<p>Hi! I'm new to these forums and thought I might be able to connect with some people who might have been in my shoes before and can give me some advice. I'm currently looking at grad schools for music composition and I have a number of places in mind. The three that I am most interested in, however, are Yale School of Music, Curtis, and Juilliard (for obvious reasons). </p>
<p>I realize these schools are extremely competitive and I have about a year to finalize my portfolio and accomplishments before applying. To give you an idea about where I am compositionally here is what my portfolio will include-</p>
<ul>
<li>At least two national awards and honors (one from the Federation of Music Clubs, and another from the New York Art Ensemble) </li>
<li>I've received paid commissions from numerous ensembles and performers, and have had performances at Carnegie Hall, the Missouri Music Educators Association annual convention, and venues and festivals throughout Europe.
-I've been asked to write the music for a PSA which will be shown nationally
-I've had numerous lessons with a number of composers including Nico Muhly, Adam Schoenberg, John Mackey, and Robert Beaser.
-I've collaborated with a number of artists from other mediums for example curating art shows, and scoring a senior thesis project for USC film students. </li>
</ul>
<p>I've worked really hard as an undergrad in getting my career started, and now I want to go to a school that can take my composition career to the next level. I want to study with incredible faculty with a great track record for producing working composers (hence the schools I mentioned). </p>
<p>My question is, with the time I have left what else should I be doing to make sure I am prepared to be extremely competitive at these schools? What kinds of things are the faculty more than likely wanting to see? Visiting their websites, it's hard to gauge what they're looking for in prospective students. Any ideas on what I can do to make me stand out among the Brobdingnagian crowd of applying composers would be excellent. </p>
<p>It seems to me you’re already doing all the right things. Writing music. Getting it played. Entering competitions. Studying with a wide range of composers. Making contacts. Networking.</p>
<p>What to do to stand out? Really work on your music and develop an individual voice. And really know why you want to go the schools you’ve chosen and why you want to work with the professors there. Is it just because of the track record of their students? Or is it because you like their pedagogy? Or their own compositions? From what I’ve heard - composition at Curtis is going to be a very different animal than Yale SOM. And depending on whom you study with at Juilliard - could be exactly what you’re looking for, or exactly not.</p>
<p>A working composer? What exactly does that mean to you? Getting your music played by professional ensembles, or getting a position as a professor? Or starting your own ensemble? For some, that means paying work scoring movies/tv/ads etc. I think being very clear in your mind about what you want out of a grad program will probably help you get accepted to the right place.</p>
<p>There are certainly more programs than those three which can lead to a successful career as a composer. Have you spoken to your current professors, your composing peers, your mentors et al about where they think you’d find the program in which to flourish?</p>
<p>Have you received a BM in composition from a conservatory? Or were you a BA music major at a college? Or are you a senior now? Can you tell us anything about where you have been studying (even if you don’t want to identify the school) and with whom?</p>
<p>Spirit Manager has really covered it. I would just second what she said about those three schools being different. Is there a particular teacher that you would like to study with? Curtis has Richard Danielpour and Jennifer Higdon, and has a reputation of being a little more conservative (tonal), for instance. Do you want to continue with Robert Beaser at Juilliard (he is also a neo-tonalist, a term I read on one of his bios awhile back). Do you want to study with Adler, Crouse, or Corigliano at Juilliard? Who do you want to work with at Yale SOM? Is money a factor (Curtis and Yale SOM are tuition-free)? You might think more about fit than about who is “better” or “best” among applicants. </p>
<p>I would also ask what you mean by a working composer. Few people can live by composing alone, at least at first. Are you interested in teaching? Or would you work in a bank, or bartend, and compose on the side? Do you play an instrument that you could give lessons on? What do you picture yourself doing as a working composer?</p>
<p>At the undergrad level, admissions really just cares about the music, and they are looking for potential. I don’t really know that much about what they are looking for at the grad level, but would assume it would still be very much about the music. You must have some good recordings, by good musicians, by now, which sure is helpful. I would also think they would expect you to have developed more of an individual “voice” (as Spirit Manager said; this term seems trite after awhile but not sure how else to say it). </p>
<p>But others can enlighten you more than I can on these things, and I look forward to reading responses since my daughter is an undergrad and will be asking similar questions, though she knows exactly who she wants to study with, and would go to East Podunk U. to study with him or her.</p>
<p>In the meantime, it sounds like you have done all the right things. Good luck!</p>
<p>You’re right, Curtis does not have a graduate program for composition (actually, only for opera studies, it looks like, from the website).</p>
<p>We visited Curtis and met a nice young man, in his late 20’s, who was doing a diploma in composition after graduating somewhere else with a BM (or maybe even an MM). That left an impression in my mind of a graduate student composer, but that was not the case.</p>
<p>Hope the original poster sees this…good catch…</p>
<p>One can get a Diploma in Music at Curtis in composition, after receiving a Bachelor’s. It’s not an MM - but it certainly could be considered graduate work.</p>
<p>Those three schools aren’t the only places I’m looking at, but they are definitely my top three and all for very different reasons. But first, let me give you a better idea about where I’m coming from. Before I started looking at grad schools I made a list of my priorities and what I really wanted from grad school. They are- </p>
<p>-Faculty (Do they have a track record of producing students who are able to make a living as composers both within academia and without? Are they themselves active and could they potentially help me network with other arts administrators/performers/conductors/etc?)</p>
<p>-Location (I don’t need a HUGE city, but I need to be at something of a cultural center where there are lots of arts going on- not just music, but theater, dance, museums…I need a place where I can be constantly building my network)</p>
<p>-Financial Aid (Way down on the list, but still very important)</p>
<p>Juilliard and Yale catch my attention pedagogically- I’m especially interested in Martin Bresnick’s method and Corigliano’s “architectural approach.” I think both would play to the areas I need to improve on most. Personally, I’m very attracted to Jennifer Higdon’s music and I’ve really gotten a lot out of the interviews I’ve heard with her. Also, all three schools have produced students who make an impressive living outside of academia (especially Corigliano’s students). </p>
<p>*Side note: I don’t really buy the myth that you have to be a teacher to make money as a composer, although it’s certainly the path most traveled. And I’m not opposed to this at all- I actually LIKE the idea of teaching. But not right out of college. I think with a little business sense there are still plenty of ways to make money as a composer.</p>
<p>Anyways, that’s a little bit about where I’m coming from. Maybe with this in mind it can help you better help me. And I truly DO appreciate the help!</p>
<p>@Compmom- I am working towards two bachelor degrees from the University of Central Missouri (Music Education and Jazz Studies). I hadn’t ever considered composition until about a year ago when I took comp lessons as an elective and started entering competitions at the advice of my teacher. Since then, I’ve become completely hooked and am trying to make up for lost time. XD</p>
<p>Also, while I’m here… does anyone know how the “Diploma” from Curtis translates to other schools (if I in the future were to pursue a doctorate?) It doesn’t really matter to me- I’m not in it so much for the piece of paper as I am an incredible educational experience. But I’m just curious. I hadn’t noticed that before. Thanks newccuser!</p>
<p>Since you’re already in Missouri I have to assume you’re checking out UMKC. A number of the grads are doing very well and Chen Yi and Zhou Long are certainly well connected for networking purposes. Their new music scene seems quite lively, too. Also, be sure to check out Mizzou’s summer festival, if you didn’t go last summer.</p>
<p>What I might recommend for you, since you’re new to composing, is to go for a Masters first, and then apply somewhere else for a PhD - that way you get even more experience and exposure to multiple professors.</p>
<p>Ps. where did you go to study with Nico Muhly?</p>
And I truly DO appreciate the help!</p>