<p>ABlestMom- That is a great info link.</p>
<p>And there's another on the page's sidebar: <a href="http://www.newschool.edu/mannes/selfTest/index.html%5B/url%5D">http://www.newschool.edu/mannes/selfTest/index.html</a></p>
<p>A self test for music theory for all those wringing their hands as to having to take a music theory placement test.</p>
<p>This is a new link and very valuable!!! Thanks for posting it!</p>
<p>singersmom,</p>
<p>with the very limited experience we have, it does seem as if voice is a very different situation, perhaps more so for males since their instruments are so new! My S has a bass friend who had been singing casually and taking voice lessons for less than a year before he auditioned at top conservatories last winter, yet he was offered half-scholarships at them all. While a fledgling musician, he has an awesomely rich timbre to his voice, along with a good dose of charisma--and the judges must be banking on his great potential. The unfortunate thing is that this young man's unusual experience made it seem easy to get into a top conservatory, but I think S is wiser, now, after doing lots of research. I'm still suggesting (strongly!) that S apply to a few B.A.-based music programs along with B.Music programs--just so the audition is not the deciding factor everywhere (his academics are quite good).</p>
<p>voiladad
Agree, not a requirement, but DD has seen it to be a very common element in the instrumentalists she has met, not so much so in vocalists. Sorry point was not clear.</p>
<p>Much thanks to all, and for the helpful links.</p>
<p>with regard to singers, there's this advice from Peabody, which we found helpful:</p>
<p><a href="http://www.peabody.jhu.edu/149%5B/url%5D">http://www.peabody.jhu.edu/149</a></p>
<p>Applicants should be aware that the Mannes theory test linked to in violadad's posting above is pretty easy and comparable to what they can expect to see on audition day at some schools. If you can't get a perfect score on that in less than 10 minutes, I would recommend brushing up on your elementary music theory before going to those auditions. Once accepted by a school, the placement tests contain much harder material.</p>
<p>Very true BassDad...this is probably the first 5 minutes of the many hour placement test, lol.</p>
<p>Hey!!! Peabody looks like an excellentttt option! I haven't even thought of it before. If you are enrolled at peabody though are oyu at johns hopkins or is just near it? I'm confused. like you'd say "i'm at peabody." or "johns hopkins" for music. either way.</p>
<p>Peabody is separate from the main JHU Homewood campus. There is a van that goes back and forth if you need to get there. Unless you are a double major, you would spend the great majority of your time at Peabody, which is in the rather nice Mount Vernon section of Baltimore, a moderate walk from the touristy section around the harbor. The degree you get says Hopkins on it, so you could say you were going to Peabody to your musical friends and to Hopkins to anyone else.</p>
<p>This is sort of off topic for the thread, but... I just posted some information on double degreeing at Peabody/ John's Hopkins (and in general) on a different page on this site.</p>
<p>Peabody is also VERY competitive to get into, but they must accept transfer students, because I know of one who transfered there this year. She had been a vocal performance major at a strong BA program for one or two years (I can't remember), and then transfered to the BM vocal performance at Peabody. She had been taking a strong core of music courses, ensembles, and private lessons in the BA program, so she was well prepared for the audition and to be admitted into Peabody. She liked the BA, but really wanted more of a conservatory approach.</p>
<p>Jeremy, don't assume that leaving Tulane will be the answer to everything. You still have to be happy with your teacher and jumping into any other school that will take you will not accomplish that. If you can possibly do this, it might be wise to stick it out and visit schools during the rest of the year and take sample lessons. If you really click with a teacher, and this teacher believes you may be a good match for the program, you can relax a bit in knowing you have a place to land. Have you continued to work on audition repertoire - you may need to revisit that if your auditions were not as successful as you would have liked before.</p>
<p>I want to address Rudysmom's question about numbers auditioning and number accepted. It really varies by instrument and school. One thing you have to keep in mind is that it can even vary for the same instrument from year to year. My son was a cellist at Eastman. My understanding is that their target is to enroll about 6 freshman cellists each year. They usually accept more than that knowing that not all who are accepted will attend. My son's sophmore year they accepted 9 and all nine enrolled! The next year, they had to accept fewer due to lack of studio space. Other times, a teacher will be new and need to start a studio so they have a lot of openings. Or a teacher will have a special project and cut back on studio space. It is really a hard thing to gauge.</p>
<p>...you could say you were going to Peabody to your musical friends and to Hopkins to anyone else</p>
<p>Our whole family has taken that tack. Saves a lot of explaining to most people. If it's more than a passing conversation, you get the chance to educate them...</p>
<p>As for rudysmom "how many each year?" question, shennie was right on with her comments on the many variables. DD was on the short end of the exact same situation for clarinets at Eastman. The year prior to her applying, they accepted 8 expecting only 4 to attend, but all 8 did. So her year they only took 2 total. The year following that, they went at least 3 deep into the waiting list. Bottom line, make a good list with stretches, good matches and safeties, work like the devil practicing your audition rep and play like an angel at your audition...</p>
<p>"You pays your money and you takes your chances..."</p>
<p>Hi everybody,
I'm currently a junior at MSM. I transferred last year. I'm a soprano. If you have any specific questions about the school and the application/transfer process, I'd be happy to answer them.</p>
<p>The voice program at MSM is very competitive, but that should never deter someone from applying. My number one piece of advice is to connect with a faculty member and take a consultation lesson before your audition. This is important for two big reasons: It helps you decide if you like the teacher, and it means that there's a friendly face in the audience come audition day.</p>
My son got in without any prior contact with any of the faculty members. he is assigned to a professor. How can my son know if he is a good fit for him, and what is the possibility of changing the teacher once he gets in?
I would suggest that your son try to schedule and take a lesson with the professor to see how things go. It may be very difficult to change after the fact.
PM me if you want to talk further.
Mezzo’s Mama, my son went to have a consultation/lesson with the professor, and he really loved him. The teacher has a very good reputation and was very kind to us. He said my son can change teacher later if my son would think it doesn’t work out. Why do you think it may be very difficult to change after the fact, and what do you mean by “fact”?
She means that if you agree to be in a certain teacher’s studio it can be difficult to switch studios once you have begun attending the school. So it’s wise to meet the teacher before committing. “After the fact” is just a colloquial expression that means after making a commitment, decision, or action.
It can be awkward to change teachers, some teachers (sounds like your S’s is one of those) understand if a student wants to switch, others can be less than friendly if you try to do so, there are teachers who consider that akin to treason and not only get angry at the student, but also see the other teacher as “poaching”…can get ugly in some cases.