Our Master of Music programs are aimed at exceptional students seeking to hone their craft in the performance of their instrument, in specialized academic research, and in the application of teaching methodologies.
Video audition
Applicants from outside Puerto Rico have the option of submitting an unedited recording with the material required for the audition on DVD region code 1 (DVI, Quicktime, MP4, AVI). Edited videos will not be accepted.
50-minute program of contrasting repertoire including arias and art songs.
A work of advanced difficulty from the baroque or classical period. The rest of the audition will be free selection with works from different representative periods. The entire program will be played from memory.
Program of 50 to 60 minutes of music, including at least three contrasting styles. You may submit works from the suggested repertoire below or equivalent:
1. Baroque: A Suite by Bach or SL Weiss
2. Classical or Romantic: Great Solo, Sonatas or Variations by Sor or Guiliani
3. 20th century:
Ponce – Variations or Suite
Berkley – Theme and Variations or Sonata
Brouwer – The Decameron engro, variations on a theme by Django Reindhart
M. Torroba – Sonatina, Characteristic Pieces
F. Martín – 4 short pieces Lauro – Barrios Venezuelan Suite – Brindle Cathedral – Henze Gold Polyphemus – Three tientos
Violin
1. Two (2) movements from one of the Sonatas and Partitas for solo violin by JS Bach
2. One (1) Paganini whim
3. The first movement with cadenza of a concerto for violin and orchestra to choose from one of the following:
Mozart no. 5, Mendelssohn E minor, Saint-Saens no. 3, Wieniawski no. 2, Tchaikovsky, Brahms, Sibelius, Beethoven D major.
Viola
1. A complete concert of the standard repertoire (examples: Stamitz, Hoffmeister, Walton, Bartok)
2. Three contrasting movements from a Bach suite, sonata or partita for solo viola.
3. One additional piece selected by the candidate (examples: Romanza by Bruch, Sonatas by Brahms, Hindemith)
The entire repertoire must be played from memory.
Cello
1. First movement to choose from one of the following Concertos or equivalent:
Dvorak B minor Op. 104
Haydn D Major Hob.VIIb:2 Op.101
Schumann A minor Op.129
Shostakovich No. 1 E-Flat Major Op.107
2. A Prelude and another movement to choose from the 6 Suites of JS Bach
3. A study by Popper (40 High School Studies Op.73) to choose from the following: No. 9, 12, 26, 27, 29
Double bass
1. Major and minor scales of 3 octaves.
2. Any of the following concerts: Dragonetti, Vanhal, Dittersdorf, Koussevitzky.
Harp
Recital program including works from the suggested repertoire below or equivalent:
Selection from a sonata by Domenico Scarlatti
Debussy, C. - Danses, Sacreeet Profane
Mauldin, M. - Birds in Winter, Six Preludes for Harp
Flute
Recital program of no less than 50 minutes of music in a variety of styles. Each piece in said recital must be representative of the baroque, classical or French/modern style. The program may include:
1. Sonata by JS Bach, BWV 1035 in E Major, or BWV 1034 in E Minor.
2. Mozart Concerto in D Major K. 314 or in G Major K. 313
3. A piece from the Collection: FluteMusicBy French Composers (forFlute& Piano). Edited by Louis Moyse. (G. Schirmer #ED2699) Published by G. Schirmer (HL.50331090).
A recital piece must be memorized. The recital must be accompanied on the piano.
Oboe
Two complete works from the oboe repertoire (baroque, classical or 20th century period). Four orchestral excerpts from his selection.
Clarinet
1. Concerto for Clarinet and Orchestra Mozart K. 622, first movement
2. One movement from a piano work, to be chosen from the following list or equivalent: Sonata, Poulenc
Rhapsody, Debussy Sonata #1 or #2, Brahms Sonata in A minor, Delano Sonata, Horowitz
3. A work for solo clarinet, to choose from the following or equivalent: Cinco Bocetos, Roberto Sierra ThreePieces, Stravinsky Capriccio, Sutermeister
4. Orchestral passages (available in the Admissions Office):
Brahms, Sinf. #3; Schubert, Sinf. Unfinished; Rimsky-Korsakov, Capriccio Español; Beethoven, Sinf. #4, 6, 8; Rossini, Semiramide Overture; Shostakovich, Symphony #1; Mendelssohn, Scherzo; Rimsky-Korsakov, Scheherezade; Ravel, Daphnis & Chloe Suite #2.
Bassoon
1. Bassoon Concerto by WA Mozart, movements I & II
2. Orchestral Fragments:
The Marriage of Figaro, introduction and recapitulation, WA Mozart Symphony No. 4, Second Movement solo, P. Tchaikovsky Scheherezade, Second Movement solo and cadenzas, Rimsky-‐Korsakov Bolero, M. Ravel
3. Scales - All major and minor
Saxophone
50-minute program including works from the suggested repertoire below or equivalent: Partita in A minor, JS Bach
Concertino (w/AeolianSong), W. Benson Concertino da Camera, J. Ibert Scaramouche, D. Milhaud Sonata, R. Muczynski Improvisation I, R. Noda Elegieet Rondeau, K. Husa Mai, R. Noda
Orchestral excerpts
Pictures at an exhibition – M.Mussorsky
An American in Paris – G. Gershwin
Trumpet
alone
Choose one of the following:
FJ Haydn – I and II mov. Honneger – Intrada Jolivet – Concertino Tomasi – Concerto, I mov.
Studies
Choose one of the following:
Bitsch – no. 1, 3, or 5
Orchestra Passages
Choose 4 passages from among the following:
Stravinsky – Petrouchka“ Ballerina's Dance “ Ravel – G Major Piano Concerto, 1 mov.
Mahler – Symphony no. 5, opening Stravinsky – Firebird, Infernal Dance Copland – Outdoor Overture Wagner – Parsifal Prelude
Bach – B minor Mass, Credo
Bach – Christmas Oratorio no. 64 (mm 1-‐12)
Trombone
1. A standard concert that reflects musical depth and technical mastery on the instrument. Examples: Grondahl, Gordon Jacob, Nino Rota, Henri Tomasi, Paul Creston, Ferdinand David; or musically comparable piece.
2. A sonata or standard work from the piano trombone repertoire. Examples: Hindemith, Casterede, Sulek, Ewazen, Gaubert, Saint-Saens, Salzedo, Ropartz, or a musically comparable piece.
3. A Latin American or Puerto Rican work written after 1960. This piece must be of a musical depth consistent with a graduate level audition. Examples:
Puerto Rico: Alfonso Fuentes, Mariano Morales, Alberto Rodríguez.
Latin Americans: Carlos Chávez, Alfredo del Mónaco.
Bass Trombone Candidates, consult Doug Yeo's list of possible works to present.
yeodoug.com/resources/text/repert.html
French Horn
The program must contain 3 contrasting works, chosen from this list, or of equivalent difficulty:
Arnold, Malcolm: Fantasy for Horn and Piano (Op. 88)
Beethoven, Ludwig van: Sonata in F M for Horn and Piano (Op. 17) Bissill, Richard: “Lone Call & Charge” for Horn Solo (1994)
Brahms, Johannes: Trio in Eb for Violin, Horn and Piano (Op. 40) Bozza, Eugène: “En Forêt” for Horn and Piano (Op. 40)
Buyanovski, Vitali: “Spain” (2007) from “Pieces for Horn Solo: Four Improvisations (from traveling impressions)”.
Cherubini, Luigi: Sonatas (Concert Studies) No. 1 and No. 2 in F M for Horn and Piano (1804) Dukas, Paul: “Villanelle” (1905)
Ewazen, Erik: Sonata for Horn and Piano (1997)
Gliére, Reinhold: Concerto in Bb for Horn and Orchestra (Op. 91)
Haydn, Franz Joseph: Concerto No. 1 in D M for Horn and Orchestra [Hob.VIId:3] Haydn, Franz Joseph: Concerto No. 2 in D M for Horn and Orchestra [Hob.VIId:4] Heiden, Bernard: Sonata for Horn and Piano (1939)
Hindemith, Paul: Sonata in F for Horn and Piano (1939)
Hindemith, Paul: Sonata in Eb for Onóbeno (Alto Horn) and Piano (1943) Larsson, Lars Erik: Concertino for Horn and String Orchestra [Op. 45, No. 5-‐1953] Mozart, Wolfgang Amadeus: Quintet in Eb for Horn and Strings (K. 407)
Mozart, Wolfgang Amadeus: Concerto No. 4 in Eb for Horn and Orchestra (K. 495) Nielsen, Carl: “Serious Song” for Horn and Piano [FS 132 -‐ 1913]
Poulenc, Francis: “Elegie” for Horn and Piano [FP 168 -‐1957] Reynolds, Verme: 48 Etudes for French Horn (1961)
Choose one among studies No. 3, 6, 8, 10, 12, 16, 18, 22, 25, 30 38, 39, 44.
Saint‐Saëns, Camille: Romanze in E M for Horn and Piano (Op. 67)
Saint-Saëns, Camille: “Morceau de Concert” for Horn and Orchestra (Op. 94) Schubert, Franz: “AufdemStrom” for Soprano, Horn and Piano [D. 943 -‐1828] Schumann, Robert: Adagio & Allegro [Op. 70 -1849]
Sierra, Roberto: “Evocative Concerto” for Horn and Orchestra (1990) Strauss, Franz: Fantasia for Horn and Orchestra (Op. 2)
Strauss, Franz: Fantasy for Horn and Orchestra (Op. 6)
Strauss, Franz: Nocturne in D Major for Horn and Piano (Op. 7) Strauss, Franz: Concerto in C for Horn and Orchestra (Op. 8)
Strauss, Franz: Introduction, Theme and Variations for Horn and Piano (Op. 13)
Strauss, Richard: Concerto No. 1 in Eb for Horn and Orchestra [Op. 11 – TrV117 – 1883] Strauss, Richard: Concerto No. 2 in Eb for Horn and Orchestra [Op. Posthumous – TrV 283 – 1942] Strauss, Richard: Andante in C M for Horn and Piano [Op. Posthumous –TrV 155–1888] Telemann, Georg Philip: Concerto in D for Horn and Orchestra [TWV 51: D8]
Turner, Kerry: Sonata for Horn and Piano (1995)
Vinter, Gilbert: “Hunter'sMoon” for Horn and Piano (1942)
Weber, Carl Maria von: Concertino in E m for Horn and Orchestra [J. 188/Op. 45 – 1815] Wilder, Alec: Sonata for Horn and Piano No. 1 (1954)
Wilder, Alec: Sonata for Horn and Piano No. 2 (1957) Wilder, Alec: Sonata for Horn and Piano No. 3 (1970) Wilder, Alec: Suite for Horn and Piano (1956)
Williams, John: Concerto for Horn and Orchestra [2003]
Tuba
1. Tuba Concerto, R. Vaughn-Williams
2. Concertino for Tuba, Gregson
3. Concerto in One Movement, A. Lebedev
4. Technical exercises: a) Theo Charlier: No. 2 of the 32 Improvement Studies
5. Excerpts: a) Mastersingers, R. Wagner b) Symphony no. 5, Prokofiev c) Symphony no. 1 (3rd movement), G. Mahler d) Valkyries, R. Wagner
Mallet-Keyboard Instruments
1. Variations on Japanese Children's Song, Keiko Abe
2. Blues for Gilbert, Mark Glenthworth
3. Small Piece for Marimba, José Rodríguez Alvira
4. Vibraphone and Marimba Concerts, NeyRosauro
5. Preludes, NeyRosauro
6. Concertino for Marimba, Paul Creston
7. Orchestral Repertoire
Snare Drum and/or Drums
1. 12 Studies, Kreisleiriana, Etude Method 20 to 25, Jacques Delecluse
2. NYSD, Anthony Cirone
3. Recital Piece for Snare Drum, Guy G. Gauthreaux
4. Excerpt Etude for Snare Drum, Mathew Beck
5. Concerto for Snare Drum and Orchestra, Masson
6. Orchestral Repertoire
Timpani
1. 8 Pieces for Timpani, Elliot Carter
2. Sonata for Timpani -John Beck
3. Classic African-Joseph Aiello
4. Three Movements for 5 Timpanis-‐John Beck
5. Concerto for Timpani, Tharichen-‐Werner
6. Orchestral Repertoire
Percussion or multiple drums
Solo at the Level and/or Equivalent of Solos by composers such as: Cangelosi Hollinden, Kraft, W. Ortiz, Veray, Stravinsky.
*Candidates who have not completed these courses may apply for admission to the Teacher Certification Program simultaneously to fulfill this requirement.
2. Admission Application – Complete and submit the admission application with payment of the $100.00 fee (non-refundable) on or before the date indicated in the academic calendar.
3. Essay, of no less than 500 words, in which the applicant will explain their reasons for entering the program, their goals, professional objectives, and the qualities they possess to achieve them.
4. An official transcript from the accredited college where the student completed his or her bachelor's degree with a grade point average (GPA) of 3.00 or higher on a 4.00-point scale.
5. Three letters of recommendation from professors or administrators who can assess the applicant's potential for continuing graduate studies and their teaching experience. The recommendation must be submitted in a sealed envelope, with the recommender's signature on the back.
6. Video – Present a 5-minute demonstration class of the applicant's area of teaching experience during the interview or submit a 15-minute video of the applicant's teaching experience (classroom or instrumental or vocal group rehearsal) with the application for admission.
7. Interview with the Dean of Academic Affairs and/or the Director of the Graduate Program.
The applicant must have the necessary understanding and communication skills of the Spanish and English languages to successfully complete the Master of Music degree in Music Education.
Admission requirements are subject to change and periodic review. Any amendment or change to them will be published as an appendix to this document.
The video duration should be a maximum of 25 minutes, to be distributed as follows:
If the preselection evaluation is favorable, the candidate will be invited to an in-person audition.
In-person audition
Selected candidates must attend an in-person audition to conduct the Puerto Rico Conservatory of Music Orchestra. The list of repertoire that must be prepared and presented for the audition is included, which will last between 20 to 25 minutes. It may be required to direct the entire work or some segment of the work. The candidate's ability to identify errors in areas such as rhythm, notes, tuning, balances, etc. will be evaluated.
Evaluation of musical skills: All candidates who participate in in-person auditions must also pass the following requirements:
All classes in the Master of Music Program in Orchestral Conducting will be offered in Spanish. Applicants from non-Spanish-speaking countries must be able to speak, read and write fluently in Spanish.
Candidates must demonstrate musical leadership based on experience directing a choral ensemble, preferably with experience directing church, school, private or community choirs.
The duration of the video must be a maximum of 25 minutes, to be distributed as follows:
If the preselection evaluation is favorable, the candidate will be invited to an in-person audition.
In-person audition
Selected candidates must attend an in-person audition to direct the Puerto Rico Conservatory of Music Choir. The list of repertoire that must be prepared and presented for the audition is included, which will last between 20 to 25 minutes. It may be required to direct the entire work or some segment of the work. The candidate's ability to identify errors in areas such as rhythm, notes, tuning, balances, etc. will be evaluated.
Evaluation of musical skills: All candidates who participate in in-person auditions must also pass the following requirements:
All classes in the Master of Music Program in Choral Conducting will be offered in Spanish. Applicants from non-Spanish-speaking countries must be able to speak, read and write fluently in Spanish.
Admission requirements are subject to change and periodic review. Any amendment or change to them will be published as an appendix to this document.
1. Demonstrable keyboard skills such as: sight-reading, harmonization, and
simple improvisation.
2. Recommended:
a. Minimum of 2 semesters of support at the BM level.
b. Knowledge of a language - Italian, German or French.
3. Communication skills in Spanish and English (written and spoken)
The audition jury will be composed of the faculty of the piano department. The Deans
Academics reserve the right to attend and participate in any audition jury.
graduates.
The candidate is responsible for identifying and bringing the collaborating musician with whom they will perform
the collaborative repertoire that he has prepared for the audition.
Admission requirements are subject to change and periodic review. Any amendment or change to them will be published as an appendix to this document.
Every student who has been accepted to the Master of Music program must take a diagnostic exam to demonstrate their competitiveness, comparable to a fourth year of baccalaureate in music, in the areas of theory, harmony, form and analysis, and music history. If you do not pass these exams, you must take remedial courses (non-credit) in the areas in need. You must complete remedial courses before enrolling in the required theory, analysis, and history courses required in the Master of Music in Music Performance and Education program. The student who does not appear to take one or both diagnostic exams will be automatically placed in the corresponding remedial courses.
Vocal Diction and the International Phonetic Alphabet (IPA, only for applicants to the Choral Conducting program) – All applicants for the Master of Choral Conducting program must take a diagnostic exam in Diction and the International Phonetics Alphabet (IPA) and demonstrate their knowledge of diction in the English, German, French, Italian and Latin languages. If the student does not pass this exam, he or she must complete a sequential course in diction at the undergraduate level as a prerequisite for graduation. These courses do not count as part of the curriculum required to complete the Master of Music in Conducting degree.
Note: The applicant must have basic knowledge of the use of technology (computer)
Important Dates: