What can you do with your major? Check out the information here and discover the opportunities waiting for you!

Ever wondered about the legal issues common to the music industry? There's a class for that! BUSN 302, Business Law for Musicians. You'll learn about intellectual property law, particularly copyright, employment law, contract law, agency law, licensing and cyberlaw as it relates to the music industry. More information about this class can be found in the Business section of the Undergraduate Catalog.

Area Employers Strategies
Education
Choral
Instrumental
Elementary
Instrumental		 Elementary and secondary schools
Private schools
Colleges and universities
Conservatories
School administration
  • Acquire teaching certificate for public school teaching.
  • Gain experience working with children
    through volunteer or part-time work
    experiences.
  • Terminal degree required to teach in higher education.
  • Performance ability on one instrument or voice and piano skills.
  • Specialize in instrumental, choral, or elementary music education.
  • Information (Choral)
  • Resources (Choral)
  • Information (Instrumental)
  • Resources (Instrumental)
Performance
Instrumental
Vocal		 Military bands, orchestras, and choirs
Symphony orchestras
Small ensembles
Concert soloist
Church choirs
Community ensembles
Opera chorus or soloist
Music theater
Ballet productions
  • Develop exceptional musical skills.
  • Perform in numerous ensembles and venues.
  • Seek competitions, apprenticeship programs, and workshops to gain experience and to network with major artists, teachers, managers and employers.
  • Information
  • Resources
Composition Colleges and universities
Conservatories
Public and private commissions
  • Develop computer and research skills.
  • Gain thorough knowledge of and skills in theory and composition.
  • Create compositions and secure performances.
  • Information
  • Resources
Jazz Colleges and universities
Conservatories
Military bands and choirs
Professional jazz ensembles
Cruise ship musician
Theme park musician
Public and private events
Private studio
  • Exceptional improvisation skills.
  • Business knowledge and skills.
  • Recording studio techniques.
  • Performance of standard repertoire and style
 

Applying for a Young Artist Program

Learn from the greatest artists of our time as they share their experiences and expertise with you! This could be that special moment when a suggestion or idea can have life changing impact.

The Department of Music and the Ferguson Center for the Arts present Masterclasses throughout the academic year. Past Masterclasses include Marvin Hamlisch, the Lincoln Center Jazz Orchestra and Wynton Marsallis, Joe Burgstaller of the Canadian Brass, the Count Basie Orchestra, New York Voices, leading university pedagogues, and many more.

CNU Music student Elizabeth Churchya with Ahn Trio.
 Zack Riviere, Will Fruchtermann, Wynton Marsalis and Peter Amos
CNU Music student Elizabeth Churchya with Ahn Trio. (L to R) Zack Riviere, Will Fruchtermann, Wynton Marsalis and Peter Amos
CNU Music student Adrian Armbruster with pianist Phillipe Bianconi
 CNU Music student Adrian Armbruster with pianist Nelita True
CNU Music student Adrian Armbruster with pianist Phillipe Bianconi CNU Music student Adrian Armbruster with pianist Nelita True

CNU Graduate School Audition Strategies

College juniors preparing for graduate school auditions know that it can be a daunting process. Students can feel overwhelmed by varied requirements and deadlines, and unfamiliarity with the process can result in missed opportunities. Here is a list of strategies and "things to remember" to help make the application and audition process run smoothly.

First question: College or Conservatory?
Similar to your undergraduate experience, graduate school curriculum can vary widely, depending on what kind of institution and program to which you are applying. Check the school’s website and see what courses are required of graduate students.

Application Process:

  • Know the school’s pre-audition requirements – some schools need a CD, some now ask for a DVD. Compile a list of repertoire that each school needs. That list might add up to a sizeable repertoire list!
  • Deadlines – do not wait until the week before a deadline to start making an audition CD!  Quality recordings are the gateway to a “face to face” audition, and if your CD is poor quality, you might not be given a live audition. Understand that it takes at least a half hour PER piece to get a recording that you will be happy with. Your applied instructor should review and approve all audition materials.
  • Headshots – Again, take time to acquire a quality headshot by a professional photographer. Understand that a quality headshot can be costly, and require a day of your time.
  • Resume – consult with your teacher on how to compile a professional resume. Many singer’s websites have examples of excellent resumes. Consult with your applied teacher.
  • Pick appropriate repertoire – understand that you will probably have a different accompanist from your weekly collaborative artist, and some difficult repertoire might not be advisable in those situations.

I got a live audition! Now what?

  • Live auditions are usually held at the relevant institution, unless they have “off site” audition days. This will require travel and hotel expenses. Be mindful of your audition date and time, and check it against your semester calendar. Often auditions are held during that institution’s winter or spring break, not necessarily your break. Get approval for all missed class days.
  • Try to avoid flying on the day of your audition. Traveling is tiring, and airplane travel can dehydrate a performer. Traveling to an unknown city can be stressful, so try to leave at least a day to become familiar with the audition site.
  • Prepare an audition folder – make sure you have at least 2 copies of all audition materials, including resumes and headshots. Make sure your music is clear and readable by an accompanist. Cuts, tempo changes, omitted sections should be clearly marked and highlighted.
  • Find out if a rehearsal time with your accompanist is possible – many schools make it possible for a separate rehearsal before the audition with your accompanist. This is highly desirable, and will make your audition go much smoother.

Audition Day

  • Get some sleep! Make sure you get plenty of restful sleep, and drink plenty of water – avoid caffeine, which can dehydrate the performer.
  • Arrive early. Make sure you plan for plenty of commuting time to your audition location – an unfamiliar commute can take longer than you expect – don’t add lateness to your already nerve-wracking day.
  • Report early – Find the audition proctor and report in. You might get an update on how the timings of the auditions are going – they might be running an hour behind, or be looking for you to sing a bit early. Be adaptable to any situation.
  • Be confident – you might sing for 3 expressionless judges, or 15 excited and complimentary panelists. Focus on why you are at the audition and why you make music. The audition committee wants to hear great music and is excited to hear you play. Use this as motivation to make music and sing or play beautifully.

Follow up

Sometimes, the most important part of the audition process is the follow up contact. If you have been in touch with a specific instructor or administrator, make sure to send an email, or even better, a handwritten card, thanking them for their time and consideration. In a close decision-making process, this can sometimes be the thing that closes the deal for you.

Summer Festivals & Camps

American Bandmasters Association International Festival Institute at Round Top
Americans for the Arts Juilliard Summer Percussion Seminar
American Music Conference League of American Orchestras
American Music Therapy Association Marrowstone Music Festival
American Orff-Schulwerk Association Masterworks Festival
Aspen Music Festival and School The Midwest Clinic
Bandworld Midwest Young Artists Summer Music Festival
Birch Creek Music Performance Center
 Music Academy of the West
Blue Lake Fine Arts Camp Music for All (formerly Bands of America)
Boston University Tanglewood Institute Music Educators National Conference
Brevard Music Center Music Teachers National Association
Camp Encore/Coda National High School Music Institute at Northwestern University
Center for Creative Youth New England Music Camp
Chautauqua Summer Schools of Fine and Performing Arts New York Summer Music Festival
College Band Directors National Association Potomac Summer Music Camp at George Mason
College Music Society Sewanee Summer Music Festival
Drum Corps International Summit Music Festival
Eastern Music Festival and School Support Music
Eastman Summer Sessions Symphony Orchestra Academy of the Pacific
Eastern U.S. Music Camp at Colgate University University of Michigan Summer Music Programs
Florence International Music Summer Camps University of Wisconsin-Madison Summer Music Clinic
Hartwick College Summer Music Festival Walnut Hill Chamber Music Festival: Summer Chamber Music in France
Idyllwild Arts Summer Program West Michigan University High School Summer Music Camp
The Instrumentalist Magazine Winter Guard International
Interlochen Arts Camp Young Audiences New York

European Festivals - Opera (back to top)

European – Art Song (back to top)

United States- Opera (back to top)

United States – Art Song (back to top)

United States – Choral/Choral Conducting (back to top)