associated Faculty
Jennifer Goltz
Sandra Lau Martins
Judith Petty
RENT
42
Department of Musical Theatre
This comprehensive training program has a
national reputation among professional agents,
casting directors, and producers as being
among the best of its kind.
A unique situation exists at Michigan,
since theatre, dance and music coexist as
departments within the School of Music,
Theatre & Dance. Students in musical
theatre study with faculty members in
the departments of Theatre and Drama,
Voice, Dance, and Musical Theatre. The
University of Michigan is one of a select
number of schools that promote this
degree of collaboration among areas
within the performing arts.
As part of the degree, students have
numerous opportunities to learn about
career strategies, audition techniques,
and a wide range of performance skills.
Studying at Michigan also presents
opportunities to choose among hundreds
of classes outside the performing arts.
All of this combines to make our
Department of Musical Theatre a unique
place for the aspiring musical theatre
professional to begin a career.
 www.music.umich.edu 43

musical theatr
Bachelor of Fine Arts
in Musical Theatre (BFA)
Training and Preparation Requirements
Freshmen: training and experience in musical theatre
techniques and production. Ability to read music fluently
and training in voice and ballet are assets.

Transfers: must have the prerequisites of recent ballet

training and college coursework (or its formal equivalent) in
voice, piano and music theory. Must audition in Ann Arbor.

Curriculum
The BFA is a four year professional degree. Students take
75% of their classes in their major area of study and 25%
in liberal arts courses.

The professional coursework includes intensive studies

in Dance (ballet, tap, MT styles & more), Theatre (acting,
history, tech & more), Music (voice, piano, theory & more)
and, most importantly, Musical Theatre (performance,
history & much more).

The liberal arts coursework includes required studies

in college-level writing, American or world history, and
language. All remaining academic electives are free
choice, and may be selected from across the range of
UM offerings.

Advising is done by faculty mentors and School officials to

ensure student progress and success.

Musical Theatre Faculty

Brent Wagner (Chair)
Catherine Walker Adams
Gerald DePuit (Assistant Professor Emeritus)
Linda Goodrich
Mark Madama
Cynthia Kortman Westphal

Associated Faculty
Susan Filipiak
Melissa Beck Matjias
Lisa Mayer
Joan Morris
RENT
44

“I think UM is turning out the

best young musical theatre
performers in the business these
days. They’re really well-rounded
and well-educated actors, not just
people who can sing and dance.”
James Lapine, Broadway director and writer
(INTO THE WOODS, SUNDAY IN THE PARK WITH GEORGE, THE 25TH ANNUAL
PUTNAM COUNTY SPELLING BEE)

42ND STREET
www.music.umich.edu 45
46
usical theatr
“The Musical Theatre
Department is a wonder – not
just as a vital part of a great
university, but as a seemingly
never-ending source of talent
and inspiration. If only that
program had existed when I
was in Ann Arbor! Jack O’Brien
(Director, BA 1961, MA 1962, HDFA 2008)
Broadway director (HAIRSPRAY, THE FULL MONTY,
DIRTY ROTTEN SCOUNDRELS, DAMN YANKEES)
RENT
Musical Theatre continued
Audition Requirements
Written Requirements
Résumé Bring to the audition a typed, one page
résumé which includes any training and experience
you have had in music, theatre and dance. Staple the
résumé to a recent 8”x 10” photograph of yourself.
Brief Personal Statement Bring to the audition a
short essay describing an artistic event that was
memorable and/or influential to you personally
(this does not need to be an event in which you
participated). This is a different essay from the ones
required for the University’s application and should
be no longer than two typed pages.
Performance Requirements
Acting
Prepare two short, contrasting monologues from plays.
Neither may exceed 1½ minutes. Each monologue must
be memorized and should be performed in the context
of the entire play. The emphasis is on simple reality. Note:
Auditionees will present one monologue only. The faculty
panel will determine which one will be presented.
Preparation Suggestions
• Choose monologues that are appropriate for your
age and experience.
• Be able to discuss the play as a whole. It’s best to
select monologues from plays, as opposed to
special material written for monologue books.
• Avoid historic styles, such as Shakespeare, and
verse or poetry. Avoid dialects.
• Use good judgment in selecting the monologues,
avoiding pieces that may be inappropriate because
of language or situation.
 www.music.umich.edu 47

Voice Final Tips

Prepare two 16-bar selections. Both songs must • Do not try to sing too high or too loudly. An
high or too loudly. An
be memorized, and one must be traditional (written enormous number of applicants present songs in
before 1965). Auditionees will present one song keys that are too high for them to show themselves
only. The faculty panel will determine which one will at their best vocally. Volume and range can be
be presented. An accompanist (usually a faculty explored separately if the faculty has questions.
separately
member) will be provided. You may not sing
with your own accompanist, a cappella, or with • It’s wise to work with a skilled accompanist at home
to a skilled accompanist
recorded accompaniment. before you begin your college auditions, making
sure that all elements of your printed music are
Suggestions for Choosing Music presented clearly and correctly.
• Choose songs with which you can communicate a
specific situation in a clear context with an objective • Do not use a chair or props in the vocal audition.
not chair props vocal audition.
(goal). Make the situation as honest and specific
as possible. Dance
All applicants will participate in a dance class
• Even though a 16-bar song is very short, do as emphasizing ballet technique and including a short
emphasizing ballet technique
much as you can to give the song a progression. combination from a musical. The faculty will evaluate
What happens or changes as the song proceeds? your technique, incorporation of choreographic intent,
incorporation of choreographic
performance vitality, acting/communication skills, and
• Select material that is suitable for your age potential for growth.
and experience.
Preparation Suggestions
• Choose songs which fit comfortably within your • Apparel: Women should wear character or jazz
• Apparel: Women should wear character or jazz
range. If you are using a transposition of a song, be shoes (and can bring ballet slippers), leotards, tights
sure that you have correctly printed the melody, and/ or dance skirts. Men should wear jazz shoes
lyrics and accompaniment in the new key. (and can bring ballet slippers), tights, jazz pants,
t-shirts or shorts, and a dance belt.
Suggestions for Preparing your Music
your
• Your music should be in a binder, or taped. Do your • Be sure to start warming up as soon as you come
best to eliminate page turns. into the room.

• Include a 2-bar or 4-bar introduction to the songs,

the songs,
and mark it clearly in the music. The measures of
introduction do not count in the 16-bars you will
16-bars you will
be singing. Make sure that the introduction leads
clearly and naturally to your entrance in the song.
• Applicants generally have better success if they
• Applicants generally have better
have training in ballet. While most auditionees
have danced to various degr
degrees
ees in productions, the
specific
specific skills acquired in ballet training are
skills acquired in ballet
invaluable preparation for this portion of the audition.

• Explore the lyrics of the song as carefully as you

carefully as
explore the music. Be absolutely certain that you are
singing correct words, notes, and rhythms.
48 Musical Theatre continued
Piano
The piano audition consists of sight-reading and an
interview. The faculty will evaluate your music reading
skills and your understanding of rhythmic notation.
The ability to read music is an important factor in the
evaluation of your application. It isn’t necessary to
prepare a piece.
Preparation Suggestions
Playing another instrument can be extremely valuable
for your overall understanding of music. However, it’s
still important to begin studying piano before and/
or during high school. It’s best to begin a steady,
organized process of piano study long before your
senior year. While playing by ear is of value, it’s not a
substitute for music reading skills.
Additional Audition Day
Recommendations
• At the beginning of every audition day faculty a clear sense of pitch, an understanding of musical
members and MT majors speak to the applicants as
a group, discussing the Musical Theatre Department
and answering questions. Parents are encouraged applicants should have music reading skills,
to attend these sessions, but may not observe
the auditions.
• Applicants should choose carefully what to wear
for the audition day. An audition is similar to a job
interview, in terms of apparel. The clothes for the
acting/voice/piano segments of the audition should
be somewhat dressy, appropriate, tasteful and
generally conservative.
• Auditioning can sometimes be a stressful situation,
and though we do as much as possible to put
applicants at ease, be sure to choose songs and
monologues with which you can be comfortable in
all situations. Get as much experience as possible and speaking with faculty, students, School
in rehearsing and performing the songs with a skilled
accompanist before any of your college auditions.
It’s also helpful to rehearse all of your material in
different sizes of venues, from small rooms to large
theatre stages. That way, whatever the situation
at each school, you will feel comfortable and can
easily adapt.
What do we look for in a
Michigan applicant?
Someone who…
• has intellectual curiosity, imagination, and
recognizable talent.
• is prepared, confident, sincere, courteous, ambitious,
and is clearly a team-player.
• appreciates and takes pride in the artistic growth
of fellow students.
• is comfortable physically.
• can communicate very specific ideas and choices
in dialogue/lyrics, music, and dance.
• sings the correct notes, rhythms and words, with
line, and a healthy approach that doesn’t push
the voice higher than is appropriate. In addition,
especially at the piano.
• has interests apart from the arts.
• is engaged in the culture of community, ranging
from politics to public service, and is excited to
find ways in which the arts can impact and enrich
American culture.
• has a passion for writing, and a desire to express
personal ideas and points of view.
• has done his/her homework about the Department
and the University by reading official publications
officials, and graduates, rather than relying only on
internet opinions or YouTube postings.
• is committed to a university environment and has
given careful thought to the reasons for pursuing a
BFA in a university as opposed to a conservatory.
 www.music.umich.edu 49

“There wasn’t a song or composer or show or bit

of history I didn’t know. I think more than anything,
Michigan gives you that sense of history – that you
are a part of an incredible theatrical legacy and
that you as an actor are accountable to it.”
Danny Gurwin (BFA 1994) Broadway: LITTLE WOMEN,
URINETOWN, THE FULL MONTY, THE SCARLET PIMPERNEL

42ND STREET
50

Department of Musicology

The University of Michigan offers rich resources for the

study of musicology. The faculty includes specialists in
each period of music history in the West as
well as in American music, the music of Latin
America and the Caribbean, Chinese music,
the music of the Pacific Islands, and the music
of South and Southeast Asia.
The department provides its students with access, as listeners and performers, to the Early
Music Ensemble, the Contemporary Directions Ensemble, and the Javanese Gamelan
Ensemble, among many others.
 www.music.umich.edu 51

usicolog
Degrees offered:

Bachelor of Music in
Musicology (BM)
Bachelor of Musical Arts (BMA)
The BM is a four-year professional degree. Students take
75% of their classes in their major area of study and 25%
in liberal arts courses.

The BMA is also a four-year professional degree but with

a larger commitment to liberal arts. Students take 50%
of their classes in their major area of study and 50% in
liberal arts courses.

Advising is done by faculty mentors and School officials

to ensure student progress and success.

Musicology Faculty
James Borders (Chair, Glenn McGeoch
Collegiate Professor of Music)
Christi-Anne Castro
Mark Clague
Jane Fulcher
Charles Garrett
Jason Geary
Meilu Ho
Joseph Lam
Stefano Mengozzi
Lester P. Monts (Senior Vice Provost for
Academic Affairs)
Louise K. Stein
Steven M. Whiting (Associate Dean for Graduate
Studies)
James Wierzbicki (Executive Editor, MUSA)
Roland John Wiley

Associated Faculty
Charles Reynolds (Music Librarian)
Amy Stillman
Music Library Susan Walton
52 Musicology continued

Bachelor of Music in Musicology Early Music Major (Curriculum C)

For those who wish to teach music history, to • The professional coursework focuses on
work in radio, television, or journalism, or to pursue musicology, theory (including counterpoint and
a subsequent degree in library science. The ornamentation), piano, early music performance,
study of musicology is also recommended ensembles, and private instrumental or vocal
for those who plan to pursue graduate study and lessons. A senior research project and recital
professional scholarship. are required.

Pre-College Preparation • The liberal arts coursework includes required studies

Applicants should have a strong background of study in college-level writing, history, and foreign
on a principal instrument or voice. Piano study is languages. All remaining academic electives are free
recommended. Experience in orchestral and chamber choice; they may be selected from across the range
music is desirable, as well as strong writing skills. of UM offerings.

Curricula Admission and Audition

Music History Major (Curriculum A)
Requirements
• The professional coursework focuses on
• Students must audition on a principal instrument or
musicology, theory, piano, ensembles, and private
instrumental or vocal lessons. voice following the guidelines listed by department
in this publication.
• The liberal arts coursework includes required studies
in college-level writing, history, and foreign • All applicants should submit two or three examples
languages. All remaining academic electives are of English writing. Send these written materials
free choice; they may be selected from across the to the School of Music, Theatre & Dance Admissions
range of UM offerings. Office at least four (4) weeks before the desired
audition date.
Ethnomusicology Major (Curriculum B)
• The professional coursework focuses on musicology Students applying to the Early Music Major
(Western music, world music, folk & popular music, (Curriculum C) should contact Professor Edward
music in culture), theory, piano, ensembles, and Parmentier, eparment@umich.edu, regarding
private instrumental or vocal lessons. audition requirements.
• The liberal arts coursework includes required studies
in college-level writing, history, foreign languages,
and a cognate of social science or humanities
courses. All remaining academic electives are free
choice; they may be selected from across the range
of UM offerings.

RENT
www.music.umich.edu 53
54

Department of Organ

organ The faculty of the Organ Department, eminent

performers and scholars with a broad and
diverse range of specializations, share a profound
commitment to teaching.
The department is rich in resources to
prepare gifted organists for professional
careers. This well-rounded preparation
The department is internationally known
for developing talent - a reputation
evidenced by the number of its graduates
includes development of technique, now enjoying careers as recitalists,
scholarly research, and the ability to play university professors, and music directors
music of all periods with integrity and of large religious organizations.
specific performance practices.
 www.music.umich.edu 55

Degrees offered: Bachelor of Music in

Performance: Organ
Bachelor of Music (BM) in (Curriculum A) is designed for those who wish to
Performance work in performance, church music, or teaching.

Curriculum
Bachelor of Music in Performance The professional coursework includes intensive
with Teacher Certification studies in organ performance, theory, musicology,
organ literature, piano, ensembles, and conducting.
Bachelor of Musical Arts (BMA) A culminating senior recital is required.

The BM is a four-year professional degree. Students take The liberal arts coursework includes required
75% of their classes in their major area of study and 25% studies in college-level writing and foreign language.
in liberal arts courses. All remaining academic electives are free choice,
and may be selected from across the range of
The BMA is also a four-year professional degree, but with UM offerings.
a larger commitment to liberal arts. Students take 50%
of their classes in their major area of study and 50% in Bachelor of Music in Performance:
liberal arts courses. Organ with Teacher Certification
(Curriculum B) is designed for organists who wish
Advising is done by faculty mentors and School officials to focus on performance and teach in elementary or
to ensure student progress and success. secondary schools. Students earn both the BM and
K-12 teacher certification, usually in five years.
Pre-College Preparation
Applicants should have a secure grasp of technique and Curriculum
musicianship from piano study. A student planning to This unique program yields a professional degree
major in organ should be able to play such repertory as and the teacher’s certificate – two credentials.
the preludes and fugues from The Well-Tempered Clavier
by J.S. Bach, classical sonatas, selected etudes by The professional coursework includes intensive
Chopin, and a significant modern work. studies in organ performance, theory, musicology,
organ literature, piano, ensembles, and conducting.
A culminating senior recital is required.

The liberal arts coursework includes required studies

in college-level writing, psychology, social science
(1), and natural science (2). All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.

The education coursework includes studies in teaching

Organ Faculty methods, psychology and human development,
Marilyn Mason (Chair, University Organist) multicultural society, and student teaching.
Steven Ball (University Carillonneur)
James W. Kibbie

Associated Faculty
Michele Johns Opposite Page: The 120 rank E.M. Skinner/
Jenny King (carillon) Aeolian-Skinner organ in Hill Auditorium.
RENT Photo Credit: James Duderstadt
 56 Organ continued

Audition and Interview

Requirements
Prepare fifteen to twenty minutes of organ literature
you have thoroughly studied. Include a work of J. S.
Bach and a romantic or contemporary composition.
Choose pieces that you and your teacher agree are
within your present musical and technical grasp.
Memorization is neither required nor discouraged. You
will have an opportunity to become acquainted with
the organ you will be playing before your audition.

In certain cases, a student may be admitted who

has had no organ study but does have a strong
background in piano. In such individual cases,
a full piano audition is permitted instead of an
organ audition.

Applicants to Performance with Teacher Certification

(Curriculum B) will also be scheduled for an
interview with a representative of the Department
of Music Education.
rgan

The 35 rank C.B. Fisk organ, with suspended

mechanical key action and 27 stops. Modeled
after the instruments of G. Silbermann.
 57

Department of Performing Arts Technology

The Department of Performing Arts Technology seeks to

advance the aesthetics of technology-based arts
through performance, the development of emerging
technologies, and research. Collaboration and creativity
are key components of the interdisciplinary study of music,
dance, theatre, engineering, art, and film and video.
The University of Michigan maintains Studios, the Audio Studio, the Video
extensive computing resources for all Studio, and several project studios. These
students, and the School of Music, studios feature state-of-the-art equipment
Theatre & Dance vigorously promotes in acoustically optimized spaces. The
applications of technology in music. nearby Duderstadt Center houses an
Professional quality studios include the electronic library, interactive multimedia
Music Technology Lab, Multimedia Lab, classrooms, a virtual reality laboratory, and
Music Listening Lab, two Electronic Music design studios.

Digital Music Ensemble

58 Performing Arts Technology continued
Degrees offered:
Bachelor of Music in Music
Technology (BM)
Bachelor of Fine Arts: Music
Technology Concentration (BFA)
Bachelor of Fine Arts: Media Arts
Concentration (BFA)
Bachelor of Science in Sound
Engineering (BS)
An additional offering: Concurrent
Undergraduate/Graduate Studies in Curriculum
Media Arts (CUGS)
The BM and BFA programs are four-year professional
degrees. Students take 75% of their classes in their and arranging, sound recording and production, media
major area of study and 25% in liberal arts courses.
major area of study and 25% in
The BS degree is also a four-year professional degree,
but with a larger commitment to natural science and
engineering. Students take 50% of their classes in
engineering. Students take 50% of their classes in
their major area of study and 50% in engineering,
their and 50% in engineering,
science, and other liberal arts courses.
The CUGS program in Media Arts facilitates the
program facilitates
advancement of outstanding University of Michigan
baccalaureate candidates through completion
of the graduate program, Master of Arts (MA) in
Media Arts. CUGS offers early admission to the MA
Media early admission the
for the exceptional student who can complete an
undergraduate program in three or three and one-half
years with an outstanding academic and artistic
record; and who, in the judgment of both graduate
and undergraduate faculty, is ready for graduate work.
A maximum of 15 credit hours of courses elected in
maximum of 15 of courses elected in
CUGS may be counted toward both the bachelor’s
CUGS may be counted toward both the bachelor’s
and the master’s degrees. The student should receive
the bachelor’s degree within a year of enrollment in
the master’s degree program. The student typically
graduates with the MA after two years in the CUGS
the MA after the CUGS
program, or one year after completing the
bachelor’s degree.
Advising is done by faculty mentors and School
officials to ensure student progress and success.
Bachelor of Music in Music
and Technology
(Curriculum A) is designed for students who possess
demonstrated interest in producing music with
computer technology and who are also performers in
voice or on an acoustic instrument.
Pre-College Preparation
Experience in performance (both traditional and
technologically enhanced), music theory, composition,
mathematics, and computer applications.
The professional coursework includes intensive
studies in performing arts technology (acoustics and
psychoacoustics, computer music programming
arts, digital music ensemble, and more), music theory,
composition, musicology, piano, ensembles, and
private instrumental or vocal lessons. The degree
culminates with a Senior Thesis.
The liberal arts coursework includes required studies
The liberal arts coursework includes required
in college-level writing, mathematics, and computer
programming. All remaining academic electives
are free choice, and may be selected from across the
range of UM offerings.
Bachelor of Fine Arts in Performing
Arts Technology: Music Concentration
(Curriculum B) is designed for students who
possess demonstrated interest in producing art
forms that integrate images, sound, and music using
computer technology.
Pre-College Preparation
Experience in performance (both traditional and
technologically enhanced), music theory, composition,
mathematics, and computer programming. Some
experience manipulating still and moving images
using technology.

Curriculum
The professional coursework includes intensive studies
in performing arts technology (acoustics and
psychoacoustics, computer music programming and
arranging, sound recording and production, media
arts, digital music ensemble, and more), music theory,
composition, musicology, piano, ensembles, and
private instrumental or vocal lessons. The degree
culminates with a Senior Thesis.
The liberal arts coursework includes required studies in Sound Engineering
college-level writing, mathematics, screen arts and
culture, visual arts and culture, computer programming,
still imagery and technology, dance, and computer
aided design, modeling, or animation. All remaining
academic electives are free choice, and may be
selected from across the range of UM offerings.
Bachelor of Fine Arts in Performing Arts
Technology: Media Arts Concentration
(Curriculum C) is designed for students who possess
demonstrated interest in using technology to create
multimedia art forms.
Pre-College Preparation
Experience in producing integrated art forms using
computer technology. Some experience in music
theory, composition, mathematics, and still and
moving imagery.
Curriculum
The professional coursework includes intensive
studies in performing arts technology (acoustics and
psychoacoustics, computer music programming
and arranging, sound recording and production, media
arts, digital music ensemble, and more), music theory,
composition, musicology, piano, ensembles, and
private instrumental or vocal lessons. The degree
culminates with a Senior Thesis.
The liberal arts coursework includes required studies
The coursework includes required
in college-level writing, mathematics, screen arts
and culture, visual arts and culture, computer
programming, still imagery and technology, dance,
and computer aided design, modeling, or animation.
All remaining academic electives are free choice, and
may be selected from across the range of UM offerings.
www.music.umich.edu 59
Students choose one:
• Engineering Concentration: A depth of study in
advanced Math/Engineering electives
• Sonic Arts Concentration: A depth of study in
advanced Sonic Arts electives
• Visual Arts Concentration: A depth of study in
advanced electives including two courses in screen
arts and culture with the remaining coursework in art
Bachelor of Science in
(Curriculum D) is designed for students who
demonstrate abilities in both music and engineering
and are interested in sound reinforcement, sound
recording, and audio equipment research and design.
Pre-College Preparation
1) Traditional and technologically enhanced
performance experience, with a high level of
proficiency on an acoustic instrument; 2) aptitude
and strong coursework achievement in music theory,
mathematics, physics, and computer programming;
and 3) prior experience with multitrack recording and
sound reinforcement.
Sound Engineering requires an academic GPA of 3.5,
an SAT math subscore of 630 or better, or an ACT
math subscore of 28 or better.
Curriculum
The professional coursework includes intensive
studies in performing arts technology (acoustics and
psychoacoustics, computer music programming and
arranging, sound recording and production, media arts,
sound for theatre, technical ear training and critical
listening, contemporary practices in studio production,
and more), music theory, composition, musicology,
piano, ensembles, and private instrumental or vocal
lessons. The degree culminates with a Senior Thesis.
The liberal arts coursework includes required studies
in college-level writing, computer programming,
calculus (3), differential equations, physics
(2), electronic circuits, signals and systems,
electromagnetics, and digital signal processing. All
remaining academic electives are free choice, and may
be selected from across the range of UM offerings.
60 Performing Arts Technology continued

Admission, Audition and Interview 2. A hard (paper) copy of source code and program
output of an original computer program in any
Requirements language. Commented source code should include
your name, UM ID, address, phone, and a program
Every Performing Arts Technology degree requires abstract with additional comments as necessary.
the submission of a portfolio and subsequent interview
with the Performing Arts Technology faculty. The BM Curriculum C (Visual Arts or Engineering Concentration)
in Music and Technology (Curriculum A) also requires Applicants to Curriculum C intending to concentrate
an audition. Audition requirements are listed under in either Visual Arts or Engineering should submit
the specific instrument or voice department. a representative portfolio of their creative work.
Example portfolio pieces might include an original
After a preliminary review of portfolios, a select number music composition, a video, a computer program,
of applicants will be invited for on-campus interviews. photography, or art.
Please indicate your preference for an interview date
on your application. Curriculum D
Applicants to Sound Engineering (Curriculum D)
Provide a complete description of the equipment should submit a portfolio consisting of a stereo CD
and techniques used to produce your portfolio on recording of:
the PAT Companion Notes form, downloadable from
www.music.umich.edu/departments/pat/auditions_ug.htm. 1. Yourself performing on an instrument or voice
All soundfiles must be uncompressed stereo audio 16-bit with repertoire of your choice, and
resolution with a sampling rate of 44.lkHz (CD quality).
2. Two stereo recordings you have engineered that
All materials should be sent to the School of Music, represent contrasting musical styles performed by at
Theatre & Dance Admissions Office, and must be least three musicians. The stereo recording should be
received by December 1. Write your name, UM ID if produced primarily from microphone signals. Original
known, address, phone, and the program to which compositions are encouraged.
you are applying on all your materials.

Portfolio Requirements
Curricula A, B and C (Sonic Arts Concentration only)
All materials submitted must be produced and recorded
by the applicant.

1. A CD, with a minimum of five tracks:

• one example of an original composition (two to
Performing Arts Technology Faculty
Jason Corey (Chair, Audio Engineering)
five minutes long) for electronic instruments;
Georg Essl (Electrical Engineering)
• a recording of an original composition (two to five
Jennifer Furr
minutes long) for one or more acoustic
Andrew Kirshner (School of Art and Design)
instruments accompanied by a notated score;
Virgil Moorefield
• an arrangement of any fugue movement by J.S.
Stephen J. Rush
Bach orchestrated for electronic instruments;
Erik Santos (Electronic Music)
• a selection of original sampled and processed or
Mary H. Simoni (Associate Dean for Research
synthesized sounds;
and Community Engagement)
• a recording of you performing on a traditional
acoustic instrument or voice.
Associated Faculty
RENT Gregory Wakefield (Electrical Engineering)
www.music.umich.edu 61

The Audio Studio

62

Department of Piano

The Piano Department offers exceptionally fine training

to talented young performers. Its mission is to assist,
guide, and encourage students in achieving the highest
artistic and intellectual standard of which they are capable.
Through individual instruction, ensemble coaching, and
musicianship classes, the faculty strives to promote
understanding while simultaneously encouraging original
and creative thought. Students receive thorough
preparation for careers as soloists, chamber
musicians, collaborative pianists, and teachers.
 www.music.umich.edu 63

pian
Degrees offered:

Bachelor of Music in Performance

(BM)
Bachelor of Music in Performance
with Teacher Certification
Bachelor of Musical Arts (BMA)
The BM is a four-year professional degree. Students take
75% of their classes in their major area of study and 25%
in liberal arts courses.

The BMA is also a four-year professional degree, but with

a larger commitment to liberal arts. Students take 50%
of their classes in their major area of study and 50% in
liberal arts courses.

Advising is done by faculty mentors and School officials

to ensure student progress and success.

Piano Faculty
John Ellis (Chair, performance, pedagogy)
Katherine Collier (performance,
collaborative piano)
Arthur Greene (performance)
Christopher Harding (performance,
collaborative piano)
Martin E. Katz (Artur Schnabel Collegiate
Professor of Music, collaborative piano)
Louis Nagel (performance)
Edward Parmentier (harpsichord, early music)
Logan Skelton (performance)

Associated Faculty
Kelley Benson (pedagogy)
Penelope Crawford (fortepiano)
Robert Grijalva (Director of Piano Technology)
64 Piano continued
Bachelor of Music in
Performance: Piano
(Curriculum A) is appropriate for those who wish to
work in performance and teaching.
Pre-college Preparation
Eight to twelve years of piano study; repertory to
include representative compositions of the Baroque,
Classical, and Romantic periods, and the 20th century.
Memorization is expected.
Curriculum
The professional coursework includes intensive
studies in piano performance, theory, musicology,
piano literature, chamber music, ensembles, and
conducting. A culminating senior recital is required.
The liberal arts coursework includes required
studies in college-level writing and foreign language.
All remaining academic electives are free choice,
and may be selected from across the range of
UM offerings.
Bachelor of Music in Performance:
Piano with Teacher Certification
(Curriculum B) is appropriate for pianists who wish
to perform and teach in elementary or secondary
schools. Students earn both the BM and K-12 teacher
certification, typically in five years. Alternatively, a
four-year option is the curriculum in Choral or
Instrumental Music Education.
Curriculum
This unique program yields a professional degree and
the teacher’s certificate – two credentials.
The professional coursework includes intensive
studies in piano performance, theory, musicology,
piano literature, chamber music, ensembles, and
conducting. A culminating senior recital is required.
The liberal arts coursework includes required studies
in college-level writing, psychology, social science
(1), and natural science (2). All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.
RENT
The education coursework includes studies in teaching
methods, psychology and human development,
multicultural society, and student teaching.
Admission, Audition and
Interview Requirements
Please see the website for faculty request information.
Piano Performance (Curriculum A & B)
Prepare ALL of the following:
• a Baroque work by a composer such as Bach,
Handel, or Scarlatti with a minimum playing time of
five minutes, no repeats. Any prelude and fugue
from the Well-Tempered Clavier is acceptable.
• a complete classical sonata
• a Romantic work
• an impressionistic or 20th-Century work
• an etude of virtuosity
Memorization is required. Recorded auditions must
be on CD or DVD.
Applicants must meet all repertoire requirements listed
above. Failure to prepare the full audition program will
eliminate you from consideration.
Performance with Teacher Certification (Curriculum B)
Applicants will also be scheduled for an interview with
a representative of the Department of Music Education.
Piano Principal (for pianists applying to degrees other
than performance, e.g. Composition)
Prepare ALL of the following:
• a baroque work
• a quick tempo movement of a classical sonata
• a 19th- or 20th-century solo of your choice
Memorization is preferred.
www.music.umich.edu 65
66

Department of Strings

The mission of the Department of Strings is to assist,

guide, and encourage students in achieving the
highest artistic and intellectual standard of which
they are capable.

Through individual instruction with a creative thought. By offering a variety of

major artist-teacher, ensemble coaching, educational options, the faculty seeks to
and musicianship classes, the faculty prepare students for career possibilities in
strives to promote understanding while traditional and emerging fields.
simultaneously encouraging original,
 www.music.umich.edu 67

string
Degrees offered:

Bachelor of Music (BM) in

Performance
Bachelor of Music in Performance
with Teacher Certification
Bachelor of Musical Arts (BMA)
The BM is a four-year professional degree. Students take
75% of their classes in their major area of study and 25%
75%
in liberal arts courses.

The BMA is also a four-year professional degree, but with

a larger commitment to liberal arts. Students take 50%
of their classes in their major area of study and 50% in
liberal arts courses.

Advising is done by faculty mentors and School officials

to ensure student progress and success.

Strings Faculty
Diana Gannett (Chair, double bass)
Richard Aaron (cello)
Yehonatan M. Berick (violin)
Aaron Berofsky (violin)
Anthony D. Elliott (cello)
Joan Raeburn Holland (harp)
Andrew W. Jennings (violin)
Yizhak Schotten (viola)
Stephen Shipps (violin)

Associated Faculty
Rebecca Albers (viola)
Caroline Coade (viola)
Robert Culver (viola, string pedagogy)
Stephen Molina (double bass)
Enid Sutherland (baroque cello)
68 Strings continued

Bachelor of Music in Performance: The education coursework includes studies in teaching

methods, psychology and human development,
Performance Major multicultural society, and student teaching.
(Curriculum A) is appropriate for string players (violin,
viola, cello, double bass) who desire a career in
performance (including orchestral playing) or teaching.
Bachelor of Music in
Performance: Harp
Pre-College Preparation Designed for harpists who wish to work in solo and
The student must show evidence of exceptionally ensemble performance and teaching.
strong ability, training, and repertoire; piano study is
recommended. Experience in orchestral and chamber Pre-College Preparation
music is desirable. The student must show evidence of strong ability,
training, and repertoire; piano study is recommended.
Curriculum Experience in orchestral and chamber music
The professional coursework includes intensive studies is desirable.
in performance, theory, musicology, piano, ensembles,
and chamber music. A culminating senior recital Curriculum
is required. The BM is a four-year professional degree. Students
take 75% of their classes in their major area of study
The liberal arts coursework includes required studies in and 25% in liberal arts courses.
college-level writing. All remaining academic electives
are free choice, and may be selected from across the The professional coursework includes intensive studies
range of UM offerings. in harp performance, theory, musicology, piano, and
ensembles. A culminating senior recital is required.
Bachelor of Music in Performance:
The liberal arts coursework includes required studies in
String Major with Teacher Certification college-level writing. All remaining academic electives
(Curriculum B) is designed for students who wish to
are free choice, and may be selected from across the
prepare for a professional performance and teaching
range of UM offerings.
career in elementary or secondary schools. This
degree emphasizes major instrument performance
and string pedagogy. Audition and Interview
Requirements
Curriculum
This unique program yields a professional degree Piano accompaniment is neither required nor provided
and the teacher’s certificate – two credentials. for string auditions. Applicants to the String Major
with Teacher Certification (Curriculum B) will also be
The professional coursework includes intensive scheduled for an interview with a representative of the
studies in performance, theory, musicology, piano, Department of Music Education.
secondary instruments, ensembles, and chamber
music. A culminating senior recital is required. Cello
Prepare an etude representing your current level of
The liberal arts coursework includes required studies technical development, two contrasting movements
in college-level writing, psychology, social science (1), from one of the Bach unaccompanied suites, and an
and natural science (2). All remaining academic allegro movement from the standard cello concerto
electives are free choice, and may be selected from literature. Both the Bach and the concerto should be
across the range of UM offerings. played from memory.

RENT
 www.music.umich.edu 69

Double Bass
Prepare an etude representing your current level of
technical development, two solo pieces or movements
(in contrasting styles or tempi), and (optionally) a
few minutes of excerpts from standard orchestral
repertoire. One of the solo works or movements should
be played from memory.

Guitar
The School does not offer a degree in classical guitar
performance. It is possible for jazz guitar to serve as
a principal instrument within the Jazz Studies and
Jazz and Contemplative Studies degree programs.
Jazz guitar audition requirements are listed with the
Department of Jazz & Improvisation.

Harp
Prepare ALL of the following:
• four octaves of ascending and descending arpeggios
in two keys, alternating hands
• four octaves of a scale in one key, hands together
• one etude
• two substantial works of contrasting style and/or
time period. All solo literature must be performed
from memory.

Viola
Prepare an etude and two movements in contrasting
styles from the standard viola repertoire other than
the Telemann Concerto or Bach’s First Suite. One
movement must be memorized. Three-octave scales
and arpeggios may be requested.

Violin
Prepare the first movement of a concerto (including
cadenza if one is written), two contrasting movements
of a Bach sonata or partita, and one caprice
chosen from:
• Paganini Caprices, op. 1
• Wieniawski Caprices, op. 18
• Wieniawski Ecole Moderne, op. 10
• Dont Etudes, op. 35
Cellist David Requiro (MM Cello
All solo literature must be performed from memory. Performance 2009) won first prize in
both the 2008 Walter W. Naumburg
and the Rostropovich International
Violoncello Competitions.
70
 www.music.umich.edu 71

“…get serious at a young age…

The more multi-faceted you
are, the more you understand
politics and the world,
philosophy and psychology,
the way the mind works
and the way people learn, the
better you’re going to be as
a musician.” Daniel Gilbert, Associate
Professor of Clarinet

Percussion Ensemble
72

Department of Theatre & Drama

Theatre has a long and distinguished history at the

University of Michigan. Our strengths lie in a careful
blend of professional and academic work and
training. Some of our distinguished alumni include
James Earl Jones, Arthur Miller, Christine Lahti, Gilda
Radner, and David Paymer.
UM theatre students benefit from the Theatre at Michigan presents a stimulating
diversity and sophistication offered blend of cultural diversity, intellectual rigor,
by a large first-class institution, while and professional experience for students,
enjoying the intimate atmosphere of the professionals, and academics. It is a
Department of Theatre & Drama. We have stimulating place to learn and to grow,
a low student-to-faculty ratio and faculty where the prevailing atmosphere is
members are friendly and accessible. one of family.
 www.music.umich.edu 73

theatre & dram

Degrees offered:

Bachelor of Fine Arts in Design

and Production (BFA)
Bachelor of Fine Arts in
Performance (Acting or Directing
Concentration)
Bachelor of Theatre Arts (BTA)
Bachelor of Fine Arts in Interarts
Performance (with the School of
Art & Design)
Advising is done by faculty mentors and School officials
to ensure student progress and success.

Theatre & Drama Faculty Christianne Myers (Costume Design)

John Neville-Andrews (Acting, Directing)
Gregory Poggi (Chair; Arts Administration)
Gary Decker (Technical Theatre) Mbala Nkanga (Theatre Studies;
Glenda Dickerson (Theatre Studies; World Performance)
African-American Theatre) Oyamo (Playwriting)
Erik Fredricksen (Acting and Stage Combat) Jerald Schwiebert (Acting, Movement)
Sarah-Jane Gwillim (Acting) Malcolm Tulip (Acting, Directing, Movement)
Jessica Hahn (Costume Design) E.J. Westlake (Theatre Studies)
Philip Kerr (Claribel Baird Halstead Leigh Woods (Theatre Studies)
Professor, Acting)
Annette Masson (Voice) Associated Faculty
Janet Maylie (Acting) Enoch Brater
Joan Morris (Cabaret) Barbara Hodgdon
Vincent Mountain (Scene Design) Holly Hughes (School of Art and Design)
Robert E. Murphy III (Lighting Design)

PRIDE & PREJUDICE

74 Theatre & Drama continued
Bachelor of Fine Arts in
Design & Production
For those students who love the technical side of
theatre and wish to work in design, production, or
stage management.
Curriculum
The BFA is a four year professional degree. Students
take 65% of their classes in their major area of study dialects, studio, and more). Cognate studies in
and 35% in liberal arts courses. singing and electives in music, dance, and theatre
The professional coursework includes intensive
studies in Design & Production Fundamentals
(lighting/scene/costume design, technical theatre,
directing, acting, stage mgt, theatre history & more),
Design & Production Specialization (advanced
classes), a Cognate (coursework supporting the
area of specialization) and Theatre Production (crew,
stage management, shop, and more). In the second
semester of their sophomore, junior and senior years,
majors participate in a portfolio review and a public
showing of their design work.
The liberal arts coursework includes required studies studies in Theatre (directing, acting, movement, voice,
in college-level writing, Shakespeare plays, history of
art, and language. All remaining academic electives
are free choice, and may be selected from across the
range of UM offerings.
Bachelor of Fine Arts in
Performance
For students who wish to work as performers or
directors in theatre, television or film. The BFA trains
talented and purposeful students by physically and
mentally preparing them for the demands of both the
art and business of theatre.
Pre-College Preparation
Significant involvement in theatre productions is
recommended. Talented students without previous
experience may apply.
The BFA is a four year professional degree. Students
take 65% of their classes in their major area of study
and 35% in liberal arts courses.
Acting Concentration
For students who wish to train as performers in
theatre, television and film.
Curriculum
The professional coursework includes intensive
studies in Theatre (acting, movement, voice,
stage combat, technical theatre, theatre history,
are also required.
The liberal arts coursework includes required studies
in college-level writing, Shakespeare plays, and
language. All remaining academic electives are free
choice, and may be selected from across the range
of UM offerings.
Directing Studies Concentration
For students who wish to train in theatre directing.
Curriculum
The professional coursework includes intensive
stage combat, technical theatre, stage management,
design, playwriting, theatre history, and more).
Cognate studies in music, and electives in dance,
music, and theatre are also required.
The liberal arts coursework includes required studies
in college-level writing, Shakespeare plays, screen arts
and culture, and language. All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.
 www.music.umich.edu 75

MADMEN & SPECIALISTS

76 Theatre & Drama continued

heatre & dram

Bachelor of Theatre Arts
For students who wish to pursue a well-rounded,
substantive theatre education within the framework
of a solid liberal arts education. This degree provides
flexibility for students to develop a minor area of study
in consultation with the program advisor. Students
may customize their programs to fit personal goals.

The BTA is not a performance or technical training

program. It is designed for students who want
to pursue careers in areas such as production
management, arts administration, dramaturgy,
or teaching.

Curriculum
The BTA is a four-year professional degree. Students
take 50% of their classes in their major area of study
and 33% in liberal arts courses. The remaining 17%
is customizable according to the student’s interests.
One option is a Performing Arts Management
Concentration – for students who wish to work in
the management and administration of institutional
companies as well as the commercial theatre industry.

The professional coursework includes intensive

studies in Theatre Arts (acting, design, technical
theatre, theatre history, directing, stage management,
and more).

The liberal arts coursework includes required studies

in college-level writing, Shakespeare plays, and screen
arts and culture. Additionally, two courses within one
department of Social Sciences or Humanities, and
at least three courses beyond the introductory level
academic
in one subject are required. All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.

If selected, the Performing Arts Management

Concentration includes at least five additional
courses in Performing Arts Management, Practicum
in Performing Arts Management, Topics in Drama,
Producing in the American Theatre, and Uber
Practicum in Arts Management. Cognate studies in
accounting, marketing, business law, management
and organizations, economics, or related subjects are
also required.
PRIDE & PREJUDICE

Bachelor of Fine Arts Degree in
Interarts Performance
The BFA is a four-year interdisciplinary degree
jointly offered by the School of Art & Design and the
Department of Theatre & Drama. This is a program for
adventuresome students who have interests in the
visual arts and theatre, as well as a desire to create
original performance pieces.
In this degree program, students are introduced to a
diverse range of art forms and creative practices from
new media to traditional acting skills, with the aim of
generating work that blurs boundaries between the
visual arts and performance.
Created in response to the emergence in the latter
half of the 20th century of a new kind of performance notions about the world. They can be used in any
domain, combining both creative and interpretive
approaches to expression in time and space, this
highly interdisciplinary program is the first of its kind
in the nation. The School of Art & Design contributes
a broad visual language vocabulary, a culture
of experimentation, and expertise with new and
emerging media technologies. The School of Music,
Theatre & Dance contributes training in movement,
voice, action, and narrative, as well as expertise
in the design and construction of sets, costumes
and lighting.
One of the many objectives is to produce graduates
capable of creating personal new works which
transcend aesthetic, discipline, and genre boundaries.
Pre-College Preparation
Significant involvement in theatre and art is
recommended. Talented students without previous
experience in one or the other may apply.
www.music.umich.edu 77
Curriculum
The BFA in Interarts Performance is a four year
professional degree. Students take 65% of their
classes in the major area of study and 35% in liberal
arts courses. The degree includes a balanced
combination of selected studio courses from the
School of Art & Design and the Department of Theatre
& Drama, a component of academic elective courses
in both schools, and academic requirements and
electives from across the University.
Introductory studio courses include intensive studies
that provide the conceptual and physical foundation
required to communicate ideas physically and visually.
Students learn that techniques and materials are
somewhat neutral tools used to express subjective
context to create work. By being introduced to a wide
variety of tools, students gain the advantage of many
possible options.
Advanced studio courses build upon the introductory
experiences, challenging students to work more
independently and with greater focus. As a capstone
advanced studio, students undertake a two-semester
Integrative Project course during their final year. The
final presentation engages a public context and is
documented in both written and visual portfolios.
Academic courses in Theatre and Art & Design
provide students with visual culture and performance
histories, a view of current practices covering
a wide variety of media and artistic tendencies,
and the opportunity to experience the potential of
contemporary live art and artists. The course Live Art
Survey is required for all entering majors.
Survey for all entering majors.
Liberal arts coursework provides students with
a combination of required and elective courses
combination required and elective courses
designed to develop familiarity with the three
traditional components of a liberal arts education –
humanities, social sciences and natural sciences; an
introduction to analytical reasoning; an awareness
of other cultures; and familiarity with contemporary
environmental issues.
78 Theatre & Drama continued
Audition and Interview
Requirements
Bachelor of Fine Arts in
Design & Production
Prepare and bring to the interview:
• a résumé outlining previous theatre experience the interviewer. This might include a discussion of your
and training.
• recommendations from drama and art teachers or
production supervisors.
• a brief personal statement (no more than 600 words) 4. Performance Prepare two contrasting monologues
describing your reasons for choosing a career in
theatre and theatre training at Michigan.
• a recent headshot.
• a portfolio of artwork and/or production notes will be
requested when interview is scheduled. The portfolio
can include any kind of creative work: drawing,
painting, ceramics, photography, jewelry or
metal smithing, actual set, costume or lighting
design work.
You will have the opportunity to learn more about
the program and ask questions. It’s important to be
questions. It’s important
relaxed, honest, direct and yourself. Interviews are
conducted in Ann Arbor.
Bachelor of Fine Arts in
Performance: Acting and Directing
Performance auditions consist of six parts. Students
interested in acting complete all six parts, while
students interested in directing complete only the
first three:
1. Résumé and photo Bring to the audition a typed
résumé that includes your previous theatre experience
résumé previous theatre experience
and training. Include any dance or music background,
in addition to roles performed. Bring a recent photo
with a good likeness. Directors should also bring any
materials which support their experience in production
(stage management, directing or assistant directing).
2. Brief personal statement Bring to the audition a
short essay (no longer than two double-spaced pages)
describing reasons for choosing theatre training at
Michigan and a theatre career. This may include goals,
professional ambitions, and ideas about the field itself.
3. Interview Be prepared for a short conversation with
previous theatre work and your goals. It is important to
be relaxed, honest, direct and yourself.
Additional Requirements for the Acting concentration:
from plays, not to exceed a combined total of four
minutes. These selections may be from comedies or
dramas of any period, although more modern works
are preferred. They should not be from unpublished
work. The pieces should be prepared and memorized.
Try to incorporate some physical movement in at least
one of the selections. The plays of Shakespeare or
verse texts are not encouraged.
5. Workshops Participate in improvisation/movement
and voice workshops.
6. Improvisation The interviewer may request that
some, but not all, of the following tasks be rendered
with specific guidelines or conditions. Listen to the
instructions and try to fulfill them.
• Discuss briefly the plays and characters of your
• Discuss briefly the plays and of your
audition pieces.
• Perform a simple
• Perform a simple physical
physical task without words.
task without words.
• Re-do one of your audition pieces with a different
• Re-do one of your with a different
set of goals and conditions.
• Ask the interviewer some questions relating to the
• Ask the interviewer some questions to the
Theatre program.
 www.music.umich.edu 79

Bachelor of Theatre Arts Exposed on the Cliffs of the Heart

Prepare each of the writings below in typed, single- Rainer Maria Rilke
spaced format. Send them separately to the School
of Music, Theatre & Dance Admissions Office by the Exposed on the cliffs of the heart. Look, how tiny down
application deadline. (These writings are in addition to there,
the required university and SMTD essay questions.) look: the last village of words and, higher,
(but how tiny) still one last
1. Write a one-page personal statement explaining farmhouse of feeling. Can you see it?
your personal and professional goals and how a Exposed on the cliffs of the heart. Stoneground
multidisciplinary theatre degree like the BTA would aid under your hands. Even here, though,
you in achieving them. something can bloom; on a silent cliff-edge
an unknowing plant blooms, singing, into the air.
2. Write a two-page critical essay reviewing a play you But the one who knows? Ah, he began to know
have read or have seen performed. Discuss the play in and is quiet now, exposed on the cliffs of the heart.
terms of any of the following: character development, While, with their full awareness,
major themes, political context, mise-en-scène. many sure-footed mountain animals pass
or linger. And the great sheltered birds flies, slowly
3. Using one of the three poems below as a creative Circling, around the peak’s pure denial.—But
catalyst, write a two-page narrative featuring the without a shelter, here on the cliffs of the heart.
narrator as the “main character”.
Expect Nothing
Museum Alice Walker
Wislawa Szymborska
Expect nothing. Live frugally
Here are plates but no appetite. on surprise.
And wedding rings, but the requited love Become a stranger
has been gone now for some three hundred years. To need of pity
Or, if compassion be freely
Here’s a fan---where is the maiden’s blush? given out
Here are swords---where is the ire? Take only enough
Not will the lute sound at the twilight hour. Stop short of urge to plead
Then purge away the need.
Since eternity was out of stock,
ten thousand aging things have been amassed instead. Wish for nothing larger
The moss-grown guard in golden slumber Than your own small heart
props his mustache on Exhibit Number... Or greater than a star;
Tame wild disappointment
Eight. Metals, clay and feathers celebrate With caress
their silent triumphs over dates. Unmoved and cold
Only some Egyptian flapper’s silly hairpin giggles. Make of it a parka
For your soul.
The crown has outlasted the head.
The hand has lost out to the glove. Discover the reason why
The right shoe has defeated the foot. So tiny human giant
Exists at all.
As for me, I am still alive, you see. So scared unwise
The battle with my dress still rages on. But expect nothing. Live frugally
It struggles, foolish thing, so stubbornly! on surprise.
Determined to keep living when I’m gone! RENT
80

THE SHOW OFF

Theatre & Drama continued
Bachelor of Fine Arts in
Interarts Performance
Applicants for this degree are required to attend an specific guidelines or conditions. Listen to the
audition/interview and portfolio review conducted by
the Department of Theatre & Drama and the School of
Art & Design.
Written Requirements
1. Résumé and photo Bring to the audition a typed
résumé that includes your previous theatre experience
and training. Include any dance or music background,
in addition to roles performed. Bring a recent photo
with a good likeness.
2. Brief personal statement Bring to the interview a
short essay (no longer than two double-spaced pages)
describing reasons for choosing the Interarts program.
This may include goals, professional ambitions, and
ideas about the field itself.
Performance Requirements
1. Performance Prepare two contrasting monologues
from plays, not to exceed a combined total of four
minutes. These selections may be from comedies or
dramas of any period, although more modern works
are preferred. They should not be from unpublished
work. The pieces should be prepared and memorized.
Try to incorporate some physical movement in at least
one of the selections. The plays of Shakespeare or
verse texts are not encouraged.
2. Workshops Participate in improvisation/movement
and voice workshops.
www.music.umich.edu 81
3. Improvisation The interviewer may request some,
but not all, of the following tasks be rendered with
instructions and try to fulfill them.
• Discuss briefly the plays and characters of your
audition pieces.
• Perform a simple physical task without words.
• Re-do one of your audition pieces with a different
set of goals and conditions.
• Ask the interviewer some questions relating to the
Theatre program.
4. Interview Applicants will also interview with Interarts
faculty. Be prepared to discuss your experience in
both Art and Theatre, and your reasons for choosing
this degree. You will be asked to present a short (2-4
minutes) performance piece which demonstrates your
own area of performance skill or interest (puppetry,
dance, animal impersonations, martial art, etc…),
and you may be asked to improvise a short
biographical monologue. e.g. “What I like/dislike
about riding bicycles.”
Please see the School of Art & Design
website www.art-design.umich.edu for the art
portfolio requirements.
82

Department of Voice

The Voice Department is dedicated to the thorough

training and preparation of highly talented singers for
professional careers. Students receive outstanding
vocal training and coaching by a distinguished,
resident faculty. They are encouraged and mentored
to develop their highest levels of artistry, creativity, and
musicianship, while benefitting from a wide array of
performance opportunities and academic programs in
theory, history, languages, acting, dance, and pedagogy.
All roles in regularly scheduled opera, The Jessye Norman Master Class Series
choral, chamber music, and musical sponsors master classes and visits by
theatre performances are performed distinguished artists, which further enrich
by students. the curriculum.
 www.music.umich.edu 83

voic
Degrees offered:

Bachelor of Music in Performance

(BM)
Bachelor of Music in Performance
with Teacher Certification
Bachelor of Musical Arts (BMA)
Advising is done by faculty mentors and School officials
to ensure student progress and success.

Voice Faculty
Melody Lynn Racine (Chair)
Timothy Cheek (diction)
Caroline Helton
Freda Herseth (Arthur F. Thurnau Professor)
Stephen Lusmann
Joshua Major (opera)
Carmen Pelton
Rico Serbo
Martha Sheil
George I. Shirley (Professor Emeritus)
Robert Swedberg (opera)
Shirley Verrett (James Earl Jones
Distinguished University Professor of Music)
Daniel Washington (Associate Dean for
Faculty and Multi-Cultural Affairs)
Stephen West

Associated Faculty
Norman Hogikyan (Medical School)
Martin Katz (collaborative piano)
84 Voice continued
Bachelor of Music in
Performance: Voice
(Curriculum A) is designed for those who wish to
prepare for a career on the concert stage, in church
solo work, radio, television, and private teaching.
Curriculum
The BM is a four-year professional degree. Students
take 75% of their classes in their major area of study
and 25% in liberal arts courses.
The professional coursework includes intensive
studies in voice performance, opera workshop,
opera chorus/production, vocal diction, piano,
theory, musicology, ensembles, and conducting.
A culminating senior recital is required.
The liberal arts coursework includes required studies
in college-level writing, French, German, Italian, dance,
and acting. All remaining academic electives are free
choice, and may be selected from across the range of
UM offerings.
The BMA is also a four-year, professional degree,
but with a larger commitment to liberal arts. Students
take 50% of their classes in the major area of
study and 50% in liberal arts courses.
Advising is done by faculty mentors and School
officials to ensure student progress and success.
Bachelor of Music in Performance:
Voice with Teacher Certification
(Curriculum B) is designed for singers who wish
to perform AND teach in elementary or secondary
schools. Students earn both the BM and K-12
teacher certification, typically in five years.
Alternatively, a four year option is the curriculum
in Choral Music Education.
Curriculum
This unique program yields a professional degree and
the teacher’s certificate – two credentials.
The professional coursework includes intensive
studies in voice performance, opera workshop, opera
chorus/production, vocal diction, piano, theory,
musicology, ensembles, and conducting.
A culminating senior recital is required.
The liberal arts coursework includes required studies
in college-level writing, psychology, social science
(1), and natural science (2). All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.
The education coursework includes studies
in teaching methods, psychology and human
development, multicultural society, and
student teaching.
Audition and Interview Requirements
Voice Performance (Curriculum A and B) Applicants
must sing from memory two selections in any
language. Operatic literature is not expected; do not
choose the most advanced voice literature for your
audition. Aural skills may also be assessed at Ann
Arbor auditions; auditionees will hear several short
phrases played at the keyboard and be asked to
sing them. An accompanist will be provided when
auditioning in Ann Arbor if requested in advance.
Voice Performance (Curriculum B) Applicants will also
be scheduled for a piano audition and an interview
with a representative of the Department of Music
Education. For the piano audition, prepare to play
a composition, preferably from memory, from the
standard repertoire (such as Bach, Haydn, Mozart,
Clementi, Chopin, Bartók, or Kabalevsky). Sight-
reading, harmonization, and transposition skills will be
tested in order to determine your keyboard placement.
Voice Principal (singers applying to degrees
other than performance, e.g. Composition)
Applicants must sing from memory two contrasting
pieces. Aural skills may also be assessed at Ann
Arbor auditions; auditionees will hear several short
phrases played at the keyboard and be asked to sing
them. If you have had no private voice training, ask
your school or religious choir director for assistance
in preparing for the audition. An accompanist
will be provided when auditioning in Ann Arbor if
requested in advance.
 www.music.umich.edu 85

EUGINE ONEGIN
86

“Our students are challenged and

guided to express themselves as they
are. The environment we create – the
level of our students, the faculty, and the
artistic quality around them – inspires
our students to be the best they can be.”
Joshua Major, Assistant Professor of Opera
www.music.umich.edu 87

EUGINE ONEGIN
88

Department of Winds & Percussion

The Department of Winds & Percussion offers

outstanding training to talented players of
woodwind, brass, and percussion instruments.
Students receive thorough preparation for careers
as soloists, chamber musicians, band and orchestra
instrumentalists, and teachers.

The Department’s exceptional range intensive performance experience are the

and depth of programs provide the
specialization and breadth of training to
meet individual needs and the demands
of today’s music professionals. Private
study with a major artist-teacher and
foundations for developing professional
instrumentalists. Students give many
public performances in orchestras, bands,
and smaller ensembles under the direction
of eminent faculty and guest conductors.
 www.music.umich.edu 89

inds & percussio

Degrees offered:

Bachelor of Music (BM) in

Performance (Curriculum A)
Bachelor of Music in Performance:
Wind Instruments (Curriculum B)
Bachelor of Music in Performance:
Wind Instruments with Teacher
Certification (Curriculum C)
Bachelor of Musical Arts (BMA)
Advising is done by faculty mentors and School officials
to ensure student progress and success.

Winds & Percussion Faculty

Jeffrey Lyman (Chair, bassoon)
Chad Burrow (clarinet)
William Campbell (trumpet)
Daniel Gilbert (clarinet)
Joseph Gramley (percussion)
David Lee Jackson (trombone)
Fritz A. Kaenzig (tuba and euphonium)
Nancy Ambrose King (oboe)
Amy Porter (flute)
Donald Sinta (Earl V. Moore Professor of
Music; saxophone)
Michael W. Udow (percussion)
Adam Unsworth (horn)

Associated Faculty
Ian Ding (percussion)
Brian Jones (percussion)
Bryan Kennedy (horn)
William King (chamber music)
Cary Kocher (percussion)
90 Winds & Percussion continued
The BM programs are four-year professional degrees.
Students take 75% of their classes in their major area
of study and 25% in liberal arts courses.
The BMA is also a four-year professional degree, but
with a larger commitment to liberal arts. Students take
50% of their classes in their major area of study and
50% in liberal arts courses.
Pre-College Preparation
The student must show evidence of exceptionally
strong ability, training, and repertoire; piano study
is recommended.
Bachelor of Music in Performance:
Performance Major
(Curriculum A) is designed for those brass, woodwind,
and percussion players who wish to prepare for a
professional performance and teaching career.
Curriculum
The professional coursework includes intensive
studies in performance, theory, musicology, piano,
ensembles, and chamber music. A culminating senior
recital is required.
The liberal arts coursework includes required studies
in college-level writing. All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.
Bachelor of Music in Performance:
Wind Instruments Major
(Curriculum B) is designed for students who wish
to prepare for a professional performance and
teaching career on their major instrument and
related instruments (i.e., woodwind specialist, brass
specialist). Emphasis is placed on performance in
both the major and related instruments.
Curriculum
The professional coursework includes intensive
studies in performance, theory, musicology, piano,
conducting, secondary instruments, ensembles,
and chamber music. A culminating senior recital
is required.
The liberal arts coursework includes required studies
in college-level writing. All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.
Bachelor of Music in Performance:
Wind Instruments Major with
Teacher Certification
(Curriculum C) is designed for those students who
wish to prepare for a professional performance
and teaching career in elementary or secondary
schools. This degree emphasizes major instrument
performance and pedagogy.
Curriculum
This unique program yields a professional degree
and the teacher’s certificate – two credentials.
The professional coursework includes intensive
studies in performance, theory, musicology, piano,
conducting, secondary instruments, ensembles,
and chamber music. A culminating senior recital
is required.
The liberal arts coursework includes required studies
in college-level writing, psychology, social science
(1), and natural science (2). All remaining academic
electives are free choice, and may be selected from
across the range of UM offerings.
The education coursework includes studies
in teaching methods, psychology and human
development, multicultural society, and
student teaching.
 www.music.umich.edu 91

“In coming [back] to Ann Arbor,

I became reaffiliated with the
great university that made me
a musician, and welcomed a
chance to work intensively with
students, to be involved in their
development.” UM alum Joseph Gramley,
Assistant Professor of Percussion
92 Winds & Percussion continued

winds & percussio

Audition Requirements
Your private teacher knows the depth of your artistic
ability and your technical facility. It is best to discuss
audition repertoire with the individual instructor(s) who
know you best.

Piano accompaniment is neither required nor

provided for in-person auditions. An accompanist is
recommended for a recorded audition. Applicants
to the Wind Instruments Major with Teacher
Certification (Curriculum C) will also be scheduled
for an interview with a representative of the
Department of Music Education.

Bassoon
Prepare one or two movements from a standard
concerto, sonata or major solo work for bassoon and
two contrasting etudes equivalent in difficulty to the
Concert Studies by Ludwig Milde.

Clarinet
Prepare a minimum of two compositions of your
choice from the basic repertoire representing different
styles, and two etudes showing legato style and
articulation. In the case of compositions with several
movements, it may not be necessary to play the
complete work.

Euphonium
Prepare ten to fifteen minutes of solo or etude
literature representing your highest level of proficiency.
You may be asked to sight-read and to play two-
octave major and chromatic scales from memory.
Memorization is not required for the solo literature.

Flute
Prepare three compositions from the standard
solo flute repertoire and two orchestral excerpts
representing your highest level of proficiency. Please
include a movement of a concerto as one of your

“…audition committees selections. You may perform one movement from a

are looking for ‘liberated
musicianship.’” Daniel Gilbert,
Associate Professor of Clarinet
composition with multiple movements or an advanced
etude. Representative audition repertoire would
be Mozart concerti, Paris Conservatoire pieces,
20th century compositions, French, German or
English Baroque sonatas, and orchestral excerpts.
 www.music.umich.edu 93

Memorization of the solo repertoire and excerpts is Saxophone

not required; however, proficiency and memorization Prepare fifteen minutes of alto saxophone solo
of all major, minor, and chromatic scales is assumed literature representing your highest proficiency.
and may be assessed at the audition. Competitive Suggested literature: Sonata by Creston, Concertino
undergraduate applicants typically have a da Camera by Ibert, Concerto by Glazunov, Prelude,
minimum of five years of private study and significant Cadence et Finale by Desenclos. The audition will
ensemble experience. include testing for tuning response. Jazz improvisation
skills are welcomed and you are encouraged to
Horn request a separate audition with our Jazz and
Prepare twenty minutes of solo/etude/excerpt Improvisation Studies faculty. Indicate your request for
literature representing different styles and a supplementary jazz audition on the application.
your highest level of proficiency. You may be asked
to sight-read and to play two-octave major and Trombone
chromatic scales, multiple tonguing, lip trills, Prepare fifteen minutes of contrasting solo and/or
hand stopping, and transposition. Memorization is etude literature that represents your highest level
expected for scales only. of proficiency. You may be asked to sight-read
and to play two-octave major scales from memory.
Oboe Memorization is not required for the solo literature.
Prepare approximately twenty minutes of major solo
literature, including music from the Baroque and 20th Trumpet
century periods. Knowledge of all major and minor Prepare twenty minutes of the standard solo recital
scales is assumed, and sight-reading will be assessed literature for trumpet along with excerpts from the
at the audition. orchestral repertoire representing your highest level
of proficiency. You may be asked to sight-read and to
Percussion play two-octave major, minor, and chromatic scales
Please select music from the solo, concerto, and from memory. Memorization is not required for the
orchestral literature which demonstrates your solo literature.
highest musical and technical abilities in snare drum,
mallet-keyboard instruments, and timpani. Orchestral Tuba
excerpts may be included, but are not required. Prepare ten to fifteen minutes of solo or etude
Sight-reading and timpani tuning will be evaluated. literature and/or orchestral excerpts representing
Applicants are required to demonstrate skills in all of your highest level of proficiency. You may be asked
the above areas. Memorization is neither required nor to sight-read and to play two-octave major and
discouraged. chromatic scales from memory. Memorization is not
required for the solo literature.
Auditions in Ann Arbor are highly preferred; recorded
auditions will be considered only in unusual
circumstances. If you wish to audition via DVD, please
email Professor Gramley (jgramley@umich.edu) for
permission before preparing your recording.
If you have a performance of a solo or chamber music
multiple percussion work, or you have percussion
skills in the areas of drum set, pan, and/or hand
drumming, please bring a non-returnable copy of
a DVD of your playing demonstrating your highest
musical and technical abilities in those areas.

RENT
94
 www.music.umich.edu 95

“No other school within the university…

give[s] you such a sense of community
or belonging. We are constantly
interacting with each other, bettering
each other as we better ourselves… that
‘relentless pursuit of excellence’ we
all desire and strive to achieve.”
Scott Copeland, BM Trumpet Performance 2009

Commencement 2009, Power Center

96

Administrative Officers
Christopher Kendall / Dean

Mary Simoni / Associate Dean for Research and

Community Engagement

Daniel Washington / Associate Dean for Faculty and

Multi-Cultural Affairs

Steven M. Whiting / Associate Dean for Graduate Studies

Betty Anne Younker / Associate Dean for

Academic Affairs

Laura Hoffman / Assistant Dean for Admissions and

Enrollment Management

Kevin Geralds / Chief Administrative Officer

Contact Information
School of Music, Theatre & Dance Programs and
Admissions: smtd.admissions@umich.edu
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Laura Hoffman, Assistant Dean for Admissions and

Enrollment Management
734.754.0593, lauras@umich.edu

Assistant Director for Admissions

734.936.0300

Emily Perryman, Senior Admissions Officer

734.763.7558, emilycp@umich.edu

Debbie Siefker, Senior Admissions Officer

734.763.7582, debbiese@umich.edu

Music and Musical Theatre Auditions

Kate Harkness
734.763.6677, music.auditions@umich.edu

Dance Auditions
Samantha Strayer
734.763.5460, dance.auditions@umich.edu

Theatre Auditions
Rebecca Seauvageau
734.764.5350, bseauv@umich.edu
ALBERT HERRING
School of Music, Theatre & Dance
2290 Moore Building
1100 Baits Drive
Ann Arbor, MI 48109-2085

tel: 734.764.0593
fax: 734.763.5097

www.music.umich.edu
email: smtd.admissions@umich.edu

Office of Undergraduate Admissions

1220 Student Activities Building
515 E. Jefferson Street
Ann Arbor, MI 48109-1316

The information listed in this brochure is effective as of September 1, 2009.

Please check the website, www.music.umich.edu, for any updates.
Website updates take precedence over printed materials.

Unless otherwise attributed, photographs by Peter Smith Photography.

Power Center and Mendelssohn Theatre photo credits: Tom Arbans Photograpy.

The Regents of the University of Michigan: Julia Donovan Darlow, Ann Arbor; Laurence B. Deitch, Bingham Farms; Denise Ilitch, Bingham
Farms; Olivia P. Maynard, Goodrich; Andrea Fischer Newman, Ann Arbor; Andrew C. Richner, Grosse Pointe Park; S. Martin Taylor, Grosse
Pointe Farms; Katherine E. White, Ann Arbor; Mary Sue Coleman, ex officio

The University of Michigan, as an equal opportunity/affirmative action employer, complies with all applicable federal and state laws re-
garding nondiscrimination and affirmative action. The University of Michigan is committed to a policy of equal opportunity for all persons
and does not discriminate on the basis of race, color, national origin, age, marital status, sex, sexual orientation, gender identity, gender
expression, disability, religion, height, weight, or veteran status in employment, educational programs and activities, and admissions. In-
quiries or complaints may be addressed to the Senior Director for Institutional Equity, and Title IX/Section 504/ADA Coordinator, Office of
Institutional Equity, 2072 Administrative Services Building, Ann Arbor, Michigan 48109-1432, 734-763-0235, TTY 734-647-1388. For other
University of Michigan information call 734-764-1817.
winds & percussion piano performing arts technology
theatre & drama music education
music theory jazz & improvisation strings
composition dance
musical theatre voice organ musicology

www.music.umich.edu