A career as a music librarian is worth exploring if you’re someone with a background in music with strong organizational and research skills. The work utilizes both analytical as well as creative thinking and bridges technology with the arts. 

The role of music librarian is one of support – for musicians, students, music faculty, and more. But music librarians also perform and use their music skills and backgrounds in other ways as well. 

What do music librarians do?

According to the Music Library Association (MLA), music librarians may do any of the following:

• Organize, catalogue and maintain collections

• Instruct library users in use of the library

• Respond to reference inquiries

• Select music, books, journals, recordings, microforms, and sometimes manuscripts and rare materials for acquisition by their library

• Recommend preservation and housing of materials

• Supervise support staff

Depending on where they work, music librarians may also be responsible for planning exhibits, concerts, lectures, classes, and collaborative events with other institutions. With digital scores so prominent on stage and in music studios, knowledge of the main digital scores platforms and other up-to-date technology skills are essential. 

Academic music librarians

Most music librarians working in universities and conservatories have a master’s degree in music as well as a Master of Library and Information Science degree accredited by the American Library Association. Prior experience working in a library is also helpful in getting hired; according to Misti Shaw, Head of Music Library Public Services and Outreach at Indiana University Jacob School of Music’s Cook Music Library, “Internships can be useful… many library science master’s degree programs require them.”

According to Stephanie Bonjack, Associate Professor and Music, Theatre & Dance Librarian at University of Colorado Boulder College of Music, “A background in classical music will give you the broadest number of options for jobs, but it’s not the only background you could have. Basically, you need to be able to understand the needs of the departments you serve. Someone with a background in jazz, for example, will just have to learn how to scale up their knowledge of classical music if they end up working with a more traditional department. I have a B.M. in Vocal Performance and that has positioned me well to work with a variety of music programs. 

“My job has many components!” Bonjack says. “They all relate to providing information literacy and access to resources in the performing arts. I build digital and print collections in areas of music, theatre, and dance that are taught at the university. I go into the classroom and teach sessions on how to effectively find scholarly resources in the performing arts. I interact with faculty and staff members to ensure that the library collections reflect the teaching and learning happening in their classrooms and studios. As a tenured faculty member, I participate in creating the scholarly record in music and performing arts librarianship. I do this by authoring peer-reviewed articles, presenting at conferences, and conducting workshops. I am also active in professional societies that support music and performing arts librarians.”

The job itself may dictate the education and background needed. According to the MLA, a “thorough knowledge of music history and repertory” is essential to this work. And libraries focusing on specialized music such as non-Western music typically require training in ethnomusicology and possibly relevant languages.

Andrea Schuler, who holds undergraduate and graduate degrees in Viola Performance from Eastman School of Music, coordinated Eastman’s summer program for several years. She now works in Eastman’s Sibley Music Library as a Library Associate in the Ruth T. Watanabe Special Collections. Her current position didn’t require a library science degree but her work in public library circulation while freelancing as a musician bolstered her candidacy for the job. 

“I help with research on a variety of projects, questions about historical Eastman faculty and alumni activity, recordings, photographs, student performances, etc.,” says Schuler, “and I assist patrons who visit the department or contact us online (retrieving materials from the collections for review, scanning items as requested). I also process materials for inclusion in our collections. I love that every day is different – I never know what I’ll get to see or learn about – and that there are so many amazing treasures in our collection!”

Ellwood “Woody” Colahan is the Music and Performing Arts Reference Librarian at the University of Denver (DU). He manages the music library at DU’s Lamont School of Music and also works in general reference and research support in DU’s main library. “Collection development in music is extremely time-intensive compare to other disciplines,” he says. “In most parts of the library collection, development is highly automated, with distributors sending us books based on criteria we define for them. In music, this is the case for books only. For scores and recordings, there is no comparable system so I have to go to a number of websites to identify materials and prepare order request spreadsheets for the library acquisition department. More and more often, composers self-publish their own scores, so I have to seek them out on composer websites. More and more often, they are available only as PDF downloads, so I have to request permission to print and circulate them in the library. Permission is not always granted. It is challenging.”

In addition to serving on several music-related committees at his school, Colahan also teaches “a required research and writing course all masters candidates in the Lamont School of Music must complete. If a school has this course, and a music librarian on staff, it is almost always the music librarian who teaches it.”

Orchestral music librarians

The Major Orchestra Librarians’ Association (MOLA) includes members representing hundreds of orchestras from around the world. MOLA members’ jobs include locating and accessing scores, obtaining the needed rights and permissions to use them, preparing musicians’ parts for performing in concert and on recordings, cataloguing music, and dealing with unforeseeable last-minute situations. 

According to MOLA, orchestral librarians have a “broad range of training.” While not required to have specific degrees, they should have competencies in the following areas:

• Musical knowledge (score reading skills, transpositions, repertoire knowledge, instrumentation)

• Copyright and licensing

• Project/time management, supervisory skills

• Efficient interpersonal communication

• Research and reference

• Exceptional organizational skills with attention to detail

MOLA also describes “tact and sensitivity” and “curiosity and tenacity” as important components of a librarian’s capabilities. 

Other settings where music librarians work:

• Opera companies

• Ballet companies

• Military bands

• Music publishing companies

• Major public libraries including the Library of Congress and the New York Public Library

• Radio and television station libraries

• Music societies and foundations

Music librarianship as a career

Some music librarians continue to perform as freelance musicians but in most settings, their library work is full-time. Professional development programs provide continuing education training with opportunities to learn to specialize in various relevant areas. Annual conferences, professional publications, advocacy efforts, copyright and cataloguing guidance, and streaming services advice all support newer as well as experienced music librarians in remaining current as well as feeling supported in their work.

Barbra Weidlein is co-founder and director of MajoringInMusic.com

Resources to Know About

Copyright for Music Librarians

International Association of Music Libraries, Archives, and Documentation Centers

MOLA: An Association of Music Performance Librarians

Music Library Association

A minor in music can be an excellent option for prospective students who are caught between pursuing their passion for music vs. another path. It’s also a great alternative for multi-talented students who want to focus on an area outside of music without leaving music behind. 

Pursuing a minor in music allows for a good balance of interests with a manageable course load when compared to double majoring in music with another area of study.

“I always try to counsel students that they have so many different options for music study,” says Zach Schwartz, Director of Admissions at Boston University School of Music. “Sometimes we tend to only think of full music majors as the only path, but in reality programs such as a music minor can be a perfect choice for someone to maintain their high-level involvement in the arts while also pursuing their chosen academic field of study.” 

Why choose a minor in music?

Pursuing a music minor offers some key advantages over simply taking music-related electives or extracurricular music lessons. 

First, a more structured music education can be a strong feature on a résumé or curriculum. It reflects a well-rounded, motivated student. Derrick Horne, Professor of Practice in Music at Southern Methodist University’s Meadows School of the Arts, explains that “music minor completion shows dedication to the details of music. It also shows prospective employers that the student is familiar with the rigors of musicianship.”

Second, for students who already have a strong background in music and want to continue to hone their proficiency, minoring in music will keep students’ skills sharp and help maintain momentum and motivation while their primary studies are in another field.

Third, minoring in music ensures that students will be able to register for the music classes that interest them, which may not be the case for students vying for open registration. “A music minor allows students to follow the university music curriculum and enhance their private study with music coursework,” says Anna Luebke, at the University of Maryland School of Music. “Elective lessons that are not related to a major or minor at UMD are limited by space, and the minor program provides better access to music coursework.”

How to pursue a music minor

The process for enrolling in a music minor program varies among schools. Schools may offer a minor in music performance or a more general music minor without a performance focus. These options may have different requirements, workloads, and application/audition processes. For example, participation in ensembles may be required for music performance minors, but not for students minoring in music with a focus on songwriting or music industry practices. In addition, many music performance minors require the same type of audition process as they would for a music major. 

At Loyola Marymount University’s Department of Music, prospective music minors audition by performing two pieces/songs in contrasting styles to demonstrate their musical ability. “Previous experience in private instrumental or vocal lessons, and a background in basic musicianship, especially the ability to read music in both treble and bass clefs, are highly desirable,” says LMU’s Senior Administrative & Production Coordinator Tashi Cardinali Bateman.

The number of credits and semesters needed to complete a music minor also varies from school to school. Since a minor requires fewer credits than a major, students generally do not need to declare their music minor in their school applications process or even in their first year(s) of study. However, students should consider declaring (and applying for, depending on program requirements) their music minor in sophomore year to ensure that they have time to complete the program requirements within four years of study. 

Program requirements may include classes such as music theory, music history, aural skills, musicology and ethnomusicology, digital music production, recording, mixing, and songwriting. Performance minors will also take classes such as studio, ensemble, and applied lessons. In many programs, applied (private) lessons are often offered with doctoral performance students, and may incur an additional fee.

What can you do with a minor in music?

While many graduates with a minor in music go on to pursue their main area of study as a primary career, some leverage their minors into a career in the music industry, ranging from performance to working in music publishing houses. 

For graduates who do not pursue careers in music, their music minors are still useful. A music minor can complement a student’s main area of study and non-musical career path, preparing them for professional success in practical terms, not just on their résumé. Studying music provides transferable skills that can enhance students’ broader marketable skills in addition to their confidence, self-motivation, and teamworking abilities. Furthermore, a minor in music grants students additional knowledge that can be applied to any number of fields by making students more dynamic thinkers and better communicators.

In addition to being helpful in any career, a minor in music can also be fundamental to a college graduate’s ongoing satisfaction and happiness as they enter professional life. These alums leave school as better musicians than when they came in, keeping music central to their lives and allowing them to pursue musical hobbies or side jobs that can keep their lives enriched, balanced, and holistic. 

Haley Zaremba is a writer and researcher and frequent contributor to MajoringInMusic.com, 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 credit: Boston University School of Music

Instrument repair offers a complementary and fulfilling career path with excellent job security for musicians who are interested in pairing their passion for music with their technical talents. 

Since many technicians make their own schedules, instrument repair can be an excellent and flexible option for those who want to pursue a career in performance, production, teaching, etc. alongside their repair work.  This article will help you: 

• Gain insights for getting started on this career path
• Understand how technician work can complement other careers in music
• Learn about the benefits and challenges of the trade
• Decide whether instrument repair work is right for you

What does an instrument repair technician do?

According to the National Association of Professional Band Instrument Repair Technicians (NAPBIRT), “A repair tech is a problem-solver, mechanic, acoustician, plumber, musician, bodyworker, innovator, painter, jeweler, tool and die maker, electroplater, counselor, buffer, chemist, designer, carpenter, and machine tool operator all in one.” In other words, technicians are experts in nearly all aspects of instrument repair and maintenance for one or more instruments. They are also customer service representatives who work closely with clients to help them understand and care for their instruments. 

Location, location, location

A technician’s role is highly dependent on where and how they work. Some technicians work for a specific company or organization that needs a technician on staff. Some work in the field, driving to client locations (particularly in the case of piano technicians). Still others work on the road as a touring technician, which frequently requires a broad but intimate familiarity with a variety of different instruments.  For most technicians, this huge variety of tasks and disciplines is one of the biggest perks of the job. “As a field service technician your environment changes day to day—new homes, venues, studios, and new pianos! Every piano is different, and every job is different,” says Peter White of PianoTechLA in Los Angeles. “One day you may just be tuning, the next you may be replacing or refurbishing parts on your bench, or voicing to shape the tone…the list goes on. It’s fun to meet new customers—piano people & musicians in general tend to be pretty interesting!”

What background does a repair technician need?

Instrument repair technicians come from a wide variety of backgrounds, as musical performers or from a mechanical or engineering discipline. While an ear for music and a proficiency in playing instruments is important, being an excellent musician does not automatically translate to being an excellent repair technician or tuner.  “Though there is some overlap, the skills required in piano service are largely different than those required in music performance or composition; a musician’s ear is not necessarily the same ear used by a piano technician,” says White. But no matter what background you may come from, “the fundamental goal of all techs is the same,” he continues, “to make an instrument sing, and to pave the way for beautiful music.”

While musicianship does not translate directly to being a good instrument repair technician, many technicians report that their competency as performers is of utmost importance to their work in instrument repair. Most technicians are skilled players themselves; it gives them an intimate knowledge of and familiarity with the instruments they are repairing.  “As a specialist in woodwind instrument repair, I believe that my capacity to play each of the woodwinds at a high level is an important element in the quality of repair work that I offer,” says Greg LaLiberte of GregLaLiberteStudios in Boulder, Colorado. “I know how each of the woodwinds should play best, how they should feel under one’s fingers, how the keys and pads should sound when gently pressed, the particular response each of the woodwinds should have when played.”

Learning the trade as an apprentice

There are many different pathways for starting a career in instrument repair, and all require rigorous training.  One option is to find a mentor already working in the field and train under them through an apprenticeship. This is a great option if you can find a mentor with enough time and motivation to train an apprentice.  This is easier said than done. Most technicians have packed schedules and may lack the time and energy to be a proficient mentor. The apprenticeship approach can be especially difficult if you don’t already have a solid contact in the field. 

If you are interested in an apprenticeship, experienced technicians say that the keys to finding a mentor are motivation and willingness to work hard, as well as persistence in demonstrating these traits to the person you want to train under. Mentors will not want to take on an apprenticeship (a lengthy and involved process) unless they are certain that you are dedicated to learning and mastering the trade and are willing to put in the time required to do so. 

University programs, trade schools, and online

Due to the challenges associated with finding an apprenticeship, going to a trade school or a university program specializing in instrument repair tech can be a more accessible pathway for becoming a technician. This is an excellent way to get your foot in the door, make important industry contacts, and get lots of hands-on experience with different instruments. There are a growing number of accredited university programs teaching this trade, such as the Piano Technology masters programs at Florida State University’s College of Music and Oberlin Conservatory. For students looking for a broader instrumental focus, Berklee College of Music offers a minor in Instrument Repair that includes brass, woodwind, and keyboard instruments.

In addition to formal training, there is a wealth of knowledge and do-it-yourself instructional repair videos on the internet. While these can be excellent tools to support your trade as you continue to develop professionally, experienced technicians warn that these are not a good substitute for a more formal and complete education through school or an apprenticeship with a master technician. There’s simply no substitute to learning in the classroom or in a shop with an instrument in your hands and an expert over your shoulder. More importantly, it’s very hard to know who online is credible and who is not. There are undoubtedly a great many helpful and well-informed videos and online repositories of information that can help an amateur repair their instrument, but becoming a professional technician requires years of hands-on experience and instruction. Furthermore, it is crucial to “learn the craft in a way that adheres to industry accepted standards,” according to Brandon Godman, violin technician and luthier at The Violin Shop in Nashville, Tennessee. 

Building your career

There are many ways to kick-start a career in instrument repair or piano technology.  One great way to get your foot in the door is by starting work in a rental department of an instrument shop. In this role, you learn to clean and prepare instruments for the next season, and get lots of hands-on experience with basic repair work that can lead directly to higher-level technician work. 

For piano technicians, John Cavanaugh, director of the MFA program in Piano Technology at Oberlin Conservatory, recommends starting off as a tuner for a piano dealer. In this role, you can meet many new piano owners and players who will need technician services in the future. Maintaining these contacts can be an excellent way to build a client base for an independent practice.  “Other ways to become successful are to work in academia taking care of piano collections, or to hire on with a reputable piano rebuilding company,” Cavanaugh adds.

What makes a great technician? 

A great technician must be patient, persistent, and enjoy solving puzzles. This career path is a particularly good match for those who enjoy working with their hands, gain satisfaction from a job well done, and have a mechanical sensibility, regardless of background. All of the technicians interviewed for this article emphasized the importance of curiosity and a drive to solve complex problems with no obvious solution. The challenge – and the reward – of instrument repair is that every problem is different, and even the most seasoned technicians are sometimes stumped. 

“What makes a great instrument repair person?” muses LaLiberte. “Smarts. An aptitude for how mechanical things function. A joy and curiosity in solving puzzles, a love for working through problems. Having an abundance of patience. Having the desire and fortitude to see a project, even one that seems impossible, through to its completion. A perfectionist. But one that knows when something has arrived at the goal.”

Benefits of being a technician

Those who have enjoyed long and successful careers in instrument repair say that they find their job extremely fulfilling. While there are some very tedious elements to the job—especially when fiddling with the same tiny parts for hours or days at a time, or meticulously tuning the 230 strings of a grand piano—the payoff can be immense. “The feeling of bringing a piano back to life and working with a player to dial it in to their taste is so satisfying after all the tedious work,” says White. “I love that the work bridges both the mechanical and the artistic—you get to play engineer and artist all in the same work.”

“I love that the work bridges both the mechanical and the artistic—you get to play engineer and artist all in the same work.” – Peter White

Multi-career options

Many musicians love combining performance with technician work, as the two careers complement each other in various ways. Working with musicians helps technicians stay active, engaged, and connected in their local music scenes. By the same token, being an active performer in a city’s scene helps technicians find new clients.

Furthermore, being a technician can provide a highly flexible schedule that allows you to pursue other music-related careers such as performance, production, or teaching alongside a thriving instrument repair practice. This is particularly true for self-employed technicians.  As Godman describes, “I am still heavily involved with playing. I am lucky to be around some of the best players in my field through my shops, and I get to be around, work on and study instruments and bows all day long. I feel I’ve made no sacrifices to either side, but have found an organic way to make a living doing what I love. I would venture to say a lot of colleagues in the trade feel the same way, regardless of what their background is.” 

Instrument repair is also a great complement and/or alternative to a career in performance or production because of its relatively high level of job security. Talented technicians are highly in-demand and frequently have more prospective clients than they can take on. As such, the trade can be quite lucrative, and part-time technicians who pursue multiple careers in music report that the bulk of their income comes from their repair work. LaLiberte says his schedule is so packed that clients have to book months in advance, and that this experience isn’t uncommon. “I often hear there is a shortage of repair techs in various places,” he describes. “If one is a talented and reliable repair person, I believe an enterprising individual could practically choose a city, set up a shop, put word out to the local schools, community ensembles, and musicians, put up a website, and quickly develop a business.”

Finally, being a technician can open amazing doors all over the world. There is a high level of demand for technicians anywhere that instruments are played. Which is to say, everywhere! Oberlin’s Cavanaugh, for example, has had extensive experience working with musicians and training technicians in South Africa, where the piano culture is thriving but there is a shortage of technicians.  There are also many underserved communities that rely on the support of technicians to keep music alive and within reach. In these contexts, technicians are not just skilled workers, but are providing an essential and philanthropic cultural service. In this way, being a technician can be an extremely rewarding way to support yourself while also giving back to communities around you. 

“If one is a talented and reliable repair person, I believe an enterprising individual could practically choose a city, set up a shop, put word out to the local schools, community ensembles, and musicians, put up a website, and quickly develop a business.” – Greg LaLiberte

Haley Zaremba is a writer and researcher and frequent contributor to MajoringInMusic.com, 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.

Resources in this article

GregLaLiberteStudios

National Association of Professional Band Instrument Repair Technicians (NAPBIRT)

PianoTechLA Piano Technicians Guild 

The Last Repair Shop

The Violin Shop

Photo Credits

Here are 7 tips for getting what you need at these fairs:

1. Plan to attend college music fairs whether or not you know you want to major in music.

College music fairs help you clarify whether you want to major, minor, double major in music or simply find ways to keep music in your life in college. 

You’ll meet admission folks, get on their radar (a good thing to do!), and have your most burning questions answered.

The fairs are free to attend and you’re welcome to attend as many and as often as you want.

2. Before the fair, ask yourself the following:

• What genre or area of music are you most passionate about? Do you think you’ll want to focus mostly on that in college? 

• On what instrument or in what area of music are you most proficient?

• Which schools will be at the college fair you’ll be attending? Do they offer what you’re interested in studying?

• Have you looked at the websites of schools you’re interested in? Many of your questions (including majors offered, applying and auditioning, faculty, cost of attendance, size of classes, scholarships and financial aid) will be answered there. If these schools participate on MajoringInMusic.com, you’ll find the most important information you’ll need for now on their individual school pages.

• What besides music would you like to explore in college? Are you as passionate about any of these other areas as you are about music? 

• What are your main questions right now for each school?

3. What to expect from a college fair

• You’ll be asked to sign up for each fair you attend. 

• In-person college fairs tend to be crowded and noisy. You may have to wait in line to talk with each school. Be patient and don’t expect to get all your questions answered, just the most important ones. 

• An informative panel discussion may be offered before or after the fair. Plan to attend if at all possible.

• Pick up a business card and any promo information from the schools you’re interested in. This will be helpful for following up.

• Virtual college fairs may allow you to reserve a time with each school you’re interested in meeting with.  

• Schools will create a file on you. They want to remember you especially if you show ongoing interest in their school and if they’re excited about your applying.

• Be prepared to show up as your best self. It will serve you well if you look, dress and act like you’re interested in the schools you meet with. 

• Schools don’t expect you to be “perfect” and they are used to students who are nervous or shy. 

• If you have a particularly good connection with a school representative and you’re interested in their school, send an email to acknowledge that and ask any specific questions you forgot to ask at the fair.

• Expect to hear from schools you meet with – by email and/or snail mail.

4. Conservatories vs. other types of schools

Are you a highly proficient instrumentalist, vocalist, or composer? Do you want to focus on in college? Do you want to take fewer electives and general education classes so you can dive right into your area of interest? Do you think you’ll be able to audition well? If you answered “yes” to these, consider checking out conservatories.

If you think you want to explore other areas of interest in addition to music and may even consider a second major or one or more minors, consider a music school within a university or a liberal arts college with a strong music department. You’ll need to apply and be accepted by the overall university or college as well as the music program. Note that many liberal arts colleges and an increasing number of universities require a stronger academic background than conservatories.

And if your academics have not been strong, or if finances are a major issue, or you’re just not sure what you want to do in college, consider a community college. Look for one where your credits will transfer to a 4-year school (in case you decide to do that later on) and where you can take music theory and applied lessons to see if music continues to be your main area of interest.

5. Helpful questions to ask at a college fair

• What’s the best way to communicate with faculty members who teach what you want to study? How can you get a sample lesson?

• Are there a few student contacts to talk with?

• What kind of career preparation is offered?

• What about internships and other hands-on experiences?

• Are you considered for scholarships when you apply and/or audition? 

• When is the best time to visit the school and will you be able to sit in on some classes and rehearsals?

6. If you have learning differences

It is not necessary to discuss these at college fairs. You can find out about the services each school provides on their websites. Once you’ve accepted an offer, you will want to register with the disabilities office before classes begin. Each school in the U.S. has this type of office and many schools outside the U.S. do as well. Note that your high school IEP or 504 plan will not transfer to college.

7. Remember:

• NO two schools are alike. Don’t make any assumptions or generalizations. 

• Schools don’t expect you to be perfect but they do expect you to read and follow whatever guidelines or rules they provide.

• College music fairs are a way to learn more. And you can continue to learn through college websites, resources like MajoringInMusic.com, associations and organizations related to your area of music, and the visits many colleges make to high schools like yours.

• Take notes at each school visit. Have your phone, iPad, computer or notebook ready before you start. Ask each school if you can use your phone to record the session if you’ll remember more that way. You’ll be able to refer back to your notes when you’re ready to consider which schools to apply to.

• If you discover you have questions after the fair see if you can find answers on school websites and then contact the Admissions Office as needed.

By Barbra Weidlein, director and a co-founder of MajoringInMusic.com

Photo Credit: Royal Conservatory of Music

By Daniel Weidlein

How do you figure out whether to focus on drum set or percussion for music school? 

Too often all of the percussion instruments (and the people that play them!) get lumped together in one oversized category. But the instruments themselves, and the styles in which they’re played, serve myriad functions across every genre of music. The similarities seem to end at the “hitting something” part. 

So how do you hone your focus amidst so many options? Here are a few ways to think about it.

Classical percussion

Classical percussion programs, such as the one at Temple University Boyer College of Music and Dance led by Phillip O’Banion, include focused study on individual drums (snare drum, timpani, bass drum), cymbals, and mallet keyboards (marimba, xylophone, glockenspiel). Mallet keyboards are especially important to a classical percussionist’s skillset, and something that you may not have been exposed to if you primarily play drum set or marching band drums. At Temple, part of the entry audition is an étude or solo on a keyboard percussion instrument, so prior experience is vital. 

Drum set

Outside of a classical focus, music majors at most schools focus on drum set, either in a jazz or popular music program. Many jazz programs also offer a vibraphone major, although that varies depending on the faculty. 

An important thing to note is that many jazz drum set majors are still required to take two years of private study with a classical teacher, as is the case in the jazz program at Temple. Classical percussionists, on the other hand, are encouraged to study drum set privately, but are typically not required to do so. With the rise of more and more popular music programs, there are also more options to study drums in pop, rock, and R&B styles.

Hand percussion, world percussion, and everything else

Some schools offer more specialized percussion majors. For example, the CalArts Herb Alpert School of Music offers undergraduate and graduate specialized majors in addition to more traditional jazz drums and classical percussion. In its World Percussion master’s program, CalArts students study African, North Indian and Indonesian percussion instruments as well as a host of instruments of other cultures. 

Other schools offer students the opportunity to perform in world music ensembles outside of their major. At Eastman School of Music, for example, undergraduate and graduate students are welcome to join gamelan and West African drumming ensembles. No prior experience is required. 

An example of a more specialized program is at Berklee College of Music. Berklee breaks its percussion students up into six principal instrument group categories: drum set, hand percussion, orchestral percussion, vibraphone, marimba, and steel pan. A student is required to pick (and audition for) their primary instrument, but there’s a lot of room to study other instruments through their Lab program which allows for hyper-specific group study in a wide range of stylistic categories (everything from Ghanaian drumming to frame drum ensembles to New Orleans brass bands). 

I play it all! How do I pick my major? 

The reality of being a working musician, especially a percussionist, is that you have to be able to do a lot of things well to make a living. An excellent example: theater drummers who play in Broadway-style pit sections. To get the gig, you likely need to be a good drum set player with great feel and time in many styles (jazz, rock, soul) and a good hand percussionist. You should also be comfortable enough with classical percussion instruments to cover a xylophone, triangle, or gong part. 

These days in recording sessions, you’re much more likely to get the gig if you can play all the different layers of percussion yourself – rather than the artist having to hire three or four separate musicians for each part. So unless you are fully dedicated to becoming a touring jazz drummer or the principal percussionist of a major orchestra, being a well-rounded percussionist is a highly-valuable skill. 

How to pick a focus

Yoron Israel, chair of the percussion department at Berklee, says the bottom line is that you should be focusing on the instrument/style that you’re most comfortable with. University-level music programs are competitive, so put your best foot forward. 

Seek out a program that allows you room to study other instruments and styles on the side. At Berklee, there are jazz drummers playing in the orchestras. At CalArts, there are classical percussionists playing in gamelan ensembles. Paul Romaine, drum professor at the University of Colorado Boulder College of Music, expects his students to compose and arrange their own music, with the belief that being able to write music undoubtedly makes you a better drummer and someone who “understands the music more completely.” 

Preparing for your audition

Schools vary so much in what they look for in percussion auditions. It’s therefore extremely important to do your research ahead of time and understand the specific requirements at each school.

Recently-admitted Berklee student Josh Baum suggests going on YouTube and checking blogs to see how current and former students from any school talk about their audition experiences. “[I was surprised] to find out that I was required to know music theory and singing [as part of my audition],” he says.

You’ll likely be locked into studying the instrument you auditioned on for at least the first two years. So pick something you’re passionate about, that you’re best at, and the instrument on which you want to further hone your craft.

Reach out to a professor you’re interested in studying with. Not only can they help clarify what will be expected at the audition, but you will also get a head start in establishing a connection that will be helpful if you choose to attend that school. Ask for a trial lesson in your junior year or fall of your senior year to learn more about how professors teach at schools you’re serious about.

No two schools are looking for the same pool of students, so find which programs and which professors resonate with you the most. And be sure to bring your passion for learning your instrument to your audition. 

Know that at most schools, your entrance audition is also a merit scholarship audition, so it behooves you to prepare well. 

Career options

Some of the many career opportunities for percussionists include:

PERFORMING

• Back up bands

• Military bands

• Local and regional symphony orchestras and chamber groups

• Orchestras associated with ballet and opera companies

• Pit orchestras for theatre productions (drum set, hand percussion, mallets, and classical percussion all in one!)

• Recording drum set player

• Keyboard instruments such as glockenspiel, marimba, tubular bells, vibraphone, xylophone, steelpan

• Hand drum such as Middle Eastern frame drums, West African percussion, Afro-Caribbean percussion, South American percussion 

• Studio or session musician (free lance work playing on albums or compositions of other artists; playing on film music)

• Touring

TEACHING

• Band director

• Clinician and adjudicator 

• College-level

• K-12

• Private lessons

• Providing drum and percussion clinics for major instrument companies

OTHER

• Composing and arranging

• Ethnomusicologist (studying and performing styles such as Balinese and Javanese music)

• Historian (reviving and performing older percussion styles) 

• Instrument technician

• Lecturing and writing on percussion topics

• Music therapist

• Working with music instrument, recording, retail or sheet music companies

Daniel Weidlein is a professional composer/songwriter, music producer at BioSoul Music, and multi-instrumentalist. He is a graduate of USC Thornton School of Music with a major in Jazz Saxophone Performance and minor in recording. 

Photo Caption: Drummer Josh Baum recommends finding out how each school you apply to helps its students access summer internships and work after graduation. Photo Credit: celebrateeverydayphotography.com

MajoringInMusic.com is here to help you explore a variety of options along with many different career paths involving music. Whether you’re considering majoring, double majoring, or minoring in music, or you’re someone who wants to find other ways for music to play an important part in your life, you’ll find answers and guidance on MajoringInMusic.com.

The Article Index will take you to a huge bank of information featuring majors, careers, different types of schools to consider, tips on injury prevention, music entrepreneurship, how to pay for school, how to get the most out of visiting schools, and much more. The list of Participating Schools will take you to dozens of excellent college-level music schools and several arts high schools. You’ll find out what they offer and their cost as well as have the opportunity to ask for more information right from their school pages. You can also see which participating schools offer what you’re interested in by visiting Find Schools That Fit Your Interests.

The Summer Music Camps & Programs will help you learn about programs all over the U.S. and beyond where you can dive into various musical areas to further your proficiency, knowledge, audition chops, etc. And for anyone needing more tailored assistance, fee-based consultation is available by simply clicking on “Request Consultation” and let us know what you need.

Share MajoringInMusic.com with your parents, friends, music teachers, counselors etc. It’s free to use, constantly updated, and designed with you in mind.

Wondering if music is still a viable major and career plan? If so, you’re not alone. The pandemic hit the music world hard. While some found innovative new ways to make and share music, others found themselves second-guessing the wisdom of pursuing music as a career. “Worldwide, we’ve seen some incredibly talented musicians find creative ways of continuing to get music into the world…and we’ve seen others who have given up, just waiting for it all to blow over,” says Ryan Brown, Associate Dean for Academic Affairs at San Francisco Conservatory of Music (SFCM).

“Questioning is essential,” reminds Ashley Hall, Manager of Career Coaching at Longy School of Music. “Students always need to be evaluating and gut-checking their answers to questions about their music career plans.” Jonathan Kuuskoski, chair of the Department of Entrepreneurship and Leadership at University of Michigan School of Music, Theatre & Dance, adds, “It is actually essential that our students understand how the ‘real world’ is going to be challenging, at times unfair, and sometimes downright depressing. Our students demand this kind of transparency, and for good reason – having a realistic view of the professional world is the requisite starting point for developing a capacity to navigate it successfully.”

Due to the pandemic, looking closely at what it will likely take to have a viable music-oriented career post-Covid is more essential than ever. Not to discourage you from pursuing music – but to help you understand early in your musical journey what you need to be doing besides becoming a more proficient musician.

Pandemic upshot

We spoke with numerous career development and entrepreneurship faculty at music schools across the U.S. to learn how they’re guiding music-driven students toward sustainable post-pandemic careers. Many of these folks continue to enjoy active music careers outside of academia.

According to Blaire Koerner, Assistant Director of the Institute for Music Leadership at The Eastman School of Music, the pandemic “magnified any gaps we had in incorporating technology, removing barriers, being flexible, connecting virtually, and sustaining partnerships…It’s undoubtable that COVID-19 will have permanently impacted the music field and the world moving forward.”

“A successful career in music has always been a long game,” says Joanie Spain, Career Advisor at Indiana University Jacobs School of Music. “There will always be more talented graduates than open auditions for orchestra seats.” This is also true in other performance and non-performance areas of music. So it’s vitally important to develop and hone the skills, strategies and mindset required for growing your career.

“The pandemic brought certain things into sharp focus,” Spain adds. “It underscored the need for students to build an entrepreneurial toolkit and familiarity with relevant technology, especially media. It highlighted the importance of coaching students in the development of their own musical ideas, innovative projects, and music business basics in order to build skills and confidence leading to long-term career success. It confirmed the importance of building a professional network and connecting with alumni as an integral part of their education.”

What should you expect from your music degree(s)?

Most schools would agree with the assessment that an undergraduate degree in any field is meant to be what Spain calls “broad and exploratory.” 

As an undergrad, it’s a good time to investigate your areas of interest but also explore non-music directions as well. “We remind students that they can use their bachelor’s degree to navigate in any direction after college,” says Spain. “They may have earned their degree through the primary lens of music, but it doesn’t in any way limit their career options. In fact, employers in every sector value candidates trained in music because of the remarkable qualities they develop through their studies.” 

Ryan Brown at SFCM strongly encourages prospective and current music majors to “Define ‘career in music’ for yourselves. If you mean earning a full-time income making just the music you want to make, that is a long shot and you may have to make quality-of-life sacrifices to get there. But there are many, many gradations between that goal and doing nothing with music whatsoever. Finding your own part of that gradation should be your goal, and, as a music conservatory, it’s our responsibility to support you in that process.”  

Entrepreneurship and business skills

If you have little to no experience in entrepreneurship training, find classes, a minor or a certificate program to help you learn how to create your own opportunities and fill needs in the community through a music-related response. “Entrepreneurship goes beyond ‘business skills,’ it rests on a foundation of understanding the needs and sensibilities of the people you are trying to reach with your art,” says Jeffrey Nytch, composer and Director of the Entrepreneurship Center for Music at the University of Colorado-Boulder College of Music. “It requires the ability to recognize unmet opportunities and then to devise sustainable methods to capitalize on those opportunities.” Jonathan Kuuskoski at Michigan adds: “It is precisely in times of disruption that we need artists to find new solutions to old problems.”

Find ways to improve your networking and business skills that will help you broaden your income streams down the road. Seek internships for hands-on experience. Look for these far in advance of graduating so you can use the resources at your school to your advantage.

When should you pivot re: your music career plans? 

The pandemic has prompted many people in every career field to rethink their current path. Pivoting is the well-thought-out process of purposefully shifting into a new related direction. 

Several of the career development folks we spoke with cautioned against looking at pivoting as a sign of failure. “We must embrace a narrative around music career viability that gives permission for students to say yes to additional paths and pursuits outside of music without feeling like a failure,” says Ashley Hall at Longy. “We need to encourage students to have multiple interests and to find ways to be creative with how they integrate music in their careers.”

Jonathan Kuuskoski at Michigan says, “Pivoting can mean many things. It can mean supplementing an existing career, adding a new prong to one’s portfolio, or it can mean giving something up to pursue something new.”

He adds: “Just about every artist pivots in their career at some point, in some way. No matter the circumstance, it is rarely a strong move to pivot in a reactionary state, such as in response to a moment of crisis. One is almost always better off starting with a visioning process that lays out some ‘north star’ goals, a longer term vision for your future. 

“We focus on helping students develop tools to plan for uncertainty and develop the habit of critically analyzing their goals over time; that kind of planning gives them more authority to take chances and try new things when exciting (but unproven) opportunities emerge. The good news is that there is more than one pathway to achieving your vision, and once you have claimed your longer-term goals it becomes easier to identify the right moment to ‘pivot’ in whatever way makes sense to you.”

Since Covid hit in 2020 and venues started shutting down, musicians have been forced to take a hard look at their finances, the job market, and more. According to Natasha Jones, Life and Work Advisor at CalArts, “This does not mean that they have to pivot away from music, but consider some additional career options.” She suggests that students look at “their past work/volunteer/extracurricular experiences and what they liked about them.” They can then learn about “jobs that relate to their experiences and interests” and then “figure out what they need in order to pursue these jobs.”

Rebecca Nussbaum, Director of Career Development at University of North Carolina School of the Arts (UNCSA), encourages students to think of their future in terms of a “portfolio career,” i.e., developing skills that will allow you to have multiple income sources. She’s confident that “A career in music is absolutely viable if the student musician is prepared to maintain a portfolio career that includes developing skills in performance, pedagogy, communication, technology, and professionalism. Being adaptable and willing to continue to develop is paramount to success for all musicians.”

Correlating Careers vs. Plan B

Dana Lynne Varga is a classical vocalist, voice teacher, and career coach who teaches in the Vocal Studies Department at Longy. An advocate for singers and positive change in the classical vocal world, Varga has written extensively about career concerns. She counters the idea of a “Plan B” for performers in particular (i.e., a fall-back plan in case music doesn’t prove to meet your needs) with the what she calls a “correlating career.” 

In a nutshell, she describes this with a twist on something musicians have heard countless times: “If you can see yourself doing anything else, do that too.”

Varga says a correlating career is one that “runs alongside” your area of musical focus. It may be musical but it may not be. Most of all, it’s something that you are also interested in and hopefully passionate about. And it provides income that contributes to your financial stability.

“Being robust in your career planning is important for musicians,” says Nick Ross, who chairs the Department of Music at Otterbein University. Use the career resources available to you when you’re in college to plan for additional income streams. This can lessen the chances of having to scramble later on. For some, this may mean getting a double or dual degree, adding one or more minors, or flipping their major and minor (music becomes the minor).

The importance of self care

Everyone we spoke with emphasizes the importance of self care, especially as you move forward from the pandemic. Joanie Spain at the Jacobs School of Music sums it up well when she says: “We’ve long acknowledged that injury prevention is important to a career in professional music. We realize now more than ever that not all injuries are visible.”

Career development faculty are including wellbeing check-ins and programs specifically designed to support the “whole human artist,” says Richard Kessler, Dean of Mannes School of Music at The New School. “What we mean by this is that we explicitly support a healthy physical, emotional, and yes spiritual practice, including the development of coping skills, stage fright management, meditation, healthy eating, good practice habits, and an overall healthy attitude towards your development as a human being and artist,” he elaborates. 

“Artists should approach self care in the same way we treat other obligations (e.g. practicing, rehearsing, studying!) – that is to say, it should be habitualized and prioritized into one’s weekly schedule as much as possible,” urges Jonathan Kuuskoski. “Find a small way to connect and integrate some easy-to-adapt practices into your daily life, check in regularly with them, and connect with others who are engaged with that work to support you along the way.”

3 Key Takeaways

1. Ongoing career planning is essential.

The music industry is fluid. Ever-changing technology drives many of the shifts in the way music is consumed. Therefore, any serious future in music requires staying current with all of it. Continuing education is a “must” in music.

“To understand and prep for this new world that we live in,” says Blaire Koerner at Eastman, “incoming musicians should have an open mind and remember change isn’t a bad thing. Be proactive in your pursuit of music. Get curious about what opportunities now exist and current trends, talk to people active in the field to get their advice and insight, and try stuff out to gain valuable experiences and transferable skills.”

2. Transferable skills can be used in other fields.

As a music student, you learn skills that are needed in most career fields. Knowing how to translate these “transferable skills” to other contexts will be extremely useful for pursuing any career.

3. Prepare early for a career in music. 

Start using the career services offered at your college as soon as possible. Develop a broad skillset that will help you adapt to ongoing changes in the world of music.

Barbra Weidlein is Director of MajoringInMusic.com.

Photo credit:  © The New School

The CP is designed to provide relevant preparation and vocational training for students passionate about exploring a particular career field during their last two years of high school. The IB focus is woven into CP – critical thinking, problem-solving skills, and a thirst for learning. It’s an ideal way for students to determine whether they want to move forward in a particular area after high school, typically through university- or vocational training. 

Schools with CP pathways in music are still pretty rare. Programs are more commonly offered in other areas such as business, media, JROTC, visual and digital arts, hospitality, and even sports. While the IB Organization (IBO) sets CP guidelines, it’s up to the individual schools to figure out how to develop their own programs. Partnerships with local music organizations are often created to help students delve into their areas of interest. This is likely to include local orchestras, choruses, and music businesses.

AMADEUS, Europe’s first school to offer CP in music

AMADEUS International School Vienna is a day and boarding school in Austria where music and the arts were already front and center. AMADEUS decided to add the IB CP in music “for students who wish to pursue a musical career whilst receiving an academic education – the perfect pathway for students who wish to become professional musicians or aim to study music at a university level.” It’s the first school in Europe to offer the IB CP pathway for music students. Dr. Karsten Plöger, Head of Secondary School at AMADEUS, says that “AMADEUS aims to set up partnerships with important ‘players’ in the music scene here in Vienna, the ‘world capital of music’” to further support students.

In addition to taking a minimum of two IB Diploma courses in their last two years, IB CP students take a core of career-related courses in language development, personal and professional skills, and service learning. A “reflective project” is a fourth component where students spend two years identifying and studying an ethical dilemma they may face in their future careers. According to South Island School in Hong Kong, which offers CP in several areas including musical theatre, “This work encourages students to engage in personal inquiry, intellectual discovery, creativity, action and reflection, and to develop strong thinking, research and communication skills.” 

Kento Yu is a pianist and AMADEUS boarding student from Japan who will be starting the CP in music in Fall, 2021. “I decided to join the Career-related Programme because I received the chance to have an advantage on music studies, but also have Math and German at the same time,” he says. He also intends to deepen his knowledge of music theory. Kento envisions for his future “a job that relates to music such as a musician, composer, teacher, or even a combination of them.” To achieve this, he currently has his sites set on the University of Music and Performing Arts Vienna after he graduates from AMADEUS.

Kento Yu, AMADEUS International School Vienna student

CP in U.S. high schools

Reid Wixson, director of Instrumental Music at Southwest High School in Minneapolis, Minnesota, has been actively involved in creating his school’s Career-related Program in music. He says that the pandemic “put a wrench” in its development, but he hopes to grow it as in-person schooling resumes. He shares that the Minnesota Orchestra has been actively supporting his students for quite some time, with master classes, sectional guidance, and performing short recitals. If an IB CP music student were interested, the Minnesota Orchestra would be “a willing partner for us to connect students with for even more in-depth music training.” 

Lincoln Park High School in Chicago has been a music performance magnet school since the mid-90’s. Its orchestra, concert choirs, jazz band, and Lincoln Park Chamber Singers have achieved high honors in city, regional, and state competitions. Lincoln Park started its IB program back in 1980, and its Career-related Program in music in 2016.

The IB CP in music at Lincoln Park has a performance emphasis. Run by Mary Enda Tookey, its students are expected to “develop their understanding of the music industry and the local community through individual or ensemble work, either through collaboration with the school or an outside group” in the greater Chicago area. Performance requirements for CP music students include eight public non-juried group concerts, one juried group competition per year, and one juried individual or small ensemble competition per year. Students are also required to complete a digital portfolio, including at least six pieces by spring of their senior year. 

More IB CP music needed

According to International School Parent Magazine for expat and local parents and students: “Students entering the competitive, 21st century workplace are facing an increasingly complex set of expectations from employers…with the launch of the International Baccalaureate Career-related programme… students are welcoming a more holistic educational experience which aims to create well-rounded, career-ready learners.” 

The Career-related Program speaks directly to developing future careers in music. Especially in a post-pandemic world, it deserves a closer look by all schools offering the IB high school program. 

• The International Baccalaureate Organization, headquartered in Geneva, Switzerland, uses the spelling Programme.
• Photo Credits: Lead photo – Lincoln Park High School Chamber Singers singing The Battle of Jericho on YouTube; AMADEUS photo: copyright AMADEUS International School Vienna. Venue – Bank Austria Salon im Alten Rathaus

Covid-19 has led music therapy practitioners and educators, like so many others, to reimagine various aspects of their profession.

Innovative pandemic-related solutions for music therapy training as well as working with clients will continue to be useful as the pandemic fades.

Telehealth for services

Every contributor to this article talked about how music therapy, like any number of health-related services, quickly shifted to telehealth. Although challenging at first, telehealth has made it possible to connect music therapists with clients through private, online video communication wherever internet access is available. It has become a fairly standard method of delivering services. Sound quality, lighting, and other tech issues have come a long way. Services have been offered to clients in real-time (synchronously) as well as through pre-recorded interventions (asynchronously). 
A silver lining of telehealth, according to Daniel Tague, chair of Music Therapy at Southern Methodist University (SMU), is that “Clients have more access to music therapy when face-to-face therapy is not feasible.”
Bassoonist and music therapist Naomi Davis, a recent Colorado State University (CSU) graduate, has found telehealth useful in many ways at Annapolis Music Therapy, the private practice where she works. “Some of my clients receive pre-recorded session videos that I film and edit for them. Their videos have interventions that address their goals and they have the flexibility to watch them as many times as they would like.  “I also see some clients via live telehealth using platforms like Zoom, Google Meet, and Simple Practice,” she says. “Those sessions look a lot like what they would have in person, just with reasonable accommodations so that the sessions are still accessible from their homes.”
Florida State University (FSU) alumnus Hannah Sellers agrees. She’s employed as a music therapist in the neonatal intensive care unit at Tallahassee Memorial Healthcare while working on her master’s degree. According to Sellers, telehealth allows therapists to “work around schedules more easily and accommodate what works best in terms of their plan of care.” 

Telehealth for supervision

Accessibility issues

New settings for music therapy

Tips for prospective music therapists

• Arizona State University School of Music
• Berklee College of Music
• Colorado State University Department of Music, Theatre and Dance
• East Carolina University School of Music
• Florida State University College of Music
• Mary Pappert School of Music, Duquesne University
• SMU Meadows School of the Arts
• Temple University Boyer College of Music & Dance
• West Chester University Wells School of Music

• American Music Therapy Association
• Is Music Therapy Your Calling?
• Becoming a Music Therapist
• How to Choose a Music Therapy Program
• The Music Therapy Equivalency Program
• Music Therapy: Making a Difference One Note at a Time
• Music Therapy for Children with Autism: A Rewarding   Career Path
• Music Therapy Interventions in Trauma, Depression & Substance Abuse
• Music for Comfort or Healing

Your letters of recommendation are key to building a great music school application.

Who are the right people to reach out to? What do those letters need to say? And how make-or-break are good references when it comes to getting into your music school of choice?

All of these questions – and the application process as a whole – can be daunting. But here are some simple guidelines to make sure your recommendations give you a leg up.

Who should you ask?

The first and most important factor in getting a good letter of recommendation is that the recommender really knows you well and has worked with you over a sustained period of time.

Personal experience and direct, detailed observation are key. Your recommender should be able to write about your skills, work ethic and character with details and examples, not in sweeping generalizations that will sound copy-pasted from any other letter of recommendation.

“Think about who knows you best, as a musician, as a person, as a student, etc. Get letters from people close to you!” says Thomas Carsecka, director of Music Enrollment and Community Programs at Duquesne University’s Mary Pappert School of Music.

Does your recommender have to know you in a strictly musical context?

Not necessarily, but it can be a huge benefit. Depending on how many reference letters you’re supplying to any given school, at least one should be from someone who knows you well as a musician – especially for applications to a conservatory-modeled program, says Dr. Daniel Strong Godfrey, who chairs Northeastern University’s Department of Music. “Music teachers in the student’s program are first priority, followed by others (piano teacher, choir director, etc.) who have worked directly with the student,” he says.

Other people who have been integral in your life can be excellent references as well: “Academic teachers, athletic coaches, and leaders of extra-curricular and religious programs are also important adults in students’ lives and can provide wonderful points of view,” says Cathy Partlow Strauss, who directs conservatory communications for the Oberlin Conservatory of Music. “It’s important that the recommender has some perspective on the student’s character and their ability to develop, adapt, and grow, and is able to write about that experience in a way that demonstrates their connection to the student.”

Amanda Hosking, director of admission for The New School’s College of Performing Arts, agrees and encourages students to seek references from “people who may be able to speak to your perseverance or how you encountered a challenge.”

Of course you’ll want to make sure that whoever you ask for a recommendation letter from will be able to supply the kind of reference the schools you’re applying to are asking for.

Who shouldn’t you ask?

While it’s crucial that your recommender knows you well, the person you choose should be trustworthy to write an objective reference – meaning that you should not ask family members. A letter of recommendation written by a family member is questionable in its credibility and lacks a certain air of professionalism.

On the other end of the spectrum, avoid people who do not know you well enough to write a detailed and thoughtful letter. Even if your recommender has an impressive background themselves or holds sway in the music industry, it won’t reflect well on your application if they don’t truly know you as a person as well as a musician.

Furthermore, “Non-credible or questionable references should be avoided. Research your recommenders!” says Carsecka.

What to include in a letter of recommendation?

Be specific and intentional about what you ask recommenders to write.

“For prospective music majors,” says Dr. Chris Tanner, chair of the Department of Music at Miami University, “this would naturally include things such as musical aptitude, technical proficiency, and experience in the discipline (e.g., performing, teaching private students, assisting a director). He adds, “Other recommenders may be selected based on their capacity to address ‘non-musical’ qualities that are nonetheless important considerations, such as work ethic, professional comportment, or integrity.”

You can help your recommenders by providing them a refresher of your accomplishments and recent activity. Send them an updated résumé, an update on your academic and extracurricular interests and accomplishments, and perhaps even a few of your concrete goals in music school and beyond. Dr. Joel Schut, assistant director of Orchestral Studies at the University of Colorado Boulder College of Music, recommends that students provide a “brag sheet” which highlights whatever you are most proud of, including “accomplishments, work ethic, community service, etc.” All of these details can provide a helpful point of reference for the person writing your letter of recommendation.

If you’re not sure what you want your letter to say, Thomas Carsecka suggests writing a recommendation letter for yourself as a practice exercise. “You may be surprised what you uncover about yourself!” he says.

Ultimately, it all comes down to the details. “What’s important is for a letter to be highly specific and detailed in outlining the students strengths and activities,” says Northeastern’s Professor Godfrey. “That’s much more credible than a string of superlatives. The former aims to be genuinely informative; the latter makes the reader’s eyes glaze over.” In order to avoid turning in a boring, rote letter, work with your recommender to discuss which details are the most indicative of you as the unique individual your music school of choice would be lucky to have in its program.

How and when to ask for a letter of recommendation?

Request a letter of recommendation through a polite and thoughtful email or phone call. While these emails should be personal, they should not be casual. “All emails should be written with a clear salutation and signature in a formal business style,” recommends Dr. Schut. Furthermore, he tells students to write this email or make this contact themselves. While your parents may want to help, this process should stay between you and your recommender.

It’s extremely important to provide recommenders as much time as possible. “Keep in mind that teachers may be receiving numerous requests from students,” says Dr. Tanner. “Asking someone on Monday to write a recommendation letter that has to be submitted on Friday, for example, is bad form.” At least one month is ideal; you should never, ever give someone less than a full week’s notice.

“If you’re asking for your college application, it would be wise to ask as soon as you return to school in the Fall of your senior year, if not sooner,” says Amanda Hosking.

Never blindside a recommender by listing them on your college applications without getting their express permission first.

Lastly, it’s always good to follow up with those who have agreed to write you a letter of recommendation. In an email reminder a few days before the letter is due, you can find out if they need any additional information or if you can answer any questions. This will help you work with them to get the best possible letter of recommendation to your prospective schools.

Say thank you!

Letters of recommendation are an extremely valuable part of your college application. They provide a personal touch that lets a music school see who you are as a complex human being who will be a great addition to their program. You’re not just a résumé and grade point average!

The people you ask to write your recommendations will put a lot of thought and effort into helping you get into a school or schools where you think you’ll be a good fit. It’s not an easy job, and the more you can do to help guide them, the better. Be thoughtful, respectful, and intentional with your requests and your follow ups. As Dr. Tanner says, “How you approach people to write on your behalf may be just as important as who you approach.”

And one more thing – don’t forget to send a thank you note to your references!

Haley Zaremba is a freelance writer and journalist 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 Credit: Hamza Tighza

Also see:
Essays, Personal Statements, and Résumés for Music Students

By Ashley Eady

Choosing a liberal arts school for studying music is a great way to meet the needs of students with academic and musical needs.

How do you know if it’s a good fit for you? How will a liberal arts school prepare you for your career? 

For answers, we spoke with current students, alumni, and admissions faculty from various schools across the U.S. known for offering music programs within a liberal arts context.

Features of a liberal arts school

Liberal arts-oriented schools prepare students for a broad range of careers by teaching them transferrable skills such as critical thinking, problem-solving, and intellectual curiosity. 

Features of liberal arts schools typically include the following:

• Small size

Liberal arts schools are typically small. Most have fewer than 3,000 students. They feature small class sizes of 15-20 students maximum per class. (Compare that to 50-200 per class at some large universities!)

“Smaller institutions tend to have more flexibility to allow students to unleash their creativity in new and interesting ways,” says Brad Andrews, Director of Music Admissions at University of Redlands. “Studying music at a liberal arts college places students in a smaller, more intimate environment that fosters musical growth through community, access to close faculty mentoring, and the flexibility to explore their musical and intellectual passions fully.”

Small size also means liberal arts students receive more individualized attention from professors. As David Kasunic, Music Department Chair at Occidental College explains: “Students who study music at a liberal arts college will have direct, frequent contact with their professors who will challenge and nurture them, cultivating the students’ best selves. Moreover, the faculty work closely together to ensure that their curricula overlap and reinforce learning outcomes.”

• Rigorous academics

Liberal arts schools place high emphasis on academics. The academic load for music majors at these institutions can be much greater than at other types of schools.

“Students in a music major will be busy enough at most institutions, and doing so at a liberal arts institution means you’re going to be taking academically- rigorous coursework with other students in different majors across campus,” explains Bradley Whittemore, Director of Music Admission at Ithaca College School of Music.

“Because liberal arts schools often structure their music degrees to include quite a few non-music classes, students should be able to demonstrate that they will be able to succeed in classes outside of music and the practice room,” says Kate Bittner, Director of Conservatory Admissions at Lawrence University.

Students who do well in a liberal arts setting are “passionate, intellectually curious, [and] artistically omnivorous,” says Andrews. Given the focus on academics, music majors at liberal arts schools “seek a better understanding of the intersection between music and other academic disciplines,” according to Dr. George Palton, former Associate Director of Admission at DePauw University School of Music.

• Ease of pursuing more than one interest

Unlike many conservatories, liberal arts schools allow music majors the space and flexibility to pursue interests outside of music.

“The liberal arts engages students who are passionate about performance and want to focus their energy in this area while still being exposed to other opportunities and experiences,” says Mary Smith, Senior Associate Director of Admissions at Gettysburg College’s Sunderman Conservatory of Music. “It is the perfect place for the student who has many different interests and wants to pursue them all…They might balance a double major such as Biology and Music or choose to get involved with a community service organization [or] study abroad.”

Applying to a liberal arts school

Application requirements differ depending on where you apply. The admissions process tends to be more hands-on at liberal arts schools. “Students have the opportunity to build relationships with faculty and staff members in advance of the audition and to find a place they can call ‘home’ for four years,” says Palton.

Programs at liberal arts-oriented universities often have similar application/audition requirements as conservatories and large universities: students need to apply to both the overall university and the music program. An audition and maybe a pre-screened recording (to earn the ability to audition) are typically required. However, at liberal arts schools, “more weight may be put on academics in addition to musical talent,” says Bittner.

Liberal arts colleges, as compared to programs within universities, may waive the audition and invite students to provide an “artistic supplement” demonstrating their proficiency. While the supplement is not required, it provides faculty with a sense of your level of proficiency. This helps in their deciding whether their training will benefit you.

It’s important to note that “A liberal arts college is likely more open and flexible to your selecting the music major later in the process (even as late as your sophomore year), whereas the conservatory will require you to be admitted to the music program prior to enrollment,” says Smith.

Why We Chose Liberal Arts Schools for Music

Lia Eldridge, BM Music Education & BA French

Lawrence University, 2020

I knew that I had multiple passions that I wanted to pursue at equally high levels, and the ability to learn how to make and find connections between those passions was a big reason why I was drawn to liberal arts schools. 

My (required) capstone project centered around how music education was used as a form of political propaganda in France during the First and Second World Wars. Through that topic, I’ve been able to consider how the music that I choose to teach in my own classroom might influence my students’ beliefs, values, etc. The opportunity to complete a project like mine, and the projects of my peers, is unique to a liberal arts education.

Following the completion of my student teaching and licensure, I will be looking for positions as a music teacher throughout the country, hopefully at the middle and/or high school level. I also plan on joining a local orchestra wherever I end up!

Serenna Jones, BM Vocal Performance

DePauw University, 2020

During high school, I absolutely fell in love with music and the idea of pursuing it as a career. However, I still had other interests. For instance, I seriously considered majoring in language studies and/or psychology. I quickly realized that I wanted to attend a university that would not only allow but also encourage me to pursue an array of subjects. 

I truly believe I would not be the same person, student, citizen, or musician that I am today without my liberal arts education. As much knowledge as I gained in my music classes, I equally gained in my College of Liberal Arts classes. Better yet, it was always intellectually satisfying to see my subjects cross over. For instance, what I learned in my German culture class helped me in my vocal literature class, or likewise with my music history and social psychology classes. My education certainly helped me become a well-rounded student—especially as a musician!

Among the most important tools I gained as a result of this curriculum were my leadership skills. During my junior year, I acted as my Entrepreneurship class’ executive director of our non-profit project (for Alzheimer’s patients) titled “Music for Memories.” I had to guide several task forces to ensure every aspect of our project ran smoothly leading up to and during our final event. The experience really helped me gain confidence not only in my performance abilities, but also my business and leadership skills.

Katie Beach, BM Music & BA Mathematics

Gettysburg College, 2021

What attracted me to the liberal arts education was the tailoring and opportunities I would have that would not be possible at a larger institution with graduate students. I also wanted the ability to study both of my passions, music and math, which would be possible and encouraged in a liberal arts education.

I knew I wanted a small, close musical community that had many different kind of students involved.

I have been equipped with the knowledge and love for music to continue in any path I choose for post-graduation.

Abby Ferri, BM Music Education

Ithaca College, 2020

We take individual classes on all secondary instruments that teach us how to play and teach each instrument. Additionally, I’ve taken courses in rehearsal techniques, conducting, instrument repair, and a course on ​learning about teaching instrumental music. All of these courses really prepared me for my teaching experiences in college during my junior and senior years. 

During my junior year, I got to teach private/group instrumental lessons once a week to students in the Ithaca City School District. After each time I taught, I got detailed feedback on my lesson plans and teaching by my supervisor. In my senior year, I had a seven-week placement in a combined middle-high school where I got to give lessons, conduct/rehearse ensembles and teach AP music theory. 

Having these teaching experiences helped me put all of the skills I learned into practice. The music education program really prepared me to be a confident music educator ready to get in the classroom!

Anoop D’Souza, BA Music – Music Production Concentration; Economics Minor  

Occidental College, 2019

A liberal arts education seemed the most enticing because it allowed me to explore my curiosities across a broad spectrum of subjects. I was also attracted to the idea of having an education that would force me to be well-rounded both at an academic and personal level.

Because of the small class size, I was able to establish great relationships with professors, and I consider them great friends today. For example, two of my professors encouraged me to major in music. They saw something I was unable to see at the time and were relentless in their encouragement to try a new and unexpected path. Once I embarked on that path, they held me to the highest standard, continuously challenged me, and helped me up when I needed it.

Since graduating in May 2019, I am a music producer living and working in Los Angeles. I am fortunate enough to be producing for some incredible artists and I hope to be doing so for the foreseeable future.

Travis Halachis, BA, Music, BA Managerial Studies

University of Redlands, 2011

Besides wanting to study music, like many high school graduates, I really had no idea what I wanted to do with myself. A liberal arts school seemed like the right fit for me since my options seemed more open-ended.

I did not go the usual route of the music major. I do work in music, but I am not a career music teacher or performer. I work in music publishing. While my education with the Redlands Conservatory of Music has been very rewarding and helpful, Redlands’ School of Business probably contributed more skills that I currently use today.

Since graduation I have worked in various roles in the music industry, eventually settling at Warner Chappell where I have worked for the last six years. I did teach violin at a non-profit music school for a few years as well and still teach privately. I feel that having a knowledge of music is still very valuable—even if I’m not currently playing.

Alyssa Cottle, PhD Historical Musicology; BA Music with Spanish Minor

Harvard University, 2021; Occidental College, 2015

I pursued a liberal arts education because I held a wide array of academic interests outside of music that I wanted to be able to fully explore in college. The liberal arts model offered me a way to explore these interests, and, in doing so, to shape my own educational experience.

It is no question that the musical training that I received at Occidental sufficiently prepared me for graduate-level study in music. But beyond having developed my practical musical abilities and having profoundly deepened my knowledge of music, I emerged from the program at Occidental fully-equipped with invaluable critical-thinking and problem-solving skills that can be applied to any number of diverse careers in music.

I’m currently in a PhD program in Historical Musicology at Harvard, so I get to spend most of my time listening to music, learning and writing about music, and discussing music with others who are equally as passionate about it as I am. 

Ashley Eady is a music journalist based in the Nashville area. She studied Clarinet Performance at Blair School of Music at Vanderbilt University and Arts Journalism at University of Southern California Annenberg School for Communication and Journalism.

Photo Credits – Top: Music producer Anoop D’Souza. Photo by: Mark Campos for Occidental College. Bottom: Serenna Jones in her senior year opera production of Sleeping Beauty. Photo by: Lori Locke, PhotoDesign.

Also see:

Majoring in Music at a Liberal Arts College

Mindfulness can benefit your music career in myriad ways. It helps us to reconnect to the present moment rather than focusing on the future or overthinking past events. While practicing mindfulness, we are kindly accepting of everything we experience in the here and now, and we bring our deliberate attention towards all of the bodily sensations and sounds that arise. 

Here are five ways that mindfulness can benefit your music career.

1. Reducing stress 

Mindfulness is not just a fluffy concept, it is scientifically proven to boost wellbeing. Neuroscience research indicates that regular mindfulness practice changes the biochemistry of the body. It decreases amygdala activation, helping us feel more calm and relaxed. It also boosts the areas of the brain responsible for attention, emotional regulation, and perspective.

While music making is an art form, the nature of the music industry is business-oriented and demands strong results. Musicians and artists are often in direct competition with others for career-boosting opportunities such as festival appearances, record deals, and TV features.

Pursuing such an incredibly challenging career path in music will undoubtedly bring stress and anxiety along the way. Mindfulness reduces stress by helping musicians to not feel so stuck in the past and future, but instead facilitates enjoying the present moment with clarity and enthusiasm. 

2. Managing Performance Anxiety

Most of the time performance anxiety arises as a fear of failure, or the fear of being humiliated on stage. Musicians tend to buy into worries and illusions about events that haven’t occurred yet, and are in most cases unlikely to even occur.

While we may not be able to stop these negative thoughts and feelings from popping up, we don’t have to take them so seriously.

Through mindfulness practice, we allow thoughts and feelings to arise without being swept away by them. We realize they are not inherently good or bad by nature, but it’s the thinking mind that labels them as such.

We learn to see unwanted thoughts as random mental occurrences. We don’t need to give them power by expending emotional energy fighting them.

3. Improving Performance

There is a reason why professional sports teams and athletes endorse mindfulness as a tool to help achieve peak performance. Mindfulness helps us to stay in the zone mentally – in a relaxed and focused state of mind.

Musicians perform better under pressure in a state of calm concentration while remaining cognitively clear and fluid with technique. When you watch the greatest drummers performing live, they are not thinking about how to play in time, or how to play at all. They trust in their own ability to perform and they are fully engaged in the present moment. 

As a drummer, I use the sounds of the drums and cymbals as an object of focus in conjunction with the sensations that arise, using all my limbs together in synchronization. I pay close attention to the areas of the body that come in contact with the instrument, and all the muscles that are involved in movements while performing a song.

Engaging with the present moment in this way, I can perform with a relaxed and focused state of mind without overthinking or over-analyzing myself.

4. Boosting Confidence and Self-Belief

We don’t often do ourselves justice when we are feeling nervous or apprehensive. We might shy away from new opportunities, fearful of what could happen. Or we may be less inclined to undertake new challenges and push ourselves further as musicians.

Mindfulness can help instill a greater sense of inner confidence to use to our advantage in different ways. Musicians with a strong sense of self-confidence are more enthusiastic and charismatic when it comes to networking, and this can help land new gigs.

Additionally, those with greater self-confidence have real determination for meeting new challenges with positivity. Musicians who believe in themselves will truly seize the moment because they trust in themselves to reach their goals.

5. Increasing Emotional Flexibility

There is no linear path for achieving success in music. Every musician’s experiences are different. Many of the world’s most popular artists have experienced huge pitfalls and setbacks along the way. 

Rejection is a common experience, something every musician deals with from time to time. Mindfulness allows us to better handle rejection without losing confidence. It also makes us more emotionally flexible when dealing with stressful experiences on tour, away from home and family, and without the stability and consistency that conventional, salaried jobs provide.

How to Begin Practicing Mindfulness

Mindfulness is a skill learned over time. Designed to help transform our relationship to negative thoughts and judgments, it encompasses an underlying theme of acceptance. Rather than judge what arises, we simply allow experiences to occur and we explore them with a curious mind. 

A good way to begin is to practice a short breathing exercise while sitting in a comfortable chair. Take deep breaths through the nose and exhale through the mouth. Close your eyes, and aim to bring a real sense of curiosity to all the sensations that arise in the body.

The mind may naturally become distracted during the breathing exercise, and this is expected. Instead of applying too much effort, we gently allow the thoughts to come and go with lightness and compassion. Any thoughts that arise are noticed without judgment.

Gideon Waxman is a London-based drummer and music educator. You can find more of his advice at Drum Helper, a resource dedicated to helping drummers achieve more from their playing. 

Photo Credit: Robert King Photography

For more about mindfulness

Music and Mindfulness for Stress Reduction

Mindful

Guided Mindfulness Practices with Jon Kabat-Zinn