No matter what area of music you focus on, high school is vastly different from college for music students. The collegiate life comes with a whole new set of responsibilities.

Get ready for many changes – from academics to practicing and performing to learning to cook, do laundry and deal with anything else that falls under the umbrella of “adulting.”

by Ashley Eady

In addition to papers, exams, and homework, music majors deal with rehearsals, private lessons and hours and hours of individual practice time.

To give prospective music majors an idea of what to expect once they get to college, we asked several current and former music majors to describe their college experiences. Based on their responses, here are a few important distinctions between studying music in high school and college.

Your schedule

Unlike high school, where your daily schedule is typically dictated by other people, in college that responsibility falls on you. You get to decide how you spend much of your time.

Jack Murphy, a sophomore at the Lawrence Conservatory of Music in Appleton, Wisconsin, found he enjoyed his sudden independence. “I figured my life [in college] would be similar to my life in high school: mornings spent in classes, afternoons and evenings in rehearsals,” he says. “For the most part, this pattern stayed the same. Yet, the biggest difference was the realization of how much open time I had in my days as well; it almost felt like I had way more free time!”

Class schedules in college are less regimented. While a high school student will spend seven consecutive hours in class, a college student may only have two or three classes or rehearsals in a day, with multiple hours in between time.

A college class schedule can also vary by the day. Mari McCarville, a junior at the University of Denver’s Lamont School of Music, describes her typical week:

“My class schedule is much more variable than it was in high school. Some days, I only have one two-hour class, and other days, I have four two-hour classes or rehearsals back to back. This means that I need to manage my time wisely…”

Time management

While the freedom of more open time and getting to set your own schedule can certainly feel amazing, sudden freedom brings great responsibility along with it. One of the hardest skills college students, especially music majors, must learn is time management. Andrew Knudson, a sophomore at the Minnesota State University Moorhead, defines time management as “learning how to balance practice, study, rest time, and social life,” and reinforces that it is an essential skill for music majors to have if they hope to succeed as professional musicians.

For Chrysa Kovach, a graduate of Vanderbilt University’s Blair School of Music, time management was “the best exercise in efficiency.” She says majoring in music made her think differently about scheduling.

“In high school my time was mostly dedicated to other academic pursuits and not as much to music,” she explains. “That time management scale was heavy on the side of my AP and IB classes, applying for college, and making my sports practices. In college, it immediately tipped back in the other direction, because suddenly I was almost exclusively in music-related classes.”

Another component of time management is navigating the tenuous balance between musical and non-musical obligations. As a music major you need to be a good musician and a good student. You must maintain a high level of musical skill as well as show up to classes and tackle homework and papers.

This isn’t always easy. Sometimes, students have trouble balancing all of these obligations. Zach Green, another Blair alumnus, describes his experience:

“There were times that music, extracurriculars and my social life took precedence over academics. In those times, things like practicing and attending my early classes [got] sacrificed.” Though Zach faced some challenges, overall, he found balancing his life “as a musician and a scholar to be relatively smooth sailing.”

Kara Brusven, a sophomore guitar major at Minnesota State University Moorhead, faced similar challenges. Once she figured out how to manage her time, she had a crucial realization:

“Choosing music means choosing music over a lot of other things in my life, and also acknowledging that music is no longer my hobby. It’s my career now,” she says. “That choice means finding other ways to take personal time…and also backing off in other things that take too much away from my practice time.��My practice hours make it harder to spend time with friends…I am fine with making these choices though so I can become proficient on my instrument and in my field of study.”

Your professors

Music majors get to know their professors very well because of all the individualized attention they receive from them. In addition to playing in large ensembles, music majors receive private instruction from teachers on their respective instruments in the form of weekly, hour-long lessons. Professors also serve as mentors.��

“Before going to college, someone told me to take professors, not classes, meaning: no matter the class, seek out the professors that love to teach,” says Mari. “This is the best college advice that I have ever received, and my music professors have become some of the most influential and supportive people in my life.��

“Going to professor’s office hours, asking informed questions in class, and approaching challenges with a growth mindset—learning from mistakes and striving to improve—is what matters in college,” she adds.

“My college professors have a clear and concise plan for how to get me from point A to point B in my college education,” says Kara, “and have already made a point to take time and get to know me really well. They don’t try to shove one way of learning at me, but instead try to adjust to how I learn and to my personality.”

Savannah Schaumburg, a French Horn player and a junior in Music Education at University of Puget Sound says, “Building strong academic relationships with music professors is essential to being successful in the field because so much of music is networking and relationship building…You never know when you might cross paths with former professors.”

For Zach, a saxophonist, the more personalized attention that came with choosing music as his major “added a new level of pressure to advance as a performer.” He says, “My music GPA and placements in college ensembles depended on my abilities as a saxophonist.”

Homework

Even small college assignments can require more focus and research than the average high school paper.

Mari describes it best: “Unlike high school, homework does not mean a worksheet that is due the next day. Homework is often assigned a month away from the deadline, and it often consists of writing compositions, arranging pieces, listening to and analyzing scores, performing for others, preparing class presentations, or writing research papers.

“Homework assignments and in-class activities are less structured than they were in high school,” she continues, “and college professors generally give their students much more freedom and independence to take ownership of their own learning.”

Practicing

For music majors, a large chunk of the time spent outside of classes and rehearsals is spent in the practice room. As Andrew explains, “In high school you tend to practice [1 to 2 hours per week] for your upcoming performance and that is about it…At the collegiate level your hours increase drastically.” At many schools, performance majors are required to practice 20 hours a week. That’s essentially a part-time job!

“In high school, I didn’t spend much time organizing my practice time, and would mostly just work on what I was�� assigned in private lessons or was working on in ensembles,” recalls Savannah. “My college routine consists of more fundamentals, etudes, scales and other excerpts rather than just the repertoire that I’m working on. Because of this, I find myself spending more time in the practice room and with a more organized routine.”

As with your classes, you get to decide what practice schedule works best for you. For Chrysa, a flutist, short practice sessions were the way to go. Mari, also a flutist, divides her practice time into two two-hour sessions and relies on a planner and a practice log to stay organized.

“I found that practicing included so much more than just going into a small room and practicing scales and pieces,” offers Jack. “It includes working outside of the room, analyzing the piece and looking at the historical context, listening to the piece, etc. This definitely expanded my practicing from high school. It was kind of the next level to effective practicing.”

Ensembles

At the college level, music majors have the opportunity to perform in a variety of ensembles—not just wind ensemble or orchestra. Many music schools require and encourage students to perform in chamber groups such as trios, quartets, quintets, etc. While incoming students are often placed into chamber ensembles by their teachers and are told what pieces to play, older students can often choose their chamber ensembles and the repertoire they play. In other words, they have the freedom to perform with their friends!

Social life

“One of the great things about being a music major is that you get to make great music with your friends every day,” says Savannah.

“This means that even through the hectic schedules and hours of practicing, there is still a time that you can do something fun with others. Throughout my time as a music major, some of my favorite memories are those that were made in the ensembles that I play in.”

Mari agrees: “Being a music student in college is about more than just playing music: it is about creating connections and building relationships that will carry you forward into the rest of your life and career as a musician.”

Final note

With so many new responsibilities thrown at you—from longer practice time, to challenging homework assignments, to professors’ high expectations—it’s easy to feel overwhelmed as a new music major. But it is important to remember that you are not alone, and there are plenty of people and resources available to you whenever you need help.

Some schools have taken extra steps to insure their students’ wellbeing. At the Lawrence Conservatory of Music, where Jack studies, “Our Dean’s Advisory Council has implemented a program called ‘Be Well, Do Well’ to encourage students to make more time for themselves.”

Jack says he appreciates the initiatives his school has taken to assure students don’t feel overwhelmed. He also offers an essential bit of advice:

“I always felt in high school and at some points in my first year of college that there were almost too many programs to get involved with. I believe [we] musicians feel…that we must constantly be doing something. However, it is perfectly okay to just take opportunities to [breathe], relax and smell the flowers a little bit.”

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Ashley Eady is a music journalist based in the Nashville area. She studied Clarinet Performance at Blair College of Music at Vanderbilt University and Arts Journalism at University of Southern California Annenberg School for Communication and Journalism.

Photo Credits: Left, Stanford Jazz Workshop; Right, J. Weidlein

Double majoring is becoming more and more common for college music students who want to expand their educational experience. Some are passionate about a subject area in addition to music; others are drawn to the tangible skills their double major provides; and most want to increase their job and/or grad school options after college.

by Marcus Turner

How can you prepare to do something like this? What should you know in advance?

The following is a list of questions to help you get started. You may want to bring these with you when you visit music schools or when you meet with your college counselor or college adviser.

Note that colleges, conservatories and universities all design their programs in different ways. They don’t necessarily define double majoring in the same way. They may offer dual degree programs, double majors, minors, and/or certificate programs that will provide the additional education or training you’re looking for. So it’s important to look carefully at school websites and then contact the music admission offices with any remaining questions.

Even if you’re not 100% sure you want to major in music, go ahead and plan to audition anyway. It’s easier to add another major in another field than it is to add music later on, especially if you’re hoping to graduate in four years.

Is double majoring right for you?

Music school admission directors agree that passion is the starting point for anyone considering more than one major.

Mary Smith, Sunderman Conservatory liaison at Gettysburg College, says, “Can you see yourself giving up either of your interests? If the answer is no, then clearly you need to pursue both!”

“If you are sure about following a career in music, do you know specifically what area of music you want to work in?” asks Frank Corliss, director of admissions at Bard College Conservatory of Music. “If not,” he says, “the double degree can prepare you for a broad range of careers in music, performing, teaching, administration, etc.” At Bard, the belief is that a double degree program “makes one a better musician” and all students follow a five-year program plan.

But before deciding to double major, Fred Peterbark, director of admissions at Ithaca College School of Music, encourages you to ask yourself whether it’s really important “to acquire two physical pieces of paper.” And if it is, “Are you willing to do the additional amount of work to complete the degree programs within your desired collegiate timeline?”

What do music majors double major in?

Most schools are open to their music students double majoring in any area other than another area of music. Languages, mathematics, biological sciences, physical sciences, social sciences, communication, psychology, business, technology – these are the more common double major fields in conjunction with music.

Another option is a program that rolls two distinct areas of interest into a single major. At Northeastern University, for instance, majors labeled Music Technology/Computer Information Science; Music Technology & Game Design; and Music Industry & Communication Studies all require the same number of credit hours as do each of those fields alone. “This allows students the ability to add minors, free electives and other opportunities that allow for flexibility, while still pursuing the cross-disciplinary program,” says Dan Godfrey, chair of the Department of Music.

Conservatory students at schools with a university affiliation can take non-music classes at the university whether or not they are double majors. “Flexibility like this,” says Tiffany Lundquist at Peabody Conservatory, a school of The Johns Hopkins University, “can allow music students to decide to what��extent they want to pursue other areas of��interest, whether through a single��course or a double major program.”

In addition to exploring double major options, ask an admissions office about minors or certificate programs offered in areas you’re interested in at the school you’re considering or already attending. These programs are less demanding time-wise and may provide the additional skills you’re really looking for.

Can you graduate in four years?

A double major program may take longer than four years, depending on the school and the type of degree you choose. Get help early on to figure out how to stay on a four-year track if that’s your goal.

Ask questions up front about how long the combination of majors you’re considering usually takes.

For instance, if you choose business as your second major, will you be required to undertake an internship? Will that add extra time to the program?

What degree works best for double majoring with music?

As long as you don’t need to graduate in four years, you’ll find that you’re able to double major at many schools. The Bachelor of Arts (BA) music degree – if offered – often works better if you want to double major AND graduate in four years, because there are less required music courses and more elective credit options.

Liberal arts colleges tend to build in flexibility to allow double majors to meet all of their requirements within a four-year timeframe.

Find out what’s possible at schools you’re considering by visiting their websites and then contacting the admissions office.

What will your life look like as a double major?

Many factors can affect how you’ll spend your time as a double major.

Things to think about include:

• Scheduling of classes – Will you be able to schedule all your required classes for both majors? Or will one take priority over another?Mary Smith at Gettysburg stresses the importance of balancing both majors. She urges students to find out in advance what each major involves:<“Will schedules conflict? What about rehearsal times and lab times?”
• Location of classes – Will all of your classes be held on the same campus?Will you have to travel from one location to another to get to all of your classes?Does the school provide a shuttle bus and if so, how frequently does it run?
• Time management – Approximately how many classes would you be taking each semester? From what you know about yourself, is this a workload you can realistically take on? Ross Beacraft, director of admissions at DePaul University School of Music, says, “Students need to have excellent time management skills to do this (double majoring) successfully.”

For an insider view, ask the music admissions office for help in finding a current double major to talk with, to learn more about how to handle these and other concerns.

What happens with financial aid if you don’t graduate in four years?

Find out if any scholarships or other financial aid you’re offered or have received will be extended beyond four years. Will you be able to reapply for additional aid if the package you’re offered or currently have expires after four years?

Conservatories such as Bard, Lawrence, and Oberlin, will automatically build in a fifth year of financial aid for double-major students. Some schools will agree to extend any financial awards to cover a fifth year if you complete your double major. And some will not provide any additional merit or need-related aid beyond four years.

Will double majoring help after graduation?

Double degree alumni have gone on to music-related careers in the performing arts, music industry, production, and academia. They have also been successful in medicine, law, business and marketing, says George Palton, director of admissions for DePauw University School of Music.

“The knowledge I gained by completing the double major allows me to bring a different perspective than my co-workers,” says Connelly Doan, a graduate of Gettysburg College with a double major in music and organization & management studies, and now working as a data specialist for a biotech company.“Being able to draw from multiple skill sets allows me to provide a valuable and unique approach to problem solving, which is important in any field.”

Many students also find creative ways to combine their study of music with another subject in their professional lives. For example, Hannah Santisi, an Oberlin graduate in Viola + Sociology, is currently Coordinator of Learning and Engagement Programs at Carnegie Hall in New York City. Others such as Chris Carroll, a Bard graduate with majors in Trumpet + Political Science, now works for The Associated Musicians of Greater New York, Local 802 as Chief of Staff. And Tyme Khleifi, Violin + German Studies (Bard) is the Ensemble Manager at the Boulez Ensemble at Pierre Boulez Saal in Berlin, Germany.

An important aspect of graduating as a double major is the satisfaction that comes from studying two subjects you’re passionate about. “Most people told me that it would be impossible and that I shouldn’t attempt it due to the amount of work it would require,” says Beth Burton, a 2018 Gettysburg graduate in music and biochemistry. “However, I knew that both of these subjects made me incredibly happy, and with some dedication, I haven’t had any issues keeping up with both majors.” Beth will be attending the University of Pennsylvania for a PhD in Genetics and Epigenetics. She’ll continue with her passion for voice and piano, with a plan “to set up up my own piano studio to teach young children.”

By asking the questions listed in this article and by doing your research on school websites, you can find out a lot of what you need to know about double major options, how they will affect your college experience, and how they can change your life.

World music classes can inform your music and musical interests, as well as provide insight into different cultures, communication patterns, rhythms, instruments, sounds, and ways of making music.

�ƹ�app talked with Dr. Jeff Packman to learn more about the benefits of taking world music classes –– for music majors as well as non-majors. Packman, a former working drummer, is assistant professor of Ethnomusicology at . He specializes in Brazilian music, popular music of the Americas, and cultural theory.

How do world music classes differ from other kinds of music courses?

Much of the music in the world looks and sounds very different from that which is most typically studied and taught in North American universities, i.e., music from the Western art music tradition. These “other” kinds of music often involve different instruments, different scales, different rhythms, different ways of participating, and different ways of thinking. So a class in “world music” will really help you understand that there are countless ways that music can sound, look, and be meaningful. This is one of the main reasons that more and more people are studying music from other cultures.

Who teaches these classes?

In most instances, university courses on world music are taught by ethnomusicologists. Ethnomusicology is often described as the study of music in and as culture. This means that, for an ethnomusicologist, studying world music means trying to understand any music from anywhere in the world as social practice — activities in which people participate in various ways.

While most ethnomusicologists conduct research and teach classes on non-Western music from distant locales such as Bali, India, Japan, Brazil, Iran and countless others, the way we do this has been applied to more familiar kinds of music including rock, jazz, and even Western “classical” music in familiar places, including our own “backyards.”

What specifically do world music classes offer?

A world music class can call attention to the incredible diversity of musical sounds that exist in the world. It can provide a starting place for more varied listening. This is fundamental to any kind of music study, any musical career, and any life in music regardless of whether or not you consider yourself a musician.

Not only will these classes help you increase the variety in your playlists, but, since they are usually taught from an ethnomusicological perspective, they will also help you better understand sounds that otherwise might not make much sense. All of this can make listening to music –– and playing and composing it ––that much more enjoyable, by helping you break out of those inevitable and at times tiresome old habits and by creating a greater openness and appreciation of new sounds.

Do world music courses influence performing?

I think so.�� For example, analytical listening to music that uses scales and tuning systems that differ from Western music or that are based in unfamiliar approaches to rhythm can do wonders for your ear training, your ability to play in tune, in time, and with the appropriate feel. These concepts and skills are not necessarily limited to performance. They can also strengthen your composition, arranging, and conducting chops.

How can world music classes impact your career?

Ethnomusicology can help students think differently about what music is and what it means.

Something that I have seen quite frequently is that students who have stayed close to “home” in their music studies by taking only western music history, harmony, and performance courses, often limit themselves to defining their future as musicians and participants in music in fairly narrow ways. This can, unfortunately, lead to disappointment and dissatisfaction in terms of careers after college and even with their own involvement with music.

For example, many students major in music with the ambition of becoming a great virtuoso who earns a living performing as a soloist with elite orchestras. While this is an admirable goal, it is one that only a very few people will ever achieve. Ethnomusicological studies of conservatories and various communities of professional musicians have illustrated how musicians who, despite being quite skilled and successful professionals, can become frustrated and even bitter about their careers and their music making because they have not become “headliners.”

At the root of this dissatisfaction, according to these studies, is a sense that such status is the only way to be truly successful in music. Some of these musicians go as far as saying that by not becoming famous soloists (or composers, or conductors), they had let down family, friends, and teachers who held those expectations of them.

As a kind of antidote to this kind of thinking, ethnomusicology courses often study music cultures that have very different values about music and success, including many that stress the importance and pleasures of participation with a group rather than standing out from it. In other words, people in different cultural contexts may define musical and career success in different ways, a realization that can be quite liberating.

The critical thinking typically stressed in ethnomusicology courses also helps students see that there is much more to music and musical careers than meets the eye. It reveals that success results from factors beyond constant practicing or natural “talent,” and most importantly, that there are numerous ways to have a successful and fulfilling life and career as a musician.

Additional ways world music classes can contribute to your career?

1. With cultural diversity on the increase throughout the world, the need for people with cross-cultural knowledge is more crucial than ever.��

Ethnomusicology and specifically the study of world music provides a framework for thinking about how we encounter musical and indeed, cultural difference. Such knowledge can be put to use in any number of ways including doing public sector work on cultural policy or community arts programming and education. In the private sector, people with training in ethnomusicology work as organizers for music festivals, folkloric and cultural societies, museums, and more.

2. Performers with ethnomusicological training are able to draw on their knowledge of a wide range of music to broaden what they do musically, but in a culturally-sensitive and more self-aware way.

This can not only help create new opportunities for music making, but it can make that music making more enjoyable and in many instances, more ethical.

3. Transferable skills

Ethnomusicology courses teach students skills such as research, critical thinking, and writing that are entirely applicable and even necessary for most other careers.

• Professional musicians need to write bios for their websites and must keep developing their musical understandings.

• Doctors need to write reports about their patients and learn about new illnesses and treatments.

• Lawyers must research legal precedents and write briefs.

• Executives must study financial reports and write memos.

While other university classes often stress these skills, the work of developing them seems less hard and often much more fun when thinking and writing about music.

What if you want to further explore ethnomusicology?

Beyond taking ethnomusicology courses and playing in world music ensembles that are offered in many undergraduate programs, the best way to really dig into ethnomusicology is to pursue graduate study.

At the graduate level, you will be able to delve deeply into music and related issues that interest you. You will be able to study any music anywhere in the world as a social practice. You will also have opportunities to participate in that music, with the larger goal of learning as much as possible about it and the people who participate in it as a basis for communicating what you’ve learned by writing books and articles, giving lectures, and teaching.

If you aren’t ready to take on graduate school just yet, reading ethnomusicology journals like Ethnomusicology and Ethnomusicology Forum is a great place to start. Your library will likely have a selection of ethnomusicology books as well, so you might ask a librarian to make recommendations. Many libraries also have subscriptions that will let you listen to music from all over the world. Talking to an ethnomusicologist and asking for reading and listening recommendations is a great way to keep exploring as well. Most of us are more than happy to talk to people about what we do and especially the music we study, teach, and perform.

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Dr. Jeff Packman is assistant professor of Ethnomusicology at where he is divisional coordinator of History & Culture of Music.

Photo Credit: Liam Sharp

Starting out at a community college may be a good choice for some music students. Benefits can include:

• Lower overall cost
• Diversity of curriculum and student body
• Flexibility in scheduling (many students work while going to school)
• Opportunity to raise your GPA and improve your study skills before taking on the pressure of a four-year school
• Opportunity to build your performance skills and music theory background to the level expected by four-year music schools

If your goal is to transfer your community college credits to a four-year music school, there are a number of things to know up front that will ultimately save you time, money, and aggravation.

1. Who is likely to benefit from starting out at a community college?

“Community college music programs are particularly suited for students who are not sure that they fit into the traditional model of four-year college music programs,” says Andy Krikun, music professor at��Bergen Community College (New Jersey). “These students get a chance to work on remedial courses in music theory and musicianship, as well as help in defining their academic and career goals.”

Bart Grachan, former director of the Community College Transfer Opportunity Program (CCTOP) at NYU’s Steinhardt School, and now admission director at St. Thomas Aquinas College, adds, “Community college students are either academically solid but not ready to make a full commitment to school; did poorly academically in high school and want to ‘recover’ on the community college level before going on to a four-year school; or are attending community college purely for financial reasons.”

Steve Enos, chair, Cuyahoga Community College Jazz Studies Program, sees additional value. “Because community college programs usually have a smaller enrollment base, students can get considerably more individualized attention and save on tuition costs as well.”

2. Can I study music at any community college?

According to the��, there are currently 1,132 community colleges located across the U.S. They differ dramatically from each other. Some have strong music programs, with state-of-the-art production and performance facilities. These schools tend to have strong, active musicians and other music professionals on faculty. Other schools offer music classes geared more to non-music majors. So it’s important to check carefully, particularly if you’re using the community college as a springboard to a four-year music school.

The good news? According to Andy Krikun, who teaches songwriting and music business, “The community colleges that have developed strong music programs offer music students a solid foundation for transfer opportunities to four-year music programs in music performance and composition, music business, music education, and music technology. At the completion of the two-year transfer program, A.A. (Associate of Arts) or A.F.A. (Associate of Fine Arts) degrees are awarded. ��Most often, these degrees duplicate the first two years of a four-year bachelor in music program, including core music courses as well as general education courses.”

3. What classes should I take?

Continuing with lessons and practice is very important.��Dr. James Arnwine, Dean of the School of Visual, Media and Performing Arts at Pasadena City College in California, urges students to also take music theory and musicianship classes. Otherwise, upon transferring, you are “still at freshman level in the theory and musicianship courses.”

But according to Dr. Bjorn Berkhout, music theory professor at Queensborough Community College in New York, not all��community colleges offer private instruction on your main (“primary”) instrument. And not all offer ensemble experience. “Some may not require ensembles to be taken each semester,” he says. “This can be a problem for students who transfers to a 4-year program where it may be a requirement [for graduation] to have 4 years of lessons and ensembles.”

Berkhout adds, “Without the lessons the student may not have the necessary level of applied proficiency. They may lack essential performance/audition experience. Without opportunities to give a recital, or play in front of others (both fellow students in convocations and faculty members in an end-of-semester jury), students will often be under prepared for the eventual audition into the 4-year degree. This is one of the challenges students in community colleges can face if the college doesn’t have private instruction on the instruments.”

Brad Andrews, director of admissions at University of Redlands Conservatory of Music, adds that to transfer, “you must play at a high level because sophomore and junior transfers are evaluated differently than freshmen.”

If there’s room in your schedule, getting some of the gen ed classes out of the way will also be helpful. Thomas Hynes, assistant professor of guitar at��Azusa Pacific University School of Music, says that “lightening the academic load of the student who will eventually be involved in a time-intensive music degree program –– is not a bad idea.”

4. Will my credits transfer?

Unless your community college has an articulation agreement with the four-year schools you’re interested in transferring to, you may discover that music credits taken at a community college won’t transfer. Some community colleges like Bergen, Cuyahoga, and Pasadena have strong music tracks, while others have “relatively undemanding theory courses with a gentle grading scale that don’t prepare students for a demanding university program,” says Hynes.

Arnwine encourages students to “investigate the articulation of their community college courses to the university they are aiming to attend.” This requires time and attention but will pay off down the road.�� Articulation agreements ensure that specific classes taken at the community college level will transfer, with full credit given.

According to Hynes, “Universities vary significantly on their flexibility in accepting transfer units. The bachelor’s degree reflects the standards of the university, not the college you transferred from. All the more reason to counsel with the new school.”

Remember that if your credits don’t transfer or if you need to take more classes at a four-year school, you could end up squandering some or all of the money you saved by starting out at a community college.

5. Do I need an A.A. (Associate of Arts), A.F.A. (Associate of Fine Arts), or A.S. (Associate of Science) degree to be able to transfer to a four-year music school?

It depends on who you talk to. Some community colleges prefer that you do get your A.A., A.F.A., or A.S. degree before transferring. If they have articulation agreements with the four-year schools you’re interested in, spending two years at the community college level and attaining a minimum GPA may be required. As long as you follow their recommendations, your music classes and GE classes will transfer.

If you’re considering community colleges that don’t have articulation agreements with four-year schools, it’s essential to check with the schools you’re interested in transferring to before you get too immersed in your community college education. And it is unlikely that obtaining an A.A., A.F.A., or A.S. is necessary for transferring.

6. Do I have to apply and audition in order to transfer from a community college to a four-year music school?

Yes, applying and auditioning are required, even at four-year schools that have articulation agreements with community colleges.

Phillip Placenti, assistant dean for admission and student affairs at��, reminds students that “transferring, in general, can be tricky for music majors, simply because there are so many different types of course requirements. Different schools have different course requirements, and students’ backgrounds in these various courses can vary considerably (especially in courses such as music theory and keyboard skills).”

“In most music courses,” Placenti says, “students take placement exams at the start of their first semester in order to be sure that they are enrolled in the appropriate courses.”

Colleen Glenney, assistant director of admissions at Berklee College of Music, assures students that as long as they’re working on their skills and following the plan that Berklee sets up with specific community colleges around the U.S. and abroad, there’s a good chance of acceptance. She describes the student who transfers well as one who is “serious about their studies,” maintains “a GPA that is a reflection of their work ethic,” and who exhibits “a passion for music in their audition interview.”

7. What can I do to graduate in four years?

Some four-year schools will tell you that it’s unlikely you’ll be able to graduate in four years if you transfer from a community college. Indeed, if your skills or music theory are not up to par, you won’t. Arnwine reminds students that “there is a possibility you will need to repeat a class or two.”

At schools with articulation agreements, however, especially where the community college music curriculum is designed for students who plan to transfer, it is possible to graduate in four years.

Adam Torres, assistant professor of music at����urges students to “Obtain a copy of degree requirements for the university you want to ultimately attend. Those classes that require 6-8 semesters of commitment (ensembles, lessons), or have a long sequence of required classes (class piano, music theory, etc.), should be built in, as best as possible, into classes taken as a community college student.”��Torres goes on to urge students to “make sure that you practice hard and put in the hours while studying as a community college student, so that your applied lesson placement stays on track, to keep you on pace for a timely graduation.”

Getting a BA instead of a BM in music may be another way to graduate in four years as a transfer student. Brad Andrews at��University of Redlands��points out that the “Bachelor of Music degree requires four years of lessons and ensembles” while the BA allows room for more General Education and elective credits.

8. What about scholarships and merit aid for transfer students?

Transfer students are eligible for federal need-based aid just like freshmen. However, the availability of merit or academic awards may be less. Ask each four-year school you’re interested in about your chances of getting the kind of financial aid you’ll need in order to attend.

Final Thoughts – Music School Requirements for Transfer Students

• Know that every four-year music school has its own set of guidelines and requirements for transfer students.��
• Check with each school you’re interested in to make sure that as a music student, your credits will transfer and that the time, energy, and money spent at community college will be well-used.
  

Dual degrees, double majors, and music minors…What do these really mean? And what do they entail?

For many high school music students, majoring in music, by itself, feels limiting. A passion for multiple fields or pressure from advisors and parents can make you pause before deciding to go solely for that Bachelor of Music degree. Fortunately, many music schools now offer programs that allow students to pursue more than one degree – at the same time.

by Caitlin Peterkin

1. The Dual Degree

As she started her college search, Janice Li looked into programs that offered opportunities to study multiple fields and found that��Northwestern University Bienen School of Music��gives undergraduate students the opportunity to earn two separate degrees in five years. This dual-degree program offers a Bachelor of Music or Bachelor of Arts in Music alongside a degree from the Weinberg College of Arts and Sciences, the McCormick School of Engineering and Applied Science, or the Medill School of Journalism.

Music has been important to Li her whole life. The daughter of a violinist, Li began playing piano at a young age. At her high school in Santa Monica, she was able to keep up with piano even while pursuing other activities. However, when it came time to start making decisions about college, Li wasn’t ready to commit to just studying piano.

Currently in her fifth and last year, Li has been studying both music and psychology, and believes that she made a good choice. “There are times I’ve thought, maybe my life could be easier with just one [degree], but I have to say, after four years, I made the right decision.”

Lawrence University��and��Oberlin College��pride themselves on being on the forefront of offering double degrees over the course of many years. At Lawrence’s Conservatory of Music, half the students also enroll in the BA/BM program that “allows you to immerse yourself in music and at least one other field of study at a very high level.” This 5-year program provides a strong background in both music and another area students are passionate about.

At Oberlin, students accepted to the College of Arts and Sciences and the Conservatory get to dive into music plus a liberal arts field. All students are also invited to participate in the Creativity & Leadership Project, an entrepreneurship program that encourages and mentors them to implement their own ideas and projects.

As another example, the University of Redlands Conservatory of Music recently developed a double-degree program, where students can earn a BM and a BA or BS in five years. Along with getting a liberal arts education, double-degree students also have the opportunity to study abroad even with a full curriculum.

“It is a very flexible opportunity for students who also want to do science or math or government or theater,” says Brad Andrews, director of music admissions. The most common double degrees, he says, are music and business or biology.

2. The Double Major

Another option for students who want to pursue more than just music is the double major. At many colleges, students can double major within the music school or between the music school and another department. This is a great opportunity for students to earn a music degree in four years, while studying another interest.

At��Syracuse University’s Setnor School of Music, most students cannot double major within one’s own college (there are some exceptions, such as music education), but pairing a BA in Music with a non-music field can make a student more well-rounded when he or she graduates.

“I’ve talked to a lot of students who are nervous about going into the world with just a degree in music, or their parents are nervous,” says Amy Mertz, former assistant director for admissions and community programs at Setnor. The double major eases some of that worry.

At the��University of Southern California’s Thornton School of Music, students who choose to double major must apply and be admitted separately to each major. “Once admitted, they work with their two academic advisors (one in each major) on crafting a course plan that makes sense given the specific combination of programs,” says Phillip Placenti, assistant dean for admission and student affairs.

The Aaron Copland School of Music, Queens College allows students to double major in music performance and music education, or double major in music and other fields including math and science. However, scheduling classes in two distinct majors may result in conflicts that require an additional semester or two before a student can graduate.

Grace Prestamo is a student at Queens who will be staying on for a fifth year. A double major in piano and math, Prestamo is also in the Macaulay Honors Program, which adds additional requirements to her already intensive courseload. Although she wanted to complete her degree in four years, many factors, such as tendonitis and other health issues from being overworked, have prevented her from doing so. With her fifth-year tuition covered by the honors program, she is happy with her decision to take extra time.

“It really takes being sure of what you want to do, because otherwise, with the workload, you wonder if it’s worth it,” says Prestamo. “It’s not just dedication. It’s knowing yourself and knowing that’s actually what you want.”

3. Minors and Ensembles

Minoring in music or playing with an ensemble are great alternatives for students who want to stay involved in music, but choose to major in another field.

USC’s Thornton School of Music offers several minors for non-music majors. Music Industry and Music Recording are popular minors for those with little music experience, while Jazz Studies, Songwriting, and Musical Theatre are suited for those who already have experience.

According to Placenti, the number of non-music majors pursuing minors and elective courses has increased over the years. “We are always trying to think of new ways to engage the larger campus community,” he says,

At University of Hartford’s The Hartt School, a minor in music is open to all non-Hartt students. These students must have an area of performance experience and take the required theory, ear training, music history, and elective courses.

Most schools also allow non-music majors to perform in ensembles or take music lessons. So if you want to study piano with a private teacher or play violin in an orchestra while majoring in engineering or business, make sure that the college you’re interested in has these opportunities.

“The ensemble opportunities are there for every student on campus, not just music students,” says Andrews at the University of Redlands. “We encourage everybody to participate.”

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Caitlin Peterkin is a writer/editor and arts enthusiast who has worked as program manager for Earshot Jazz (Seattle) and has written for BestNewBands.com, The Chronicle of Higher Education, and Paste Magazine. She graduated from Indiana University Bloomington with a B.A. in Journalism and a minor in Music.

Prospective music majors frequently ask how important test scores, GPAs and academics in general are for getting into music school. Faculty from diverse music schools at �ƹ�app presentations have addressed these questions as follows…

First and foremost, remember that all schools are different. Their requirements are not the same. Conservatories are typically less concerned about your high school academics unless you and another prospective music student are being considered by them for the same spot in their upcoming class. That said, conservatories within universities may have higher academic requirements. Dual-degrees and double majors, especially where one of the majors is outside of music, will definitely require a strong academic background. State-related schools vary in terms of the importance of academics. Liberal arts schools with strong music departments will typically expect students to apply with strong test scores and GPAs.

What about AP/IB? How important are they?

Some schools will waive certain required courses if students show a 5,6,or 7 on an IB exam or a 5 on an AP exam. This may allow students to pass out of general education requirements and allow more room for electives, a minor, and/or a double major. Some schools will exempt a student with a high score on the AP Music Theory exam from the first level of Music Theory.

Most schools post on their websites the average GPA and SAT/ACT scores of the previous year’s class. Even if they don’t use academics as a primary decision-making tool for acceptance, they say that it’s important to be strong in reading, writing, and communication skills. They also say that academic performance in high school is an indication of success in college.

If you have strong academic skills, want to major in music, and don’t want to lose your academic mojo, look for schools with honors programs that welcome music majors.

You’re likely to get:

• smaller classes for your non-music requirements;
• an opportunity to broaden your social circles and mingle with non-music majors;
• in-depth exploration of a host of subjects;
• more time with the professor;
• credit, of course, for your non-music-specific requirements.

This is a great way to keep your writing skills in good form as well as exercise different parts of your brain. It’s also a great way to appease your parents in case worry about what will happen to your academic prowess if you ever decide to focus away from music or decide to go to graduate school.

You may have to run interference between the music school and the honors program, especially if advisors at the school haven’t had many music students do both. Learn what you can, ask as many questions as you need to, talk to students who’ve done both. Stand up for what you want ––�� that in itself will serve you well in your career in music.

A homeschooled music student recently wrote to �ƹ�app in response to the article

by Tom Hynes, professional guitarist, assistant professor of music at Azusa Pacific University and instructor at Idyllwild Arts Academy.

While self-taught in piano, guitar and voice, and clearly determined to succeed, the student recognized that her ability to progress was limited by a lack of instruction. She also never played in an orchestra or ensemble or sung in a chorus outside of her church. She asked �ƹ�app for advice in preparing to become a music major in college.

We’re sharing Hynes’ response here. We thought it would benefit other students (and parents) with the same question.

Tom Hynes:

The old line goes, “It’s not just about working hard; it’s about working smart.” One of the greatest things a private teacher can offer is an overall plan, plus specific instruction, on how to reach a goal.

I often hear, especially from new students, “That is so much easier than the way I was trying to do it!” after I’ve offered them advice or insight that they couldn’t figure out themselves. Self-taught students often make the process unnecessarily slow or painful, because they lack the insight that a well-qualified teacher can offer about how to approach something easily and productively. It pains me to see a motivated, hard-working student progress slowly and painfully. But it’s not unusual for students without private teachers.

Homeschooled students often exclude themselves from school music programs that would provide experience, challenges, perspective and camaraderie. When parents who homeschool are musically-trained themselves, they are usually aware of this, and look for alternatives and substitutes. But when parents are not musically-trained, their musical children often miss out on this. As a result, the students don’t realize what they are missing, at least not until much later.

While it is admirable to work on a technique book, it is not likely to be very productive if you cannot connect it to actual playing. If you are playing incorrectly and inefficiently, your practice hours are merely reinforcing bad habits that need to be slowly and painfully corrected later. This is an extremely common scenario among freshman music majors starting a program with little or poor prior training.

For more tips, read Tom Hynes’

There are three common reasons why students feel apprehensive about learning music theory. They are either intimidated by it, they think it will somehow stifle their creativity, or the study of music theory bores them to death.

By Dr. Joel Clifft

Since music theory is required of all music majors, how can music educators and music majors get beyond these concerns?

Reducing Anxiety

Some people like to compare music theory to math. When I was a kid I was intimidated by multiplication tables. The only way to really learn them is to drill them over and over until they become automatic. The trouble really comes if you move forward without learning your multiplication tables. It’s difficult to do exponents without a solid grasp of them.

In the same way, it is almost impossible to build scales without a firm grasp on key signatures.�� If you run into trouble, it’s likely that you haven’t yet mastered an earlier skill.�� Music theory is also likened to athletics in the sense that speed and accuracy are very important, so, as I see it, the best solution is a step-by-step curriculum that includes LOTS of drills for the basics.

Encouraging creativity

I have debated several times, both online and in-person, with people who are afraid that the study of music theory will stifle their creativity. I would concede that if you are using music theory as the primary driving force behind your compositions, they are going to be quite unoriginal (to put it nicely).

However, your ability to read, spell and understand grammar does not impede your ability to speak, does it? The understanding of the structure of music, like the structure of language, only enhances your ability to use it.

A deep and fluent understanding of music theory will only expand the possibilities at your fingertips and in your ears. In order to speak the language of music fluently, one must master the basics to the point that they become automatic and don’t impede the composer or improvisor.�� Music theory helps us to understand the structure of music, but our ears should always lead our minds in the creative process.

Overcoming boredom

Traditionally, music theory is taught in a lecture format similar to a math classroom. There is often little interaction between and among teacher and students.

In addition, the repertoire most commonly used for examples, while quality music, does not appeal to the majority of students. This adds to the feeling that at best, music theory is a useful subject only for classical music. And at worst, it is only for old, stuffy snobs. Both are so far from the truth!

Music theory provides a powerful tool to understand, create, analyze, and even perform music at the highest level possible. This tool transcends any style or era and is essential for anyone who has a serious desire to pursue music.

But music theory needs to be made more exciting and accessible. We are so accustomed to having information available 24/7 at our fingertips that attention spans are now shorter. Education methods must take this into consideration and include mobile apps and online tools to engage students.

In conclusion, in order to overcome the apprehension that many younger music theory students face, I recommend the following:

1. Learn music theory methodically. Make sure each building block is solid before moving on. Drill!

2. Master the basics. In order to be fluent you must be both fast and accurate. Drill!

3. Have fun! Learn with a wide variety of music, including classical, rock, pop, jazz, metal, punk, R&B, etc.

4. Use technology. (Because who reads books anymore?)

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Dr. Joel Clifft��directs Keyboard Studies at��Azusa Pacific University,��where he teaches piano, music theory, accompanying, and ear training. He’s also an adjunct professor at��. He created��Music Theory Pro, an iPhone app also available for Mac computers and iPads. Music Theory Pro teaches music theory and ear training using cutting-edge technology.

Music theory is probably the most daunting and challenging class freshmen music majors face. Meeting the challenges is easiest for students who’ve taken AP Music Theory or who’ve had strong music theory training in summer music programs or with private teachers.

Tom Hynes, who teaches music theory, guitar, and jazz ensembles at Azusa Pacific University, shares his best tips for meeting the challenges of music theory head-on. His ideas work best when applied as soon as you start your first music theory class.

Use a Keyboard

In my first week as a music major, I was advised to do all my theory and musicianship
work at a piano.�� This was one of the best pieces of advice I’ve ever been given.�� I camped out in a practice room for hours at a time, using the piano for both my theory and ear training assignments.

It’s so much easier now. You can sit down under a shade tree with a small portable keyboard and earbuds…yet, so few students do.�� If you aren’t already doing so, use a keyboard as much as possible.�� Even if you have little keyboard background, get in the habit of touching, seeing and hearing the notes to the same degree that you use your mind to learn them.

Work in Groups

Music theory is often easier and more fun to learn in pairs or small groups. Have one person be the ‘teacher’ (impersonations permitted!), doing pertinent drills and exercises.�� Keeping things fun, light and social means you’ll be more likely to practice with others.

Utilize Resources

Sometimes an outside resource, beyond the immediate lecture, texts and tutorials, can help you register a fact or concept.�� There are many out there: I am particularly fond of Music Theory Pro, developed by my friend and APU colleague Dr. Joel Clifft (see his ).

Discover Your Own Learning Style

In music theory, there are often several different routes to a correct answer.��And everyone learns and connects differently. Sometimes teachers only offer the one approach they think is best, or the one that’s their personal favorite.��I, for instance, am not a ‘step-counter’, i.e., one who determines intervals as accumulations of half-steps. But some of my students are (as is my wife and my department chair).��I always cover step-counting as an option, even if it is not my favorite, because it may end up being a student’s favorite. Afterall, it’s about them, not me.

Maintain Self-awareness

Self-awareness is a huge aspect of being a successful student. But it’s not always recognized by a student who takes or has been forced to take a passive role in their own learning.

This includes awareness of music around you, and in your everyday life.��I encourage students to look for examples of melody and harmony all around them, not just in the music they play and sing.

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In addition to serving on the faculty at Azusa Pacific University, Tom Hynes is a performing guitarist, composer, and clinician. He also teaches jazz guitar at Idyllwild Arts Summer Program and Academy and guitar classes at St. Catherine’s Academy.

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This is the first of an important two-part series by Dr. Joel Clifft, director of Keyboard Studies at Azusa Pacific University and adjunct professor at (see bio below), about why music majors are required to take music theory classes.

by Dr. Joel Clifft

Music theory is an important part of the foundation for any musician for several reasons.

First, it deepens our ability to understand the structure of music. Let’s pretend you had to give a speech in a foreign language.��How important would it be to understand the meaning of the words?��It would be impossible to give the speech with the appropriate inflection and pacing without having a thorough understanding of the meaning and structure of the speech and all of the words in it.��Music theory, like language, enables us to understand the structure and meaning behind a musical composition.

Secondly, music theory allows us to speak with other musicians in a common language. It serves as a short-hand for referring to important points in the music. So, if the cellist says, “Let’s make the modulation more dramatic,” everyone knows which part of the music he’s referring to.

Who Benefits?

Music theory is helpful for every kind of music major. It allows composers to analyze the work of other composers so they can develop their own style. It allows music education majors to read the score and figure out where the brass section has an incorrect note written. It allows commercial music majors to improvise in an unrestricted, wide variety of styles. It allows jazz majors to transcribe solos from their favorite artists. It allows the classical pianist to understand the formal structure of Beethoven.

Our goal in requiring students to study music theory is not to simply torture them with the same hoops that we had to jump through when we went to college.��A deep understanding of music theory makes a literate musician.��It makes a musician who can not only speak the language of music, but read and write it as well.

How does learning music theory boost music performance?

There are two things that performers have to constantly work at –– reading music and memorizing music. A deep understanding of music theory makes both of these tasks infinitely easier.

Reading music has a lot in common with reading words.��When we first learn to read words we must sound out each individual letter before we can form the entire word C – A – T, CAT.��Then, over a period of time we begin to recognize the entire word with a glance. Later on we can recognize a group of words in one single thought. This is what allows us to become fluent readers. In music, groups of notes form chords, and groups of chords form phrases. Music theory is what allows us to recognize these chords and phrases and become fluent readers. Show me someone who is good at reading music and I’ll bet they also are good at music theory.

Performance majors, by and large, are required to perform their music from memory. Many young musicians rely heavily on motor memory (tactile memory). This is the most unreliable form of musical memory. Have you ever seen someone miss a single note and then completely freeze on stage? This is a result of motor memory –– the fingers only know where to go based on where they’ve been and one mistake can completely derail the performance. Harmonic memory allows us to store large sections of music and thousands of notes in our memory under just a few common chord progressions.

Performers must understand the structure of every piece they perform and this is impossible without a solid music theory background. It’s very embarrassing if your teacher says, “Start at the recap,” and you don’t know where that is. Knowing the form not only impresses your teacher though, it enables you to understand the piece as a whole. A holistic understanding of the piece has an impact on every interpretive decision you will make.

Bio:
Dr. Joel Clifft�� is the director of Keyboard Studies at Azusa Pacific University. He also serves as an adjunct professor at . His iPhone app, Music Theory Pro, has received rave reviews from “San Francisco Classical Voice” and the KTLA news in Los Angeles. He is also an active collaborative pianist and has performed with Midori and Ma Xiaohui, among others.