No matter what area of music you focus on, high school is vastly different from college for music students. The collegiate life comes with a whole new set of responsibilities.

Get ready for many changes – from academics to practicing and performing to learning to cook, do laundry and deal with anything else that falls under the umbrella of “adulting.”

by Ashley Eady

In addition to papers, exams, and homework, music majors deal with rehearsals, private lessons and hours and hours of individual practice time.

To give prospective music majors an idea of what to expect once they get to college, we asked several current and former music majors to describe their college experiences. Based on their responses, here are a few important distinctions between studying music in high school and college.

Your schedule

Unlike high school, where your daily schedule is typically dictated by other people, in college that responsibility falls on you. You get to decide how you spend much of your time.

Jack Murphy, a sophomore at the Lawrence Conservatory of Music in Appleton, Wisconsin, found he enjoyed his sudden independence. “I figured my life [in college] would be similar to my life in high school: mornings spent in classes, afternoons and evenings in rehearsals,” he says. “For the most part, this pattern stayed the same. Yet, the biggest difference was the realization of how much open time I had in my days as well; it almost felt like I had way more free time!”

Class schedules in college are less regimented. While a high school student will spend seven consecutive hours in class, a college student may only have two or three classes or rehearsals in a day, with multiple hours in between time.

A college class schedule can also vary by the day. Mari McCarville, a junior at the University of Denver’s Lamont School of Music, describes her typical week:

“My class schedule is much more variable than it was in high school. Some days, I only have one two-hour class, and other days, I have four two-hour classes or rehearsals back to back. This means that I need to manage my time wisely…”

Time management

While the freedom of more open time and getting to set your own schedule can certainly feel amazing, sudden freedom brings great responsibility along with it. One of the hardest skills college students, especially music majors, must learn is time management. Andrew Knudson, a sophomore at the Minnesota State University Moorhead, defines time management as “learning how to balance practice, study, rest time, and social life,” and reinforces that it is an essential skill for music majors to have if they hope to succeed as professional musicians.

For Chrysa Kovach, a graduate of Vanderbilt University’s Blair School of Music, time management was “the best exercise in efficiency.” She says majoring in music made her think differently about scheduling.

“In high school my time was mostly dedicated to other academic pursuits and not as much to music,” she explains. “That time management scale was heavy on the side of my AP and IB classes, applying for college, and making my sports practices. In college, it immediately tipped back in the other direction, because suddenly I was almost exclusively in music-related classes.”

Another component of time management is navigating the tenuous balance between musical and non-musical obligations. As a music major you need to be a good musician and a good student. You must maintain a high level of musical skill as well as show up to classes and tackle homework and papers.

This isn’t always easy. Sometimes, students have trouble balancing all of these obligations. Zach Green, another Blair alumnus, describes his experience:

“There were times that music, extracurriculars and my social life took precedence over academics. In those times, things like practicing and attending my early classes [got] sacrificed.” Though Zach faced some challenges, overall, he found balancing his life “as a musician and a scholar to be relatively smooth sailing.”

Kara Brusven, a sophomore guitar major at Minnesota State University Moorhead, faced similar challenges. Once she figured out how to manage her time, she had a crucial realization:

“Choosing music means choosing music over a lot of other things in my life, and also acknowledging that music is no longer my hobby. It’s my career now,” she says. “That choice means finding other ways to take personal time…and also backing off in other things that take too much away from my practice time. My practice hours make it harder to spend time with friends…I am fine with making these choices though so I can become proficient on my instrument and in my field of study.”

Your professors

Music majors get to know their professors very well because of all the individualized attention they receive from them. In addition to playing in large ensembles, music majors receive private instruction from teachers on their respective instruments in the form of weekly, hour-long lessons. Professors also serve as mentors. 

“Before going to college, someone told me to take professors, not classes, meaning: no matter the class, seek out the professors that love to teach,” says Mari. “This is the best college advice that I have ever received, and my music professors have become some of the most influential and supportive people in my life. 

“Going to professor’s office hours, asking informed questions in class, and approaching challenges with a growth mindset—learning from mistakes and striving to improve—is what matters in college,” she adds.

“My college professors have a clear and concise plan for how to get me from point A to point B in my college education,” says Kara, “and have already made a point to take time and get to know me really well. They don’t try to shove one way of learning at me, but instead try to adjust to how I learn and to my personality.”

Savannah Schaumburg, a French Horn player and a junior in Music Education at University of Puget Sound says, “Building strong academic relationships with music professors is essential to being successful in the field because so much of music is networking and relationship building…You never know when you might cross paths with former professors.”

For Zach, a saxophonist, the more personalized attention that came with choosing music as his major “added a new level of pressure to advance as a performer.” He says, “My music GPA and placements in college ensembles depended on my abilities as a saxophonist.”

Homework

Even small college assignments can require more focus and research than the average high school paper.

Mari describes it best: “Unlike high school, homework does not mean a worksheet that is due the next day. Homework is often assigned a month away from the deadline, and it often consists of writing compositions, arranging pieces, listening to and analyzing scores, performing for others, preparing class presentations, or writing research papers.

“Homework assignments and in-class activities are less structured than they were in high school,” she continues, “and college professors generally give their students much more freedom and independence to take ownership of their own learning.”

Practicing

For music majors, a large chunk of the time spent outside of classes and rehearsals is spent in the practice room. As Andrew explains, “In high school you tend to practice [1 to 2 hours per week] for your upcoming performance and that is about it…At the collegiate level your hours increase drastically.” At many schools, performance majors are required to practice 20 hours a week. That’s essentially a part-time job!

“In high school, I didn’t spend much time organizing my practice time, and would mostly just work on what I was  assigned in private lessons or was working on in ensembles,” recalls Savannah. “My college routine consists of more fundamentals, etudes, scales and other excerpts rather than just the repertoire that I’m working on. Because of this, I find myself spending more time in the practice room and with a more organized routine.”

As with your classes, you get to decide what practice schedule works best for you. For Chrysa, a flutist, short practice sessions were the way to go. Mari, also a flutist, divides her practice time into two two-hour sessions and relies on a planner and a practice log to stay organized.

“I found that practicing included so much more than just going into a small room and practicing scales and pieces,” offers Jack. “It includes working outside of the room, analyzing the piece and looking at the historical context, listening to the piece, etc. This definitely expanded my practicing from high school. It was kind of the next level to effective practicing.”

Ensembles

At the college level, music majors have the opportunity to perform in a variety of ensembles—not just wind ensemble or orchestra. Many music schools require and encourage students to perform in chamber groups such as trios, quartets, quintets, etc. While incoming students are often placed into chamber ensembles by their teachers and are told what pieces to play, older students can often choose their chamber ensembles and the repertoire they play. In other words, they have the freedom to perform with their friends!

Social life

“One of the great things about being a music major is that you get to make great music with your friends every day,” says Savannah.

“This means that even through the hectic schedules and hours of practicing, there is still a time that you can do something fun with others. Throughout my time as a music major, some of my favorite memories are those that were made in the ensembles that I play in.”

Mari agrees: “Being a music student in college is about more than just playing music: it is about creating connections and building relationships that will carry you forward into the rest of your life and career as a musician.”

Final note

With so many new responsibilities thrown at you—from longer practice time, to challenging homework assignments, to professors’ high expectations—it’s easy to feel overwhelmed as a new music major. But it is important to remember that you are not alone, and there are plenty of people and resources available to you whenever you need help.

Some schools have taken extra steps to insure their students’ wellbeing. At the Lawrence Conservatory of Music, where Jack studies, “Our Dean’s Advisory Council has implemented a program called ‘Be Well, Do Well’ to encourage students to make more time for themselves.”

Jack says he appreciates the initiatives his school has taken to assure students don’t feel overwhelmed. He also offers an essential bit of advice:

“I always felt in high school and at some points in my first year of college that there were almost too many programs to get involved with. I believe [we] musicians feel…that we must constantly be doing something. However, it is perfectly okay to just take opportunities to [breathe], relax and smell the flowers a little bit.”

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

Photo Credits: Left, Stanford Jazz Workshop; Right, J. Weidlein

Dual degrees, double majors, and music minors…What do these really mean? And what do they entail?

For many high school music students, majoring in music, by itself, feels limiting. A passion for multiple fields or pressure from advisors and parents can make you pause before deciding to go solely for that Bachelor of Music degree. Fortunately, many music schools now offer programs that allow students to pursue more than one degree – at the same time.

by Caitlin Peterkin

1. The Dual Degree

As she started her college search, Janice Li looked into programs that offered opportunities to study multiple fields and found that Northwestern University Bienen School of Music gives undergraduate students the opportunity to earn two separate degrees in five years. This dual-degree program offers a Bachelor of Music or Bachelor of Arts in Music alongside a degree from the Weinberg College of Arts and Sciences, the McCormick School of Engineering and Applied Science, or the Medill School of Journalism.

Music has been important to Li her whole life. The daughter of a violinist, Li began playing piano at a young age. At her high school in Santa Monica, she was able to keep up with piano even while pursuing other activities. However, when it came time to start making decisions about college, Li wasn’t ready to commit to just studying piano.

Currently in her fifth and last year, Li has been studying both music and psychology, and believes that she made a good choice. “There are times I’ve thought, maybe my life could be easier with just one [degree], but I have to say, after four years, I made the right decision.”

Lawrence University and Oberlin College pride themselves on being on the forefront of offering double degrees over the course of many years. At Lawrence’s Conservatory of Music, half the students also enroll in the BA/BM program that “allows you to immerse yourself in music and at least one other field of study at a very high level.” This 5-year program provides a strong background in both music and another area students are passionate about.

At Oberlin, students accepted to the College of Arts and Sciences and the Conservatory get to dive into music plus a liberal arts field. All students are also invited to participate in the Creativity & Leadership Project, an entrepreneurship program that encourages and mentors them to implement their own ideas and projects.

As another example, the University of Redlands Conservatory of Music recently developed a double-degree program, where students can earn a BM and a BA or BS in five years. Along with getting a liberal arts education, double-degree students also have the opportunity to study abroad even with a full curriculum.

“It is a very flexible opportunity for students who also want to do science or math or government or theater,” says Brad Andrews, director of music admissions. The most common double degrees, he says, are music and business or biology.

2. The Double Major

Another option for students who want to pursue more than just music is the double major. At many colleges, students can double major within the music school or between the music school and another department. This is a great opportunity for students to earn a music degree in four years, while studying another interest.

At Syracuse University’s Setnor School of Music, most students cannot double major within one’s own college (there are some exceptions, such as music education), but pairing a BA in Music with a non-music field can make a student more well-rounded when he or she graduates.

“I’ve talked to a lot of students who are nervous about going into the world with just a degree in music, or their parents are nervous,” says Amy Mertz, former assistant director for admissions and community programs at Setnor. The double major eases some of that worry.

At the University of Southern California’s Thornton School of Music, students who choose to double major must apply and be admitted separately to each major. “Once admitted, they work with their two academic advisors (one in each major) on crafting a course plan that makes sense given the specific combination of programs,” says Phillip Placenti, assistant dean for admission and student affairs.

The Aaron Copland School of Music, Queens College allows students to double major in music performance and music education, or double major in music and other fields including math and science. However, scheduling classes in two distinct majors may result in conflicts that require an additional semester or two before a student can graduate.

Grace Prestamo is a student at Queens who will be staying on for a fifth year. A double major in piano and math, Prestamo is also in the Macaulay Honors Program, which adds additional requirements to her already intensive courseload. Although she wanted to complete her degree in four years, many factors, such as tendonitis and other health issues from being overworked, have prevented her from doing so. With her fifth-year tuition covered by the honors program, she is happy with her decision to take extra time.

“It really takes being sure of what you want to do, because otherwise, with the workload, you wonder if it’s worth it,” says Prestamo. “It’s not just dedication. It’s knowing yourself and knowing that’s actually what you want.”

3. Minors and Ensembles

Minoring in music or playing with an ensemble are great alternatives for students who want to stay involved in music, but choose to major in another field.

USC’s Thornton School of Music offers several minors for non-music majors. Music Industry and Music Recording are popular minors for those with little music experience, while Jazz Studies, Songwriting, and Musical Theatre are suited for those who already have experience.

According to Placenti, the number of non-music majors pursuing minors and elective courses has increased over the years. “We are always trying to think of new ways to engage the larger campus community,” he says,

At University of Hartford’s The Hartt School, a minor in music is open to all non-Hartt students. These students must have an area of performance experience and take the required theory, ear training, music history, and elective courses.

Most schools also allow non-music majors to perform in ensembles or take music lessons. So if you want to study piano with a private teacher or play violin in an orchestra while majoring in engineering or business, make sure that the college you’re interested in has these opportunities.

“The ensemble opportunities are there for every student on campus, not just music students,” says Andrews at the University of Redlands. “We encourage everybody to participate.”

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Caitlin Peterkin is a writer/editor and arts enthusiast who has worked as program manager for Earshot Jazz (Seattle) and has written for BestNewBands.com, The Chronicle of Higher Education, and Paste Magazine. She graduated from Indiana University Bloomington with a B.A. in Journalism and a minor in Music.

Prospective music majors frequently ask how important test scores, GPAs and academics in general are for getting into music school. Faculty from diverse music schools at MajoringInMusic.com presentations have addressed these questions as follows…

First and foremost, remember that all schools are different. Their requirements are not the same. Conservatories are typically less concerned about your high school academics unless you and another prospective music student are being considered by them for the same spot in their upcoming class. That said, conservatories within universities may have higher academic requirements. Dual-degrees and double majors, especially where one of the majors is outside of music, will definitely require a strong academic background. State-related schools vary in terms of the importance of academics. Liberal arts schools with strong music departments will typically expect students to apply with strong test scores and GPAs.

What about AP/IB? How important are they?

Some schools will waive certain required courses if students show a 5,6,or 7 on an IB exam or a 5 on an AP exam. This may allow students to pass out of general education requirements and allow more room for electives, a minor, and/or a double major. Some schools will exempt a student with a high score on the AP Music Theory exam from the first level of Music Theory.

Most schools post on their websites the average GPA and SAT/ACT scores of the previous year’s class. Even if they don’t use academics as a primary decision-making tool for acceptance, they say that it’s important to be strong in reading, writing, and communication skills. They also say that academic performance in high school is an indication of success in college.

Why is entrepreneurship training for music majors garnering so much attention?

It’s no secret that fewer traditional jobs await even the most proficient musicians when they graduate from music school. Combine that with the number of highly-trained musicians and you’ll find some serious supply and demand issues.

Thanks to innovative programs focusing on but not limited to educating students on how to self-start their careers, i.e., “entrepreneurship training,” students are discovering new ways to gear up for working as musicians and in music-related fields. “At the core of entrepreneurship is an ability to create value out of opportunity,” says Alain Barker, director of the Office of Entrepreneurship and Career Development at Indiana University Jacobs School of Music. “My sense is that if you give students the tools to unlock their inner entrepreneurial spirit, there’s no limit to what they can do.”

Music schools vary markedly in what they offer along these lines: from entrepreneurship-related degrees, minors, and certificate programs, to courses, presentations, internships, summer intensives, and cross-campus programs often in collaboration with business schools. Most of what’s out there engages students at their level of interest, so students must seek out these programs to benefit.

Entrepreneurship Training for Freshmen

Some schools are integrating entrepreneurship training for music majors into the curriculum as early as freshman year. Students at Southern Methodist University Meadows School of the Arts take a class called “FACE” (First-Year Arts Community Experience), where they’re introduced to entrepreneurial skills and other important tools for their careers. Each student leaves their first year with a self-created video, elevator pitch and website. This helps them develop their network, as well as their online presence and digital portfolio, says Jim Hart, Director of Arts Entrepreneurship. Students are taught “how to choose an audience they wish to serve, to play a leadership role, and create for and market to the needs of their audience,” he adds.

Freshmen at Carnegie Mellon University School of Music “meet individually with the entrepreneurship team to identify their reasons for pursuing musical careers and optimize their learning experiences to meet their professional goals,” says Monique Mead, who runs the Music Entrepreneurship Program. “In the courses, students will develop business plans, create marketing portfolios, practice stage presence and professional etiquette, learn how to engage current audiences, and build audiences for the future.”

Gabe Pollack had the wisdom as well as the ability to create his own “Jazz Entrepreneurship” major at Oberlin Conservatory. “Entrepreneurship programs add some practicality to a performance degree,” he says. “I loved studying jazz trumpet, but I knew that I was not going to be a professional touring musician. The entrepreneurship program at Oberlin allowed me to pursue my passion for music but also take courses that would help create the lifestyle that I wanted. Even if a student wants to become a professional musician, I think that in today’s times, he/she needs to think of him/herself as an individual business. An artist needs to be creative with marketing, booking, publicizing, and presenting music. Entrepreneurship helps people think creatively about these issues.”

Keane Southard agrees. He received his MM in composition from the University of Colorado Boulder College of Music and his BM in Composition and Theory from Baldwin Wallace University Conservatory, agrees. “Students should take advantage of entrepreneurship programs because mastering your craft is only half the equation of making a career in music,” he says. “Musicians are by nature creative people, and they should also apply that creativity to the business side of their profession and not just the artistic side. Doing so can lead to more opportunities to fulfill yourself as a musician and connect your music with more people, and I believe every musician wants that.” Using his entrepreneurship training, Southard is in the process of planning to hike the New England portion of the Appalachian Trail, compose a large orchestral work inspired by his hiking experiences, and bring several orchestras on board to perform his work.

What Do Students Gain?

Entrepreneurship programs help students learn how to find and create opportunities for their music to be performed. They also learn how to think about creating opportunities where they can apply their musical training and the transferable skills they’ve gained in music school.

Other skills and capabilities students and recent music school alumni report as a result of music entrepreneurship classes and programs:

• writing grant applications
• filling out tax forms
• creating websites and bios
• budgeting
• confidence and increased comfort in public speaking
• creating viable business pitches
• creating business plans
• collaboration
• balancing business savvy with creativity and artistic skills

Why Take Advantage of Entrepreneurship Programs for Music Majors?

Daniel Hickey’s senior year internship at DePauw University School of Music continues to influence his career plans. By managing performances and concert series (including his own) on and off campus, he came away convinced that, “The skills needed to be a successful entrepreneur – organization, communication, creativity, some technology know-how, dedication, outreach, and more – are not only useful to musicians, but are transferable to almost any career. A person who excels in these areas is marketable, reliable, and attractive in every field.”
Beth Rosbach, a professional cellist who was involved with an earlier incarnation of the University of Colorado Boulder College of Music’s Entrepreneurship Center for Music while she was a graduate student, urges students to dive into entrepreneurship programs at their schools. “The nature of the music business has changed drastically over the past 20 years,” she says. “You have to be able to promote yourself and create your own opportunities, because there are simply fewer companies and organizations that will just hand you a job upon graduation.”

Outcomes…

Projects emerging from entrepreneurship programs for music majors include successful student and professional concert series; collaborations with restaurants, clubs and galleries; websites for selling scores and parts for bands and orchestras; private teaching studios; K-12 music programs; and much more.
Specific programs that have emerged include:

Project Opera Camp
Tuition-free camps and programs founded by Kate McKinney and Brenton O’Hara, graduates of the University of South Carolina School of Music. For underserved, marginalized students who learn how to put together and perform an opera while taking classes that teach tangible skills for everyday life: leadership, financial literacy, resisting drugs, healthy communication.

Bridge the Gap
A chamber music initiative founded by current and former SMU Meadows School of the Arts students to make chamber music more accessible by bringing it into unexpected settings such as parks and nightclubs.

Bop Stop
Cleveland-based jazz club featuring public performances as well as music and arts instruction, music therapy, and early childhood arts education. Directed by Gabe Pollack, an Oberlin Conservatory graduate.

New Voices Opera
An opera company run by Indiana University Jacobs School of Music students, featuring next generation operatic composers with the intention of creating relevant opera for modern audiences.

Cezanne String Quartet
Dallas-based chamber music ensemble composed of four SMU Meadows music students and alumni. In residence at SMU from August 2015 – May 2017.

Kenari Quartet
An award-winning saxophone quartet formed by students and alumni of Indiana University Jacobs School of Music, featuring music of various genres.

Sphere Ensemble
Colorado-based professional string quartet founded by Beth Rosbach, a graduate of the University of Colorado Boulder College of Music.

South Dallas Strings Program
An offshoot of Bridge the Gap (see above), bringing music to underserved schools in the Dallas area through SMU Meadows School of the Arts students and resources.

As you prepare to be a college music major, make the most of musical opportunities during high school. Here are some basic pieces of advice to give prospective music majors the best chance for success in college and beyond.

by Tom Hynes

Study Privately

Your private instructor should be qualified to teach a serious young musician. An ideal pre-college teacher has:

• A degree in music (at least a Bachelor’s)
• Experience in preparing college-bound musicians
• Experience as an outstanding/professional performer

An instructor who doesn’t possess at least one of these qualities is almost certainly not a good choice to prepare you for a college music program!

Play with Other People

Students who attend high schools with strong band, orchestra, choir, musical theater or jazz ensembles enjoy tremendous learning opportunities.  Those who do not –– students at high schools without strong music programs, or home-schooled students –– should actively pursue music options at junior colleges, community music schools, private music schools, or religious-affiliated centers.

Popular music groups such as rock, contemporary worship or pep bands, while valid and fun, seldom challenge young musicians with regards to traditional ensemble skills such as music reading, blending, tuning and balancing, and following a conductor.  Participate and enjoy –– but don’t expect these groups to substitute for literature-based ensembles.

Sing

Singing is the most basic form of musical expression. All music majors are required to sing extensively. Take advantage of every chance to vocalize: high school, junior college and faith-based choirs all offer opportunities to work on your voice, and more importantly, your ear.  Particularly beneficial are those choirs that don’t rely entirely on “ear learning”, but emphasize music reading as well.

Play Piano

Like singing, piano playing is required of all college music majors.  If you started on piano but switched to a different instrument, pull out your old books and brush up.  If you have never played before, start as soon as you can; junior college Beginning Piano classes are a cost-effective alternative to private lessons.

Study Theory

Students who don’t start music theory until college often struggle, particularly those musicians whose backgrounds are primarily or exclusively aural (i.e., vocalists, drummers, and guitarists). Any pre-college theory background is helpful.  High school Advanced Placement (AP) Music Theory classes are a tremendous opportunity; so are community college courses.  Numerous self-study methods are available online.

Learn Technology

Familiarity with computer notation programs is beneficial.

The most common are Finale and Sibelius, which are stand-alone notation programs, and Logic, which includes notation as part of a larger platform with MIDI and digital audio. Some companies offer less-expensive starter versions or educational discounts.

PC-based music technology is not limited to notation; MIDI, digital audio recording and editing programs are other powerful tools. Familiarity with technology is extremely valuable to anyone aspiring to a career in music.

Listen to Music

Serious young musicians often do everything to advance themselves except actually listen to music! Even well-trained students often have a poor aural grasp of basic musical styles and concepts, especially those that fall outside their specialty or preference.

The following are typical ways to introduce oneself to a wide range of music:

• Recordings (audio files or CDs)
• Internet sources (web radio, YouTube, websites, Facebook pages, etc.)
• Attending concerts and recitals

Attending live music events not only exposes you to a variety of music, it also gets you in the habit of supporting your fellow musicians—just as you hope they will support you.

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Tom Hynes is an assistant professor of music at Azusa Pacific University (Azusa, CA), where he teaches Commercial Guitar, Music Theory, and Jazz Combos.  He also teaches at the Idyllwild Arts Academy and Northwoods Jazz Camps.  He received his BM in Studio Guitar Performance from University of Southern California and MA in Music/Composition from California State University—Los Angeles.  His book Modern Harmonic and Melodic Practice (Hynesight Music) is in use as a theory text at APU. Professional credits include the Grammy-nominated recording, Kim Richmond Concert Jazz Orchestra Precious Promises. He can be contacted at thynes@apu.edu.

Choosing among several possible music degrees, considering a conservatory or music school or music department, as well as whether you’d like to graduate with a BM, BFA, BME, BA or BS in music depends on what you want to study, which school might fit your goals best (and how it labels the degree program), and what you see yourself pursuing after you graduate.

Do you want to go on to graduate school in music or leave the door open for getting an advanced degree in the future? Find out what credits you’ll need to have under your belt in order to meet the entrance criteria when you are ready to apply.

Is it important that you graduate in four years? If so, seek out periodic guidance and support from your music school so that your decisions and choices keep you on that track.

Bachelor of Music (BM) or Bachelor of Fine Arts (BFA)

Music schools see the BM or BFA degree as an intensive program that prepares students to be professional musicians. As a BM or BFA candidate, you’ll embark upon your four-year curriculum starting on day one (an important consideration for students considering transferring or changing their major). Music classes will take up two-thirds to three-quarters of your classes, depending on which school you attend.

Music schools offering BM or BFA degrees within universities will require you to take specific music and non-music classes. This pushes you to maintain your writing and reading skills and gives you an opportunity to round out your education. As a BM or BFA candidate, you’ll perform a recital in your junior and/or senior year.

Some schools will give you credit for AP or IB exams taken in high school. You may also be able to test out of lower level requirements. But in general, the BM or BFA degree requirements are lengthy and limit the number of electives you’ll have room for in your schedule.

BM and BFA music students who want to graduate in four years may have a hard time fitting study abroad into the regular school year. They should also realize that friends who are pursuing degrees in other areas may be able to start college as sophomores, thanks to high AP/IB test scores, but that the BM and BFA degrees are typically non-negotiable four-year programs.

Bachelor of Music Education (BME)

The BME degree prepares you for a career in teaching K-12 vocal and instrumental music, along with the preparation necessary to gain state licensure. Be sure to check licensure requirements in the state where you think you’ll want to work, as this may inform your decision about where you’ll want to go to school.

As a BME student, your curriculum will include a combination of music education courses, conducting, music theory, aural skills, and music history. You will study a major instrument, take methods courses, and gain experience through observation and supervised teaching in classroom situations. You will student teach, attend workshops and events for current and future teachers, and gain exposure to a host of professional development opportunities. You will also take a required number of liberal arts courses as well as music technology classes.

Bachelor of Arts in Music (BA)

If you want to study music but also want the flexibility to prepare for a career in another field or in a field of music not addressed by other programs or departments, you may consider the BA in music degree. Approximately one-fourth to one-third of your credits will be in music, depending on the school you attend. The other requirements will be in musicianship, general education, and electives, based on your interests. Because there is more flexibility with a BA degree, you are more likely to be able to take a semester abroad during the school year, while still graduating in four years.

Bachelor of Science in Music (BS)

The BS degree is offered at some schools where the emphasis is more business-oriented. Music business and music industry majors are likely to find themselves getting BS degrees. Some schools also offer the BS for music education and sound recording technology.

Double or Dual Degrees

Universities that house their own music colleges, conservatories or schools typically make it possible for students to get a music degree in conjunction with a degree in a separate field.

Some independent conservatories offer degree programs in conjunction with universities (e.g., New England Conservatory + Harvard University; New England Conservatory + Tufts University; The Juilliard School + Columbia University). Check to find out whether these are four- or five-year programs.

Some of the questions to ask each school:

• Are there additional fees for students getting double degrees?
• Will getting a double degree affect scholarships, merit awards, or my date of graduation?
• What are the logistics of getting a double degree if classes are held on two different campuses?
• How many students successfully get double degrees at this school?
• How easy/difficult is it to get into required classes if I enroll in a double degree program?
• Are there students successfully getting double degrees with whom I can have a candid conversation?
• Are there advisers available who focus on the needs and concerns of students getting double degrees?
• Will getting a double degree allow enough time for required ensembles, bands, private lessons, and practicing and still leave time for having a life outside of school?

Minors

Minoring in a related but separate field from your major can be a good complement to your major and may open up additional career doors when you graduate. Your minor will require fewer courses than your major, yet it still conveys a serious interest in a particular field when it comes time to look for a job or internship. Acceptance into a minor program may be based on application, audition, interview, and GPA, depending on the school and the program.

By Angela Myles Beeching –

What have music majors found most useful in their music school education? Music career advisor and consultant Angela Myles Beeching focuses on the importance of finding a mentor and getting involved in a challenging project as the two most impactful experiences a music major can and should aim for.

College in Hindsight

In an informal survey conducted over the years, I’ve questioned musician friends, colleagues, and alumni decades after they graduated, asking what actually mattered most in their college experiences. There have been two phenomena cited time after time, two kinds of educational experiences that made the most impact, no matter where, when, or what the individuals studied. And from watching hundreds of students make their ways through degree programs and on out into the world, I’ve observed that those who have had these experiences are the ones who tend to fare the best in transitioning to the professional world. If I had a magic wand to wave over every school’s curriculum deliberations, I’d wish these were the transformational experiences all students would have.

The Mentor Phenomenon

One of the most important experiences a college education can provide is that of making a strong personal connection with a caring faculty member who challenges, encourages, and dares the student to expect more of herself or himself. An ideal mentor is someone who coerces a student into having a more ambitious mission—not just a career—in life. Such mentors serve both as models and as mirrors, reflecting back on students a view of themselves as capable and full of potential. With such a mentor, a student dreams bigger. Music departments may have the advantage in this over others, since performance majors spend the most intense part of their programs studying one-on-one with a master teacher. However, true mentor-matches are probably made in heaven, not in studio teacher or advisor assignments; institutionalized mentoring programs often leave much to be desired.

The important thing is satisfying a student’s hunger for the attention of an inspiring adult role model and the challenge of working with a mentor. And schools can do better to help make more authentic, substantive mentoring possible. In the end, whether a student finds a mentor on his own, through a class, a work study job, or through a program, the objective is to make a connection with a trusted adult role model.

The Power of a Project

The second educational phenomenon I’ve found to have a lasting impact on students is the experience of becoming fully engaged in a challenging project, something that ignites her or his imagination and motivation. Projects that have lasting impact are those that demand the best of a student’s intelligence and put to the test her or his assumptions and worldviews. These projects (in the best cases) involve working closely with other students and one or more faculty members both on and off campus. Such projects can connect a student’s learning to a community beyond the campus and to a future the student can envision.

But the most important aspect of any student project—whether it is a thesis or a community service project, starting a concert or lecture series, or working as editor of a fledgling newspaper—is that it be fueled by the student’s initiative. The student ends up taking responsibility and therefore owns her or his learning. Such a project can be the light of an actual education, or the petri dish where critical thinking, analytical skills, communication, organization, and interpersonal skills are all developed. In the end, it’s where a student has the opportunity to discover her or his mission, and finally, to gain the confidence that she or he will live a meaningful life.

For any musician heading off to college or in the middle of a degree program now, I recommend making sure your education is the best it can be. It’s up to you. Ask yourself, who might be a good mentor? And, what project would you like to take on?

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Music career strategist Angela Myles Beeching is author of Beyond Talent: Creating a Successful Career in Music and has advised hundreds of musicians on a full range of career-related issues. This article has been excerpted and adapted from a piece she originally wrote for New England Conservatory’s Career Services Center where she was director from 1993-2010. She has also worked as a consultant to the Indiana University Jacobs School of Music. She currently directs the Center for Music Entrepreneurship at Manhattan School of Music and maintains a thriving consulting practice, Beyond Talent Consulting.

Excerpted from “Curriculum Reform—A Perspective,” an article published in the Journal of the Music and Entertainment Industry Association Journal, 2005.

Copyright, Angela Beeching, July 13, 2011 (Reproduction granted with credit to the author and MajoringInMusic.com.)

Prospective and current music education majors… you’ll be facing a very different job market than in the past. To be employable, you’ll be required to have a broader set of skills and be far more flexible in where and how you work. And it won’t work for you to wait until you’re ready to graduate to start looking for a job.

See what music educators around the country recommend to help prepare you to meet the job market head on.

1. Be an outstanding musician. “As a music educator, you have to be a great musician. Music teaching is about guiding inexperienced musicians in developing their musicianship and a big part of that process is always demonstrating high levels of personal musicianship,” states Kerry Filsinger, University Fellow and PhD candidate in Music Education at Temple University Boyer College of Music & Dance. “I am constantly striving to become a better musician, so that I can be the best possible music model for my future students.”

2. Learn how to improvise. A teacher who can walk into the classroom and perform on their instrument without music is a great asset, says Edward Smaldone, professor of composition and director of the Aaron Copland School of Music at Queens College. “Music is about communication, not just about playing what is on the page.  If the music does not live in your imagination it can’t be communicated effectively. You need to practice both: reading and improvising.” Smaldone stresses that improvisation is a valuable skill to learn and hone, and not just on your instrument. “Knowing how to improvise means you can adapt,” he says. “Lesson plans provide great ideas, but as a teacher, you can’t script every word for every situation.” This translates to myriad situations music educators will find themselves in, from needing to transpose to figuring out how to make a wind ensemble work with too many of one instrument and not enough of others. And it’s a life skill that can be passed on to your own students.

3. Acquire entrepreneurial skills. According to Russ Sperling, president of the California Music Educators Association and instrumental music specialist for San Diego City Schools in the Visual and Performing Arts Department: “It’s no surprise that, as a music educator, you must be a fine musician. At the same time you have to be skilled in marketing because you’ll have to be recruiting students into your program. You’ll also have to deal with all of the administrative work it takes to run that program.”

Susan Wharton Conkling, the late professor and chair of Music Education at Boston University School of Music, had reminded: “Music teachers must stop limiting their thinking to music education as a K-12, public school enterprise. They must also stop limiting their thinking to music education as band, chorus, and orchestra.” She pointed to other areas where music educators can create employment for themselves: working with very young children, partnering with local YMCA or youth-based clubs; working with senior centers and retirement or assisted living facilities. Conkling added, “Music educators who have developed high-quality, broad-based musicianship are ready to be entrepreneurial. They can already think ‘outside the box.’ These music teachers will always have employment because they’ll create their own employment.”

4. Become as broad-based and well-trained as possible. “Employers will look for candidates who can do a lot!” says Dr. Deborah Sheldon, professor and chair of Music Education at Temple University Boyer College of Music and Dance. “They will be more drawn to those who are skilled and capable in a number of areas, from instrumental to choral to general music. They will look for candidates who bring something unique to the school such as ideas for how to connect the school experience with the greater community, the use of new technologies to advance music and arts, and entrepreneurial ventures that will bring greater visibility to the arts. They will have their pick of many candidates so the one who is well-prepared, a polished musician, a creative thinker, an artful teacher, a good communicator,and a team player will have the advantage over others.”

5. Combine advocacy with exchange to create better programs. Lauren Kapalka Richerme, a doctoral student in music education at Arizona State University, published an important piece, “Apparently, We Disappeared,” in the September 2011 Music Educators Journal. She emphasizes the value of sharing ideas within the broader community that lead to action. Richerme states: “Music educators must alter their practices by implementing the ideas generated from their dialogue with various constituencies. Words are not enough; we must change our actions as a result of these exchanges. Combining advocacy with exchanges allows music educators to promote and improve their programs and build a better relationship with their communities.”

6. Learn all you can about relevant technology. Technology plays a significant role in music education. From apps and programs for everything from teaching chording and music theory to recording, tuning, and improvisation, music educators and music education majors have a wealth of options at their fingertips. But the technology changes quickly and sometimes dramatically, so it’s essential to continually stay on top of what’s current, assess its value, and learn how to use what’s relevant.

7. Keep an updated list of your skills, relevant experiences, and training. When you’re ready to enter the job market, having a running list of your experiences will come in handy. You’ll want to memorize some of it so you can succinctly respond to interview questions in a way that demonstrates why you’re the right candidate for the job. Take advantage of opportunities where you can teach or assist in teaching music to a variety of ages. Gain experience speaking in front of groups. Find performance venues and get your music out there. Participate in relevant workshops. Explore the music of other cultures. And remember to add all of it to your list of skills and experiences.

As you make a decision to major in music, you will want to have most, if not all, of the following skills and experiences under your belt by the time you apply to music schools.

Check to see how you stack up. If you’re missing any of these or feel like you could use a bit of help in any area, ask a more advanced music student or a music teacher for some help before you start applying.

1. Experience studying with a private teacher –– along with plenty of advance preparation and support for auditions.

2. Experience in school and/or community bands, orchestras, ensembles, choirs or in your own band or performance group.

3. Experience and some degree of comfort in performing solos as well as performing with a larger group.

4. Ability to read music, sight-read and sight-sing.

5. Listening and aural skills.

6. An understanding of basic music theory.

7. Exposure to lots and lots of music, in the genre you like to perform as well as in other genres.

8. Experience participating in after-school music programs and summer music camps and training programs.

Note that academic achievement is not included on this list because music schools vary so much in their requirements. Some expect academic excellence and competitiveness and see high SAT and ACT scores as predictors of success as a music major. Others put less emphasis on high school academic achievement and are more interested in finding students with passion, talent, knowledge, and interest in the world at large.

No two music schools offer the same exact programs, nor do they name their music major areas of study the same way. You’re apt to find out that, as an undergraduate, you can study what you are most interested in at some schools but not at others. You’re also likely to find that some schools cluster certain music majors together and house them under a specific department.

It can get confusing when you try to compare apples with apples!

Add to that the fact that new music major areas of study are continuously popping up in response to new demands, new developments in technology, and sweeping changes in the music world, and it’s even more confusing.

The following list will give you a general sense of areas within music in which you can major. Remember, however, that the best way to understand what you can study is to check school websites for descriptions and curricula.

Arts Management

Some schools offer a Bachelor of Music degree in arts management or performing arts management to prepare students for working in non-profit administration, in college and university concert promotion, and in the commercial music world. Students often have a strong background in one or more of the performing arts, including music. Coursework typically includes a combination of business classes and industry-specific courses such as economics, accounting, finance, law, marketing, and statistics.

Students in this field should plan on getting internships in areas in which they are interested. Graduates find jobs in marketing, public relations, planning, development, operations, fundraising, and education in symphonies, theaters, opera houses, foundations, public arts agencies, and record label companies. Note that courses offered at some schools in arts management may overlap with courses offered at other schools within music industry programs.

Popular Music

Popular Music is offered at a growing number of schools as a degree program for vocalists, instrumentalists, and songwriters as well as those interested in audio recording. More often, pop music is offered within the context of music business or commercial music. But look for more opportunities as schools recognize the demand for these programs.

It’s currently easier to find schools that offer just one or more classes or the opportunity to minor rather than major in: contemporary pop/rock, folk-rock, country, Rhythm & Blues, Urban, Latin/Salsa, and contemporary Christian music.

Jazz Studies

Jazz studies may be performance-based or more academically-based, so be clear about the direction in which you want to go. Jazz is often included in other majors such as performance, music history, and music education, but if you are a die-hard jazz person, you may want to find a jazz-specific program, even a free-standing jazz department.

Auditions are on jazz-eligible instruments – typically brass, woodwind, and percussion or rhythm. Guitar may be included in the jazz program or in a separate guitar major.

A jazz-intense performance curriculum is likely to include private lessons, improvisation, combos and orchestras, music history, theory, composition and arranging in addition to general requirements and a few electives.  Note that some schools require jazz majors to take classical lessons on their primary instrument.

Musical Theater

Depending on the school, musical theater is offered as a major in and of itself; as a concentration within the drama or theater department; or as a focus within the vocal performance program of the music school or department. It’s worth talking with schools as well as people who have taken different routes in musical theater to figure out which way would work best for you.

Music Education

If you are passionate about sharing your love of music with students anywhere from pre-school through college and graduate school, you may want to look at becoming a music ed major.

With a bachelor’s degree, typical job opportunities are in: primary, elementary, and secondary schools; teaching in a private studio; and directing high school band, orchestra or choral music. Graduate level training is typically required to teach university-level classes as a tenured professor, although some schools do allow extraordinarily talented musicians without graduate degrees to teach some classes. According to NAfME (National Association for Music Education) advanced degrees are also recommended for working as a music supervisor/consultant and as a university music school administrator.

Music education majors typically select a vocal/choral, instrumental or general music track. Most schools’ required coursework includes:  vocal or instrumental lessons; music theory; music history; child psychology and classroom management (for K-12 teaching); technology classes; student teaching; and conducting. Prior vocal and/or instrumental proficiency (on at least one instrument) is required of music ed applicants.

You can typically graduate as a performance major and then go back to school for approximately one year (including a stint as a student teacher) in order to gain a master’s degree and certification and licensure as a music educator.

Most important is that you choose to become a music teacher for the right reason: because you love it, as opposed to it being a fall back plan because your other career intentions did not pan out.

Music History

Majoring in music history means focusing on the history of music of Europe and North America, including all periods, styles and genres. Music history majors are proficient on an instrument and will likely be expected to play in a school performance group. However, music history majors typically pursue an area of music other than intensive performance.

Schools that offer a bachelor’s degree in music history (often with music literature) require about a third of the classes in music history and literature, a third in performance and musicianship, and a third in general studies. According to the National Association of Schools of Music (NASM), the ability to read foreign languages (typically German, Spanish, French) is also required.  Some schools offer performance versus research tracks. Many music schools  offer music history only through graduate programs in musicology and ethnomusicology.

Music Industry

Some schools call this major “music business” while others house their music technology curriculum within their industry program.  Coursework typically  includes classes in music management and business, contracts and legal issues regarding intellectual property, music publishing, accounting and finance, music promotion, and music administration. Courses offered in arts management at one school may be similar to those offered in music industry at another school.

Music Technology

Students who want to combine and experiment with music as well as technology may want to major in music technology. Fields within music technology, which may at some schools be majors in themselves, include music engineering technology, music production, recording, and audio and sound engineering. Each school will differ, but in general, a music technology major will learn to use current technology and equipment for recording, production, composition and performance. It’s therefore advisable to investigate the studio facilities as well as class size at schools you are considering.

Music Theory and Composition

Some schools may separate these into two distinct majors; others may include music arranging and/or editing within this major. Most music majors will find that they are required to take some music theory classes in order to graduate. But those who want to focus on the relationship of melody, harmony, and rhythm combined with the design and structure of chords as well as on creating their own compositions will want to consider majoring in this field. Typical requirements: composition, theory, aural or ear training, ethnomusicology, performance, and music history.

Music Therapy

According to the American Music Therapy Association, “Music therapy is the clinical and evidence-based use of music interventions” and is used in a variety of healthcare and educational settings to “promote wellness, manage stress, alleviate pain, express feelings, enhance memory, improve communication, and promote physical rehabilitation.”

Music therapy is considered an allied health profession and therapists are trained as musicians as well as helping professionals. Coursework includes music; psychology; biological, social and behavioral sciences; music therapy-specific classes; and general studies.

Graduates with a bachelor’s degree in another area can complete the degree equivalency program in music therapy offered by most AMTA-approved universities by completing only the required coursework (without having to earn another bachelor’s degree). A Master’s in music therapy is also offered by a number of schools.

Performance

Performance majors take 65% of their coursework in performance and performance-related classes. Some schools include pedagogy, accompanying and collaborative performance (vocal and instrumental chamber music, conducted ensembles and opera), while others offer those as part of a graduate program. Other schools offer classes and even an emphasis in early music or historical performance.

Performance majors typically study brass, guitar (classical, studio, jazz), keyboard (piano, harpsichord, organ), percussion, strings, woodwinds or voice. They focus on heightening their performance skills through extensive practice as well as ongoing lessons; developing their own, personal style; and preparing to perform professionally as soloists and ensemble orchestra members.

Vocal performance majors (choral music, choral music education, classical, jazz, opera, studio music) are typically required to take diction classes and complete specific foreign language requirements. They participate in opera as well as other choral and recital performances.

World Music or Ethnomusicology

Students who want to study forms and methods of musical expression throughout the world as well as specific cultural styles of music will find undergraduate majors in world music and/or ethnomusicology at some schools. Consider whether you also want a performance emphasis or an academic, research-oriented focus.