By Haley Zaremba

More than 100 years after the birth of jazz, women still remain underrepresented in jazz performance and jazz education programs.

This is not because of a lack of female talent. As long as there has been a jazz scene, there have been women trailblazers helping to set the standard for great jazz musicianship.��

A long legacy of pioneering female jazz talent has proven that women belong in jazz. Now, a new generation of jazz instructors and students are working hard to make jazz an equal opportunity art form – and they’re gaining ground.��

For this article, we spoke with five exemplary women who have achieved success in their careers as jazz musicians, and who are working hard to inspire, encourage and empower the next generation of girls in jazz. They share thoughts on barriers women still face in the jazz world, as well as some of the ways these barriers can be overcome to create a safer, more inclusive, and more creative jazz scene.��

Obstacles faced

Gender stereotypes that classify jazz as a masculine genre along with a lack of female representation can make jazz uninviting and intimidating for young women.

And for those who are brave enough to enter this male-dominated musical genre, the challenges may not stop once they’re through the door. Unwanted attention or being expected to prove oneself in a way that male-identified jazz performers aren’t expected to are not uncommon.

Many women jazz artists report being reduced to their gender rather than treated as individual artists. “It is sometimes exhausting wondering how one’s playing would be assessed if folks weren’t noticing the ‘female’ aspect of it,” describes jazz drummer and educator Clare Church. “Are they looking at me like a novelty act? Are they actually being easier on me? Are they even really listening to the playing outside of the fact that it’s coming out of a woman, and in my case, an older woman, especially one who is (gasp!) playing the drums?”��

At the same time, a gender-blind approach to jazz has its own trade-offs. It is important to recognize that women face gender-specific barriers and challenges. Naming these challenges is the first step to fixing them.��

As an example, women performers have to think about safety concerns that their male counterparts may not worry about, says Olivia Hughart, saxophonist, woodwindist and composer. “Before taking a gig, you might have to spend more time thinking about whether the people on the gig are cool to be around or if you have found a safe way to get to the gig that won’t leave you on a train alone late at night,” she says. “Women also have to think about going to jam sessions alone or finding somebody to go with, just in case others at the hang have other motives besides playing the music.”

Creating a more welcoming space

When asked about how to inspire young women to become involved in jazz, the musicians we interviewed talked about the importance of seeing and working with other women in jazz.��

Entering into a male-dominated space can be daunting, but with the guidance and support of women role models and peers, it can be a whole lot easier.��

Turning to females of your own age group can be one empowering approach. Hughart noticed that girls were few and far between in her middle school jazz program. With the help of her teacher, she created Key of She Jazz for girls in her school district to support girls in jazz, from middle school through college and beyond.��

“I found that facilitating a space like this creates more enthusiasm and encouragement between girls trying to pursue jazz,” she says.��

Role models are essential

A lack of confidence can be a major barrier for girls who want to get started in jazz. They may worry they don’t belong or don’t have what it takes to succeed in a system that isn’t built for them. This is especially true if girls have seen few women jazz performers out in the world.��

“Girls need to see other girls succeed in order to envision themselves doing what they want to do,” says Hughart.��

Representation, community, and mentorship are key to providing girls with the support and confidence they need to succeed. “In jazz, taking improvised solos can feel like taking a leap of faith, and if girls do not feel supported or encouraged, we may not see as many girls out in front of the band soloing,” Hughart shares.��

Jazz pianist/composer and educator Annie Booth echoes this sentiment, stressing the importance of representation. “Having role models both in proximity to and from afar can make an immense difference in the self-esteem of young women learning such a heavily male-dominated art form,” she says. ��

The importance of mentors

Booth urges young women in jazz to seek out female mentors. She created the SheBop Young Women in Jazz Workshop through the Colorado Conservatory for the Jazz Arts specifically to bring female and non-binary young women together to play jazz in a safe and welcoming environment. Now as co-owner and co-founder of Brava Jazz Publishing, Booth offers a platform to publish and distribute the music of women composers and arrangers in big band jazz.��

“Mentorship is super important, especially when starting out,” says Hughart. “When I was able to meet other women who were making it on the scene and playing jazz professionally, I felt more inspired and was able to see myself pursuing a career similar to the ones that my role models and mentors had made for themselves.”

The value of college for pursuing jazz performance

College-level music school is helpful for meeting other women jazz musicians and mentors. This can facilitate professional connections and build a support network of like-minded, talented women who can advocate for each other and provide moral support, solidarity, and professional opportunities.��

These programs can:

• Break down some of the key barriers described above
• Build skills in an academic setting to foster confidence
• Facilitate taking creative risks in a male-dominated world
• Teach professionalism
• Refine talent
• Hone musical skills
• Provide ways to stay a step ahead of the talent pool and stand out from the crowd, which many women jazz musicians will tell you is especially important when outnumbered gender-wise

Finding the right program

There are still lots of programs that are heavily male dominated in terms of both students and faculty, and it’s good to be mentally prepared for this reality. You may want to take these factors into account while searching for the best fit college for studying jazz.

1. Check the gender makeup of the faculty and previous cohorts. This can tell you a lot about the program.

2. Reach out to former women students for important insights into how they fit with the program’s culture.

“I found that when I was applying to colleges, I had to think about other things that my peers did not,” says Hughart. “I had to think about whether the program was going to be ‘bro-y’ or if it was going to be a safe and comfortable environment to learn in.”

3. Look into existing gender initiatives at schools you consider. Otherwise, there’s a significant chance you’ll be one of very few women in your program.

Parting thoughts

It’s clear that jazz still has a lot of evolving to do in order to become a safe and welcoming space for anyone with passion and talent. But things are slowly changing for the better thanks to talented women jazz musicians who continue to push boundaries.

Believing in yourself, as well as advocating for yourself and others, can help women and girls stay on the path despite the challenges they still face.

“So many jazz greats have said to me over the years, ‘Just keep doing it,’ which sounds so simplistic, but really is true,” says Clare Church. “If you don’t give up and consistently have a growth mindset, are open-minded about all kinds of music, and keep your eyes and ears open for opportunities, you’ll continue to grow as a musician your entire life.”

Annie Booth adds, “My biggest advice is to be yourself and stay curious about the music! I can see now that early on in my career I had an image of what I thought I should be doing and as I’ve gotten older, I’ve begun leaning into what makes my musical voice special. Everyone has something special to contribute and it’s all about working on your skills so that they can be tools in strengthening and adding clarity to your unique musical voice! There’s room for everyone in this art form.”

“Focus on your goals and celebrate your successes,” says�� Jenny Neff, conductor, horn player and Lead Advisor for Key of She Jazz. “Don’t be afraid to have those difficult conversations (in a respectful way) that help teach others how everyone should be accepted and treated.”

Composer/arranger and jazz drummer Sherrie Maricle emphasizes, “Be aware of gender bias and misogyny and work hard to rise above it, confront it, and help fix it, whether it’s coming from a teacher, band director, friend or peer. Practice hard and be great at your instrument. Music has no gender. As my mentor Stanley Kay said ‘If you can play, you can play.’”��

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Haley Zaremba��is a writer and researcher with an MFA in Food Studies from American University of Rome and a BA in Media Studies from University of San Francisco. Her writing ranges from music and culture to energy and the environment.

Photo: Olivia Hughart of Key of She Jazz/ Photo credit: Manasa Gudavalli

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Check out these excellent resources:

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Special thanks to these extraordinarily-talented mentors and leaders for contributing to this article:

Annie Booth, jazz pianist and composer, faculty at University of Denver Lamont School of Music and co-founder of .

Clare Church, jazz drummer, faculty at University of Colorado Boulder College of Music and co-founder of .

Olivia Hughart, jazz saxophonist/woodwind doubler, composer, and founder of .

Sherrie Maricle, jazz drummer/composer/arranger and leader of

Jenny Neff, Program Director and Professor of Music Education at University of the Arts��

No two music schools offer the same exact programs, nor do they name their music major areas of study the same way. You’re apt to find out that, as an undergraduate, you can study what you are most interested in at some schools but not at others. You’re also likely to find that some schools cluster certain music majors together and house them under a specific department.

It can get confusing when you try to compare apples with apples!

Add to that the fact that new music major areas of study are continuously popping up in response to new demands, new developments in technology, and sweeping changes in the music world, and it’s even more confusing.

The following list will give you a general sense of areas within music in which you can major. Remember, however, that the best way to understand what you can study is to check school websites for descriptions and curricula.

Arts Management

Some schools offer a Bachelor of Music degree in arts management or performing arts management to prepare students for working in non-profit administration, in college and university concert promotion, and in the commercial music world. Students often have a strong background in one or more of the performing arts, including music. Coursework typically includes a combination of business classes and industry-specific courses such as economics, accounting, finance, law, marketing, and statistics.

Students in this field should plan on getting internships in areas in which they are interested. Graduates find jobs in marketing, public relations, planning, development, operations, fundraising, and education in symphonies, theaters, opera houses, foundations, public arts agencies, and record label companies. Note that courses offered at some schools in arts management may overlap with courses offered at other schools within music industry programs.

Popular Music

Popular Music is offered at a growing number of schools as a degree program for vocalists, instrumentalists, and songwriters as well as those interested in audio recording. More often, pop music is offered within the context of music business or commercial music. But look for more opportunities as schools recognize the demand for these programs.

It’s currently easier to find schools that offer just one or more classes or the opportunity to minor rather than major in: contemporary pop/rock, folk-rock, country, Rhythm & Blues, Urban, Latin/Salsa, and contemporary Christian music.

Jazz Studies

Jazz studies may be performance-based or more academically-based, so be clear about the direction in which you want to go. Jazz is often included in other majors such as performance, music history, and music education, but if you are a die-hard jazz person, you may want to find a jazz-specific program, even a free-standing jazz department.

Auditions are on jazz-eligible instruments – typically brass, woodwind, and percussion or rhythm. Guitar may be included in the jazz program or in a separate guitar major.

A jazz-intense performance curriculum is likely to include private lessons, improvisation, combos and orchestras, music history, theory, composition and arranging in addition to general requirements and a few electives.�� Note that some schools require jazz majors to take classical lessons on their primary instrument.

Musical Theater

Depending on the school, musical theater is offered as a major in and of itself; as a concentration within the drama or theater department; or as a focus within the vocal performance program of the music school or department. It’s worth talking with schools as well as people who have taken different routes in musical theater to figure out which way would work best for you.

Music Education

If you are passionate about sharing your love of music with students anywhere from pre-school through college and graduate school, you may want to look at becoming a music ed major.

With a bachelor’s degree, typical job opportunities are in: primary, elementary, and secondary schools; teaching in a private studio; and directing high school band, orchestra or choral music. Graduate level training is typically required to teach university-level classes as a tenured professor, although some schools do allow extraordinarily talented musicians without graduate degrees to teach some classes. According to advanced degrees are also recommended for working as a music supervisor/consultant and as a university music school administrator.

Music education majors typically select a vocal/choral, instrumental or general music track. Most schools’ required coursework includes:�� vocal or instrumental lessons; music theory; music history; child psychology and classroom management (for K-12 teaching); technology classes; student teaching; and conducting. Prior vocal and/or instrumental proficiency (on at least one instrument) is required of music ed applicants.

You can typically graduate as a performance major and then go back to school for approximately one year (including a stint as a student teacher) in order to gain a master’s degree and certification and licensure as a music educator.

Most important is that you choose to become a music teacher for the right reason: because you love it, as opposed to it being a fall back plan because your other career intentions did not pan out.

Music History

Majoring in music history means focusing on the history of music of Europe and North America, including all periods, styles and genres. Music history majors are proficient on an instrument and will likely be expected to play in a school performance group. However, music history majors typically pursue an area of music other than intensive performance.

Schools that offer a bachelor’s degree in music history (often with music literature) require about a third of the classes in music history and literature, a third in performance and musicianship, and a third in general studies. According to the National Association of Schools of Music (NASM), the ability to read foreign languages (typically German, Spanish, French) is also required.�� Some schools offer performance versus research tracks. Many music schools�� offer music history only through graduate programs in musicology and ethnomusicology.

Music industry

Some schools call this major “music business” while others house their music technology curriculum within their industry program.�� Coursework typically�� includes classes in music management and business, contracts and legal issues regarding intellectual property, music publishing, accounting and finance, music promotion, and music administration. Courses offered in arts management at one school may be similar to those offered in music industry at another school.

Music Technology

Students who want to combine and experiment with music as well as technology may want to major in music technology. Fields within music technology, which may at some schools be majors in themselves, include music engineering technology, music production, recording, and audio and sound engineering. Each school will differ, but in general, a music technology major will learn to use current technology and equipment for recording, production, composition and performance. It’s therefore advisable to investigate the studio facilities as well as class size at schools you are considering.

Music Theory and Composition

Some schools may separate these into two distinct majors; others may include music arranging and/or editing within this major. Most music majors will find that they are required to take some music theory classes in order to graduate. But those who want to focus on the relationship of melody, harmony, and rhythm combined with the design and structure of chords as well as on creating their own compositions will want to consider majoring in this field. Typical requirements: composition, theory, aural or ear training, ethnomusicology, performance, and music history.

Music Therapy

According to the American Music Therapy Association, “Music therapy is the clinical and evidence-based use of music interventions” and is used in a variety of healthcare and educational settings to “promote wellness, manage stress, alleviate pain, express feelings, enhance memory, improve communication, and promote physical rehabilitation.”

Music therapy is considered an allied health profession and therapists are trained as musicians as well as helping professionals. Coursework includes music; psychology; biological, social and behavioral sciences; music therapy-specific classes; and general studies.

Graduates with a bachelor’s degree in another area can complete the degree equivalency program in music therapy offered by most AMTA-approved universities by completing only the required coursework (without having to earn another bachelor’s degree). A Master’s in music therapy is also offered by a number of schools.

Performance

Performance majors take 65% of their coursework in performance and performance-related classes. Some schools include pedagogy, accompanying and collaborative performance (vocal and instrumental chamber music, conducted ensembles and opera), while others offer those as part of a graduate program. Other schools offer classes and even an emphasis in early music or historical performance.

Performance majors typically study brass, guitar (classical, studio, jazz), keyboard (piano, harpsichord, organ), percussion, strings, woodwinds or voice. They focus on heightening their performance skills through extensive practice as well as ongoing lessons; developing their own, personal style; and preparing to perform professionally as soloists and ensemble orchestra members.

Vocal performance majors (choral music, choral music education, classical, jazz, opera, studio music) are typically required to take diction classes and complete specific foreign language requirements. They participate in opera as well as other choral and recital performances.

World Music or Ethnomusicology

Students who want to study forms and methods of musical expression throughout the world as well as specific cultural styles of music will find undergraduate majors in world music and/or ethnomusicology at some schools. Consider whether you also want a performance emphasis or an academic, research-oriented focus.

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

You were the lead or member of the cast in your school musical. Now you’re thinking you might like to major in musical theatre to keep that level of excitement alive all four years of college and beyond.

Majoring in musical theatre is an extremely demanding path requiring high-level training in voice, acting, movement, and dance. It also requires business savvy, resilience, patience, and self-confidence.

Not everyone who achieves success in musical theatre has majored in it, but getting a degree in it should provide you with the skills you’ll need to move forward in this field.

Guidance for choosing a school

• Find a musical theatre program that fits who you are and what you want to do.��
• Choose a school where teachers not only have experience in musical theatre but also continue to be directly involved in it. Teachers who are open and candid about your proficiency are more likely to help you gain a chance at success in this highly competitive field. ��
• Find teachers who understand what is healthy and safe for your voice and for your body.��
• Look for schools that help bring their advanced students to the attention of musical theatre scouts through showcases and other opportunities.
• Consider the range of career paths associated with musical theatre, aside from lead and chorus roles. At some schools, you’ll find training offered in non-performance areas such as lighting, choreography, stage management, theatrical makeup artistry, and costume design. These are all necessary aspects of any production.
• If you apply to a program that does not offer musical theatre, you can still enter this field with a strong background as a voice, dance or theatre major although you may not get the training in the triple threat that’s needed for lead roles. Note that most non-musical theatre voice departments train students in classical voice.
• The business side of musical theatre includes learning how to market yourself as a “brand” and requires that you have a professional résumé, a website and up-to-date headshots in the most popular style of the moment. Musical Theatre programs should include this as part of your education.
• Look for schools where you’ll find mentors who you’ll click with and who will help you strengthen your proficiencies in voice, acting, and dance. They should also be able to assist you in learning the ins and outs of how to interview and audition. Note that mentors want to work with those who have already set clear goals for themselves instead of taking that task on for you.

Benefits of summer musical theatre programs��

If you’re thinking about majoring in musical theatre, take a summer music program focusing on musical theatre before your senior year. You’ll strengthen your skills, increase your self-confidence, meet your competition, learn more about your musical theatre “type,” and gain greater understanding about the world of musical theatre.

You will find yourself rehearsing and training beyond anything you’ve done so far. This will help you figure out whether you can really handle what it takes to survive and flourish in this field. As musical theatre teachers and coaches will tell you, it’s far less expensive to attend a summer music program and find out if this is really the world you want to be a part of before you start applying to schools and taking on the expense of college. You’ll be able to ask yourself: “Do I love this enough to be exhausted after 18 hours of work each day, and still want to wake up the next day and do it all over again?”

Photo credit:��Arizona State University School of Music

Financial aid is a complicated, confusing, and often anxiety-producing topic for many students and families. No less so for music students. Here’s a succinct guide to help you get started and wade through the alphabet soup of acronyms you’ll need to understand.

FAFSA – Free Application for Federal Student Aid
By filling out the free FAFSA application, you’re eligible for federal student aid programs offered by the U.S. Department of Education. Some states and colleges also use it to determine your eligibility for financial assistance.

*Note: FAFSA can now be filed starting October 1. Income and tax information from an earlier tax year are also now required.

EFC – Expected Family Contribution
The information on your FAFSA is used to calculate your EFC. Your EFC is based on the family’s taxed and untaxed income, assets, and benefits.

Here’s how the College Board explains it:

“Colleges subtract your EFC from the total cost of attending their institution for one year. The total cost — which includes tuition, fees, room and board, books and supplies, personal expenses, and transportation costs — minus your EFC is how much financial aid they estimate you’ll need to attend the college.”

CSS Profile – College Scholarship Service Profile
This is an online form, administered by College Board. Approximately 300 colleges, universities and scholarship programs require it to determine eligibility for non-government financial aid, including grants, loans, and scholarships.

Federal Pell Grants
Usually limited to undergraduate students demonstrating financial need.

Federal Perkins Loan
Offered by schools of higher education to students demonstrating financial need. For undergraduate AND graduate students.

Considerations

1. “To apply for federal financial aid, such as Pell grants or loans, families must complete the Free Application for Federal Student Aid, or FAFSA. Some states and schools also use the FAFSA to determine eligibility for their own scholarships and grants.” – NerdWallet,Inc.

2. Most college/conservatory admission directors and financial aid officers will encourage ALL families to fill out the FAFSA.

3. Some schools require the FAFSA and CSS to qualify students for merit aid even though merit aid is based on achievements in music, academics, etc.

4. FAFSA and CSS are NOT the same!

5. Loans vs. Grants
Grants don’t need to be paid back except under certain circumstances (see U.S. Federal Grants below under Resources). Loans must be paid back with interest.

6. What if you don’t get what you need?
Consider calling the admissions office of the school you want to attend. Be courteous and succinct when you let them know why you are calling. Have no expectations of the outcome of your call but if you do get more aid, be sure to send a thank you note or email.

If you send an email or leave a voice mail and don’t hear back, call or email again in 2-3 days. The person you’re trying to reach is likely inundated with calls and emails from others just like you!

Note that some schools are okay with your letting them know about other offers you’ve gotten. Others are not receptive to this information and it will not sway their decision.

7. Determine with your family how much debt you’re willing and able to take on BEFORE you apply to college.

Links & Resources

�ƹ�app Scholarships for Music Majors

by Katherine Pukinskis –

I can’t tell you with any certainty why you were not accepted to a particular music school. A lot of times, even the schools themselves can’t tell you why they made their decisions (this is often for legal reasons). Having spent some time as the Interim Admissions Coordinator for the Carnegie Mellon School of Music, what I can offer are a few thoughts to consider about application decisions.

1. First, there is this weird inexplicable thing that music schools talk about called “fit”, as in, “You just aren’t the right fit with our school.” This is not a cop-out, even though it may feel that way. Certain music programs subscribe to certain schools of thought. Teachers have specific methods of instruction (did you know there are two different schools of harp performance?), and sometimes the methods they employ aren’t suited for you and your skills.

Maybe you want to be a singer/songwriter, and the program focuses more on classical repertoire. Perhaps the trumpet teacher knows you are applying to another school, and that you would grow so much more if you were in the studio of the trumpet teacher there. Sometimes there isn’t a strong interpersonal connection between teacher and student at the audition. It’s not that you’re not good enough, it’s just a personality thing.

We all know that forcing a square peg into a round hole doesn’t get you very far. It’s important to trust that the professors reading your application and hearing your audition are making their decisions in your best interest, whether you can see it or not. Chances are, they, as professional musicians, are hearing things and understanding things about you as a growing musician that you may not even be aware of yet. People want you to succeed, and sometimes certain schools don’t put you in the best place for that. Thus, it’s not the right fit.

2. A lot of music programs fill their studios based on the number of spaces they have available. For instance, if the cello studio capacity is 20 students and four musicians graduated last year, then there are four spaces available to fill. If you are sixth on the list, you probably won’t get an offer. However, next year, six people may graduate. If you audition again and you are still sixth on the list, you have a better chance of being accepted. It’s entirely possible that you are talented enough to attend this school, but the numbers game just didn’t align for you this year. This is arguably a more frustrating concept than the idea of “fit,” but it’s just something we have to come to terms with.

An Alternative Plan

If you had your heart set on a particular school, and if there is nowhere else in the world you can stand to be for the next four years, all hope is not lost. If you are in a position where you can still attend that school (as a non-music major) and perhaps apply to the music school for your sophomore year, consider doing that. You’ll have an extra year of practice, you can form relationships with faculty, and the numbers game may play out for you. Also consider contacting someone who heard your audition and ask them what you can do to prepare more effectively for the future. They may not be able to tell you exactly why your audition didn’t turn out the way you had hoped, but your efforts to continue to learn and become a better musician will reflect positively on you.

Not being accepted is still hard to hear and come to terms with. What may become clearer over time is that there was a reason for it that will actually serve you and your music. While it may not make sense now, perspective often comes further down the road.

Hang in there.

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Katherine Pukinskis is��a renown��composer as well as assistant professor of music��and chair of the Contemporary Creative Practice Division at She holds a PhD in Composition from University of Chicago and bachelor and master’s degrees in Composition from Carnegie Mellon University.

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.

by Karen D. Goodman

Are you wondering how to choose a music therapy program? Here are several suggestions:

Read, Read, Read

The website of the����is a great place to start. Then you can move on to numerous books and articles concerning music therapy. Reading will continue to inform you, through case example and theoretical explanation, what the work is really all about. Reading also forms a basis for intelligent questions when you meet with faculty interviewing you for their programs.

Observe Music Therapy

Contact AMTA for regional information where you can find music therapists to observe. Seeing is believing, and you may even want to volunteer with a music therapist for a period of time to decide if this is truly the profession for you. That was what I did many years ago.

Consider These Criteria:

• Location
Proximity to clinical facilities is particularly important during training in a music therapy program. You do not want to be in the middle of nowhere no matter how beautiful it is.

• Strength of music school
Your admission through a music audition and your training as a musician are integral to your role as a music therapist. The strength of the music school in terms of faculty, students, ensemble offerings, and curriculum is key, no pun intended.

• Strength of academic offerings
Music therapy is truly an interdisciplinary art and science. You want to be at a school with competitive academic entry criteria, a strong general education component, opportunities for developing your writing ability, and connections with a strong psychology department.

• Accreditation
Accredited academic music therapy programs are indicated on the AMTA website. Programs are offered at the undergraduate and graduate levels. Don’t let a school advise you that you can become a music major and a psychology minor and go on to practice music therapy! Music therapy has been a specific academic field and training program since 1950.

• Faculty and leadership
Look for a music therapy program where there is diversity of faculty:��at least two full-time faculty who can present varied theoretical approaches and a minimum of five years of full-time clinical experience, preferably supplemented with adjunct faculty with definitive areas of expertise and clinical experience. Many training programs thrive on rotation of leadership positions in order to provide fresh perspectives.

• Clinical training opportunity
Ask specific questions about how much clinical training opportunity each program provides and if you will receive both on-site and faculty supervision with experienced clinicians. Ideally you will have clinical opportunity for six successive semesters with different ages and challenges; the supporting practicum classes should be taught by faculty with a minimum of five years of clinical experience in those areas.

• Class size
Music therapy is an intensive and demanding curriculum that requires a smaller class size, ideally no larger than 20.

• Class format
Although the COVID-19 epidemic necessitated online learning, has the program adapted to offering safe face-to-face instruction? If not, what would the pros and cons of online or hybrid learning be?

• Research opportunities
What kind of research is being done in the music therapy programs you’re looking at? In 2019, the National Institutes of Health (NIH) awarded $20 million over a five-year period in order to move music therapy and neuroscience initiatives forward. This research builds on the Sound Health Initiative, an��NIH-Kennedy Center partnership in association with the National Endowment for the Arts. Approved grants in music therapy initiatives are quantitatively based, where the collection and analysis of data are numerically based.

• Ranking
There is no legitimate ranking of music therapy programs on the internet. It is up to you to investigate the possibilities!

•��Preparation for CBMT exam
Upon graduation from an accredited music therapy program, you are eligible to sit for the Board-Certification exam, overseen by the Certification Board for Music Therapy. The successful passing of this exam grants you board certification, MT-BC, which is supplemented with continuing education. Many employers require this credential for hire. The current pass rate is 65% (2021). Does the program provide any guidance or support for this?

• Alumni successes
Does the program keep a database of graduates and their success in finding jobs?

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Karen D. Goodman, Professor Emerita, Music Therapy, Montclair State University, Montclair, New Jersey, is a seasoned educator, clinician, supervisor, administrator and author. Publications include��Music Therapy Groupwork with Special Needs Children��(2007),��Music Therapy Education and Training��(2011), and��International Perspectives in Music Therapy Education and Training��(2015).

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For More about a Career
in Music Therapy

• Music Therapy Addresses Trauma – Careers That Change Lives
• Music for Comfort or Healing
• Music Therapy Practitioners and Educators Reimagine Their Profession

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According to the��, if you have a bachelor’s degree in music but not in music therapy, you can apply for a 60-credit, 3-year�� combined equivalency/master’s degree program. For a complete list of music therapy degree programs, visit AMTA’s website.

Are you someone who lives and breathes jazz and can’t imagine doing anything else in college? If you’re wanting to major in jazz, here are 8 top considerations from jazz faculty, students, and recent graduates for anyone thinking about majoring in jazz or already on their way.

by Barbra Weidlein –

1. Why Go to Music School to Study Jazz If You’re Already Performing?

While some young musicians at the top of their game will make a name for themselves without ever going to music school, careers in music are so highly competitive that musicians need all the knowledge, support, and connections they can get.

According to Alan Pasqua, professor of Jazz Studies at��, “Music school increases your chances of being a better musician. It’s a structured environment with other high level, motivated students,�� that offers networking opportunities and knowledge. It’s a way to become more fluent in jazz.”

Pasqua goes on to say that young musicians who think they can learn what they need to learn, by simply studying with a private teacher, will miss out on everything that happens after the lesson is over. “In music school, the learning is ongoing. It’s so easy to find fellow students to play with, to continue the learning. There are also opportunities to meet so many others in fields that will be important to you in your life.”

2. Choose a Direction

First and foremost: do you want to focus on performance? Or on the history of jazz? Do you want to teach? Or are you leaning toward a career in music industry, with jazz as your focus? Schools differ in their strengths, so a good starting place is to clarify what you think you want to do when you graduate. Richard Dunscomb, chair of the Music Department at Columbia College Chicago, recommends that you research and then ask each school you’re interested in to specify what type of jazz education you will get there.

For performance-driven students, Harry McKenzie, who got his Bachelor of Music degree in Jazz Studies at USC Thornton School of Music in 2012, suggests looking closely at schools “in cities that have thriving jazz scenes, so you can start establishing yourself as a professional player while you’re in school.”

3. Become a Good Improviser

Music schools typically expect jazz students to know how to improvise by the time they audition. But how do you get there?

According to John Murphy, chair of Jazz Studies at University of North Texas College of Music, “Learning how to improvise, and to play jazz in general, is a lifelong pursuit. The best thing you can do is to listen with your full attention to important artists on your instrument (including voice) and on other instruments. Much of the listening we do these days is distracted. Anyone who wants to learn how to play jazz needs to listen with full attention, with no distractions, repeatedly. There’s no better way to learn what you want your tone to sound like, how to feel the time, how to play a solo that tells a story.”

4. Get the Most Out of Your Program

Take responsibility for finding out what you need to learn if you want a career in music. Don’t expect music schools to lay it all out for you. Talk with professors who are also performers or who have backgrounds in music industry, music education, or any area of music you’re interested in. Find out what they wish they’d learned when they were in music school. And, as professionals, what skills/tools they can’t do without.

“You get out what you put in,” ��says John Gunther, composer and multi-reed instrumentalist, and associate professor of Jazz Studies at��. “Be active and pro-active. Study hard and practice a lot but also look for or create opportunities to play with your peers. Get familiar with other instruments (everyone should play drums and piano!). Be familiar with things happening outside your immediate environment (theatre, dance, classical concerts, etc.). You also have to take care of yourself….sleep, good food, exercise.”

Drew Zaremba, senior jazz studies major at University of North Texas College of Music, spends as much time as possible with faculty to learn as much as he can, and then practices everything he learns. “Your colleagues are an equally important source of inspiration and encouragement,” he adds, “so finding good dedicated musicians as friends is essential!”

Addision Frei, University of North Texas College of Music junior and an award-winning pianist, agrees. “One of the most important aspects of studying jazz in college is connecting to your peers and establishing strong music relationships. Playing with others outside school is the most helpful way to harness ideas obtained in class and to develop an artistic identity. Supporting peers at local performances is also crucial to becoming a part of a musical community.”

5. Find the Right Teacher

The importance of finding the right teacher can’t be underestimated. John Davis, director of Jazz Studies at CU Boulder College of Music, recommends: “Find a teacher who plays how you��would like to play, but who also has been recommended as a good teacher. ��Unless the teacher/performer can relate ways to practice and play effectively, all you may end up with is a great player who sounds good but who can’t help��you��sound good. ��You want to find a teacher who can effectively provide approaches and ideas that will help you grow.”

Alan Pasqua offers these suggestions:

• Find a teacher who can be a mentor.
• Find a teacher whose performance you can emulate.
• Find someone with whom you can work well, and with whom you have good relationship dynamics (i.e., chemistry is important!).
• Find out how much time the teachers you want to study with are really at the schools you’re looking at applying to. Many tour, so you’ll want to know whether they’ll actually be teaching your classes and how available they’ll be for your questions and concerns outside of class time.
• Connect with anyone you might want to study with, before you start applying to schools. They should be willing to email with you and hopefully give you a lesson, as a prospective student at their school.

6. Know What’s Required to Be Successful

“You must develop a repertoire of jazz standard tunes,” says John Davis, a trumpet player who has taught everything from jazz history to big band and vocal jazz.��“These are tunes you have memorized, know the chord changes, and can improvise over. ��All jazz musicians are expected to have a large base of jazz tunes in their ‘arsenal’ to be competitive and functional in the industry.”

Learning to network is vital. According to Alan Pasqua, whose background includes playing electric keyboard for TV shows and performing with legendary musicians including Bob Dylan, Santana, Ray Charles, Elton John, and Queen Latifa, “The networks you develop in college are the most important for meeting friends, fellow students, and for learning about other areas. Your friends will become your co-workers and the people who hire you.”

Los Angeles guitarist, Erik Miron, a 2009 graduate of USC Thornton School of Music, concurs. “The importance of networking and forming groups with my peers –– this was critical, and in my opinion much more important than coursework.”

Drew Zaremba, who plans to be a studio orchestrator and arranger as well as performer after graduation, says “determination, confidence, and humility” are all necessary for success. “One must be determined to face economic difficulties (jazz music is no longer the pop music of our culture) and still be driven to practice daily. Confidence is essential –– jazz music is based in improvisation, and without confidence it is difficult to deliver a convincing solo for audiences to listen to and enjoy. Humility is also incredibly important –– this goes hand in hand with confidence. Without humility, no one will want to help you musically, with getting gigs, and finding work will be all the more difficult.”

7. Learn to Be Versatile

According to Dick Dunscomb at Columbia College Chicago, who also conducts and teaches jazz workshops all over the U.S., “Many schools now require that you learn to perform a variety of forms of music, not just jazz. Anyone pursuing music these days needs to be prepared to work on projects in many fields.”

Along these lines, Harry McKenzie, now a jazz drummer in Los Angeles, advises: “Don’t put yourself in a box and say you only play a certain kind of music. Take advantage of every playing opportunity you’re offered.” Noah Fulton-Beale, a 2012 trumpet performance alum from CU Boulder College of Music who now performs and teaches, agrees. “Be as versatile as you can as a player, arranger, composer, teacher…You never know what opportunities might come up that you’ll need to be ready for!”

8. Invest in Summer Music Programs

“Do it!” says Alan Pasqua. “You’ll get to interact with more musicians who are at least at your level of ability.”

John Murphy concurs. Investing yourself in a summer music program “gives you access to two important things: college-level instruction and a group of peers of similar age who are also serious about the music. You can get a sense of whether you will enjoy being a music major and devoting every waking moment to playing, listening to, and thinking about music.” (See��.)