<p>My D "discovered" the oboe perhaps 4 years ago, and since that time has focused her attention on a career in performance. To her credit she has done quite well for a "late starter." Now she is a senior in H.S. (and being a very independent type) has researched programs/schools and is presently in the process of visiting/auditioning. She has made application to NEC, CIM, Eastman, CCM and Carnegie Mellon (school of Music). While not having a musical background, it is my sense that NEC, CIM and Eastman are superior programs. However, I have very little knowledge regarding CCM, CMU.
I would truly appreciate any insights, comments regarding their instrumental programs in general (and if possible the more specific area of oboe study).
Thanks in advance...
P.S. I'm new to the forum, so bear with me as I learn the ropes.</p>
<p>CCM and CMU are both very highly-respected music programs that attract excellent students and some pretty big name teachers. CMU requires strong academic credentials even in its school of music.</p>
<p>NEC has the entire BSO oboe section on faculty, CIM has the former Cleveland Symphony principal, CMU has the current Pittsburgh Symphony principal, Killmer at Eastman and Ostoich at CCM have bounced around a bit but both have very solid credentials. </p>
<p>When you daughter visits, try to arrange a sample lesson with each potential teacher. She has applied to a lot of great schools and will hopefully have some excellent choices to make in a couple of months.</p>
<p>I am a little concerned that someone with only four years on her instrument is only applying to these top programs. It is not impossible for someone in that position to get in, but she will be competing against kids with eight or ten years of training for a place at each of those schools. You may still be able to add a safety school or two, particularly for an under-represented instrument like oboe at a school a notch or two lower than the ones you mention. Look for places with rolling admissions that still have audition dates.</p>
<p>I'm sorry Indiana isn't on your list -- Their program is outstanding, as is their oboe teacher.</p>
<p>CCM used to be a separate music conservatory in Cincinnati, and eventually merged with the University (CCM stands for College Conservatory of Music, NOT Cleveland Conservatory, as many think.) I actually think this hurt the conservatory reputation, because the University is not on the same level as the conservatory. It is quite a respected program, and very difficult to get in to. Many people get fooled because they look at the admit numbers only for U of C, and not for CCM.</p>
<p>CMU was a program recommended to us by our piano tuner! But the teacher for my S's instrument was not what we were looking for in a teacher, so he didn't apply there.</p>
<p>Of your list, we visited CCM, CIM, and NEC. He didn't mesh with the teacher at NEC, and therefore didn't apply. We weren't real thrilled with the facilities there, either. My personal favorite was CIM, but S disagreed. He, like your D, chose to only aim high. He decided he was okay with a gap year, if he didn't get into any of his first choices. </p>
<p>I agree with Bassdad that these are top-notch schools; a musician's version of only applying to Ivies. I hope your D knows this! But there are musicians that do have a lot of talent that is immediately apparent, despite only a few years of playing. Many school openly state that they are not looking for a musician who has "already arrived" but for one that has potential. Has your D received particular advice to aim high? Certainly a teacher who has worked with her would be in a much better position than we to help her select appropriate schools. Hope her auditions go well for her! Break a reed!</p>
<p>Dear BassDad and Binx,
Thanks for the wonderful input. It really helps clarify the perspective for a nonmusic based parent. D has consulted closely with her oboe instructor and seems (ostensibly) comfortable with her choices. But I agree wholeheartedly with concept of safety and will discuss this with her this evening. Wonderful forum, I must say...</p>
<p>P.S. From a review of the forum, it's comfoting to know to that other parents suffer audition related "nerves" as well. I try however to be a source of comfort and support... (sometimes I believe that D is more composed than Dad!)</p>
<pre><code> Thanks Again
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<p>Sorry Binx,
I meant to note that D met Indiana instructor at a Summer oboe session at Interlochen. She enjoyed the lessons with L.S. greatly, but when it came to applying she was very uncomfortable with the concept of a small town. She greatly favors an urban setting (with orchestra). I must admit that I was a bit disappointed (but I'm learning that these are her choices to make, and not dad's).
Regards... drd</p>
<p>
My D went through the audition process last year. Lesson learned was definitely that you should audition at as many schools as possible: the odds are slim on competitive instruments (maybe oboe is different). We know of an accomplished applicant (many years of private lessons at NEC) who auditioned at 17 schools/conservatories and was only accepted at one. You want options come April; audition, audition, audition.</p>
<p>Also, some BA programs (not BMus) allow audition tapes. You will be treated better if you audtion in person, esp for scholarship consideration.</p>
<p>You mention CMU. For example on selectivity, they accept 2 maybe 3 flutes into the undergraduate program each year although they audition many. The head flute instructor at CMU offers a training session each summer. I have a feeling the only students accepted into CMU flute perf. are already known because they have been attending that summer sessions previously.</p>
<p>As for oboe at CIM, check out this thread (and John Mack at CIM):</p>
<p>Is it the case that your daughter previously played one of the other reed instruments? If so, she has more musical maturity than would seem obvious from only playing oboe for four years, and it is not so uncommon to progress to a more demanding reed instrument from something like clarinet. Good luck.</p>
<p>Hi Folks,
Lorelei, Oboe is her first & only reed instrument experience. For better or worse it does indeed sound as though D has aimed quite high. From what I'm gathering in this forum, "no safety net" here.<br>
In fairness to D (and in spite of her relatively short time with the oboe) she is quite bright and a very "quick study." She displays a great love for the instrument and music and has gone to great lengths to involve herself in performance related activities. This year she is involved with a contemporary orchestra, a wind ensemble and the "youth orchestra" associated with our town's symphony. She plays principal oboe in the first two, and rotates principal in the youth orchestra.
All this having been said, I must say I'm a bit concerned regarding her prospects. It means so much to her. But I guess time will tell... and I'm sure pulling for her. </p>
<p>Thanks for all the kind input... drd</p>
<p>I'm eager to hear how your D does. We're in a similar boat except our D is a junior, age 15, oboe for 4 years with minimal instruction the first year.</p>
<p>I'm curious if your D's teacher has had success in getting students into the places your D is applying? Did your D have any lessons at these schools ahead of time? If so, what kind of feedback did she get?</p>
<p>Dear ASW,
We're particularly eager in this regard :) Happy to compare notes. (Sent PM since it gets rather detailed).</p>
<p>Regards... drd</p>
<br>
<blockquote> <p>auditioned at 17 schools/conservatories>></p> </blockquote>
<br>
<p>I'm going to give a different perspective on this. I think this is TOO many auditions. The school weeding out process for music majors should come before the acceptances/rejections come in. DS applied to and auditioned at 7 schools and we thought THAT was too many. However, the bottom line is that he had already had lessons and visited all seven schools prior to auditions. He had interviewed at all places. He knew how many students were being accepted on his instrument for the upcoming year. He knew where the private instruction suited him. AND he chose a wide variety of schools including three conservatories, three large university programs with conservatory type music programs, and one smaller university. He was accepted at all but one of the large universities (where they were accepting only one performance major on his instrument). The time he spent preparing for auditions was extensive. AND the travelling was also a stressful time. Even 7 auditions were stressful to complete. I can't imagine travelling to, and completing 17 without a LOT of added stress.</p>
<p>My son is in a conservatory working towards a double degree BM Music Composition (his instrument is the oboe) and BA Government. He has played the oboe starting at age 7 (many tears when he was young, it wasn't my idea and I kept trying to get him to quit) and he had teachers who played with the local state symphony orchestra who were trained in Italy and the UK. His training was european and so was his sound. He followed the Royal Schools program through the final Grade 8. Although last summer he passed auditions to represent the region where he grew up and to play in France on someone else's dollar, his sound is different than oboists in the states. The reeds are different. (I can even tell the difference and that is saying something) Funny because the American oboe sound was developed by a Frenchman. He is relearning everything now or maybe you would call it seeing the other side of the sound. He considers himself at the bottom of his conservatory group. That said, he got into every program he auditioned for except the Bard Conservatory (which he hadn't applied for but they telephoned him and had him send more tapes. We couldn't afford the in person trip to NYC) though he was accepted into Bard. He was accepted everywhere by sending tapes but he visited some schools and played in person, had "lessons" the summer before his senior year. I don't know what will happen with his oboe training though he loves the instrument, always has. His relationship to composition is that he spent 4 summers at a school where the focus was composition and has been creating songs since he was 10 and learned the intricacies of the computer programs that go along with that training. I am glad he is at a school where he has choices. They don't even really sign up for a plan until the end of the sophomore year. He applied and was accepted in both compositon and oboe at one huge university, 2 large universities, 2 medium sized schools and 3 LACs. He did not want to apply to any pure conservatories. He wanted a complete college experience. Last I heard from him, he was interested in graduate studies in music in Germany. He thinks Germany is where it is at for music....and Russia.</p>
<p>Overseas...I'm confused...in your first sentence you say your son is "in a conservatory". In your last part you say..."He did not want to apply to any pure conservatories". Is he in a large university with a conservatory type music program??</p>
<p>He is in a conservatory program at an LAC. : )</p>
<p><auditioned at="" 17="" schools="" conservatories="" and="" was="" only="" accepted="" one=""></auditioned></p>
<p>Wow! This is totally unnecessary and not recommended. Just returned from son's audition yesterday at Juilliard, where I spoke to lots of parents and students, mostly brass and woodwind players. The typical number of schools to which most of these kids applied was 6-8. Most included a mix of smaller stand-alone conservatories and larger university based conservatory type programs, and they seemed to have made their choices based on teacher, geographic location, and personal "fit". Many of them had already received at least one acceptance to a carefully chosen school which they would be happy to attend if that is their only option. Juilliard was the last stop on the audition circuit for most of these kids, and everyone was TIRED and very stressed about having missed so much school during the last couple months. I can only imagine how one would feel after 17 auditions!</p>
<p>there are different styles of play regarding oboes. MARCEL TABUTEAU etc. What is important to know is who/where did the current instructor study and what "school" of oboe playing to wish to learn.</p>
<p>a few quick thoughts</p>
<p>A young lady recently was on From the Top and said she had auditioned at 12 conservatories and had been accepted at 11.</p>
<p>4 years may seem like a short time, but as was mentioned, often they are looking for musicality and potential and not a complete finished player.</p>
<p>Beware that some private teachers may not know or may not be the most independent source of recommendation of how high your child should aim.</p>
<p>Hopefully when considering schools of that level the player has some idea of their abilities based on regional or state orchestras/bands they have qualified for and is not relying on how they did in HS or a local YO.</p>