MASTER OF MUSIC

Master of Music in Performance Studies Admission Information

A collaboration between nationally recognized academic instructors and leading

industry professionals, this unique one-year graduate degree program is designed to
prepare students for successfully navigating the ever-changing landscape of today's
music industry while simultaneously assisting with the development of artistic identity
as a performer. The Master of Music (M.M.) from Musicians Institute combines
advanced performance training with additional study in both traditional and
contemporary disciplines such as music history, theory, education, research skills,
recording technology, production, business relations and online brand management.
Students further their performance expertise in one of five major instrumental areas:
Vocals, Keyboard, Guitar, Electric Bass or Drums. Successful completion of both a
written thesis and graduate recital are required of all candidates pursuing a M.M. in
Performance from Musicians Institute. Whenever possible, visiting artists, educators
and industry professionals are invited into the classroom to participate in the group
discussion and professional critique that serves as the intellectual foundation of the
graduate program.

Entrance Requirements

Successful applicants to Musicians Institute’s Master of Music (M.M.) Performance

program must hold either a Bachelor of Music (B.M.) degree or a Bachelor of Arts (B.A.)
with music as the primary focus. In addition to working knowledge of contemporary
styles and advanced performance experience, students must demonstrate a strong
academic record, language, writing & leadership skills and the ability to interact well
with others while consistently displaying overall dedication to the worldwide
advancement of music as an art form.

Application Fee

Submit your online application at www.mi.edu, accompanied by a $100 (non-

refundable) application fee. Note that the application fee will be credited toward tuition
& fees for Musicians Institute Bachelor Program alumni. See the following section to
learn of the additional steps required for applying to the Master of Music in
Performance program.

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Admission Procedure

STEP 1: Document Review

1. Resume
2. Personal Statement
3. Academic Transcripts
4. Two Letters of Recommendation
5. English Proficiency Requirement (International students only)

STEP 2: Performance Review

1. 4 pre-screening video submissions for faculty review
2. Include 1 arrangement OR original composition, complete with pdf score &
mp3 audio-file

STEP 3: Result Notification

STEP 4: Placement Testing Days

1. Placement Tests
2. Interview
3. Level and Class Assignment

STEP 5: Final Results

STEP 6: Course Assignment, Registration & Enrollment Deposit

STEP 1: Document Review

1. Resume: Please include a copy of your most recent resume.

Contents should include:
• Previous academic study (college institutions, dates, degree(s) awarded).
• Private study (subjects, instructor(s), dates).
• Relevant performance experience, awards, and participation in festivals
and/or Summer programs, if applicable.

2. Personal Statement: The personal statement (two to three type-written pages,

in English…docx or pdf format) provides applicants with the opportunity to
introduce themselves to both the admissions committee and graduate faculty.
In addition to music, what are you passionate about? Hobbies? Other interests?
How has your background influenced your musical endeavors? What are your
professional plans for the future? How does obtaining a graduate degree play in
to your plans?

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3. Transcripts: Please include a scanned copy of all official college transcripts
(“unofficial” or “student copies” permitted). Grades and the names of both
student and institution must all be legible. If your transcript is not in English,
please provide a translated copy. (See www.wes.org or www.ece.org for
assistance). Official transcripts will be required for students who ultimately
enroll. Offers of admission are contingent on receipt of final official transcripts.

4. Letters of Recommendation: Please provide two letters of recommendation,

one being from your most recent private instructor. Please include
recommender’s phone number(s) and email address at the end your resume.

5. English Proficiency Requirement: Please provide official scores to either TOEFL

(Test of English to Speakers of Other Languages), IELTS (International English
Language Testing System) or PTE-Academic (Pearson Test of English) if:
§ English is NOT your native language.
§ You received an undergraduate degree from a college or university
OUTSIDE the United States where English is NOT the primary language.
§ Musicians Institute does not offer conditional admission for applicants
who have not earned a passing TOEFL/IELTS score.
§ The score report is required before application processing can be
completed.

Ø TOEFL: The minimum overall TOEFL score required for admission to

graduate study at Musicians Institute is a 75 on the TOEFL internet-based
test (iBT).

TOEFL scores expire after two years. Scores that are older than two years
will not be accepted by Musicians Institute.

Ø IELTS Scores: As an alternative to the TOEFL, you may submit scores from
the Academic Modules of the International English Language Testing
System (IELTS) designed by the University of Cambridge Local
Examinations Syndicate and administered by the British Council
worldwide. Their website address is http://www.ielts.org.

The minimum overall band score required for admission to graduate

study at Musicians Institute is 6.5.

IELTS scores expire after two years. Scores that are older than two years
will not be accepted by Musicians Institute.

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Ø PTE (Pearson Test of English) Academic: Musicians Institute accepts PTE
Academic scores. The university is still in the process of determining
minimum scores for ISE Exam exemption, so these test scores will be
reviewed on a case-by-case basis.

*English-Language Test Waiver: International applicants are exempt from

submitting English-proficiency scores under the following circumstances:

• You hold a bachelor’s degree completed in its entirety in the United

States or another Anglophone (English speaking) country.

• The bachelor’s degree should be earned at a regionally accredited

university located in the United States, or at an officially recognized
university in another country where English is both the language of
instruction and the only officially recognized language of the country.
Please note that the entire program needs to have been completed in the
qualifying country. Note: Dual-degree holders who completed part of
their degree in the U.S. do not qualify for this waiver.

• Your native language is English. This applies to native English speakers

from countries such as the United Kingdom, Australia, New Zealand, and
Canada (except Quebec), where English is both the only official language
of the country and the language of instruction.

STEP 2: Performance Review

Please Submit Four Pre-screening Videos (MP4 format)

• Please prepare four contrasting, un-edited selections that highlight your
performance & improvisational abilities across a range of styles (i.e.: Rock, Jazz,
Fusion, R&B, Funk, Country, Latin, World, etc.). Live performance utilizing
instrumentation of your choosing is required for all pre-screening materials.
Play-along tracks are not permitted. Be sure to label selections: Your name &
instrument, song title, composer/arranger, style. Recordings need not be
professional quality.
• Please include one arrangement OR original composition, complete with a PDF
copy of the full score, and an mp3 audio-file (Sibelius score preferred, if
possible). Your selection should demonstrate your ability to write for rhythm
section, 4 or more horns, and strings. If you have not written for this
instrumentation before, submit a score utilizing the largest instrumentation that
have worked with to date.

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If your submission doesn’t fulfill our requirement, you may be asked to submit
three additional arrangements according to Appendix 1-3.

**Vocal Candidates submitting sonically enhanced videos (compression, auto-tune,

rhythm alignment, EQ, punch-ins, edits, etc.) will not be considered for admission. **

STEP 3: Result Notification

Prospective students will be notified by email of Performance review results within

two weeks of their completed document (Step 1) & performance review submissions
(Step 2). Candidates who successfully pass the audition process (Steps 1 & 2) will be
invited to Musicians Institute to meet the faculty and tour the school, along with
completing required performance and written placement tests. Upon email
notification of your acceptance, please contact your advisor to reserve a Placement
Testing Day & timeslot. Students must respond to offers of acceptance within one
week (7 business days) to guarantee placement for the upcoming quarter.

STEP 4: Placement Testing Days

During Placement Testing Days, admitted students will perform together in various
ensemble formats, take meetings with faculty, tour the campus and complete
performance and written placement tests (music theory, history, ear-training and
keyboard proficiency). As outlined in Interview Day email notifications, prospective
students will be expected to spend the full day on campus.

1. Performance requirements for Placement Testing Days include:

• Solo audition with rhythm section: Applicants should be prepared to
perform two selections in varied styles and improvise on each of them.
One selection should be from the pre-screening video, the other must be
new. Please bring lead-sheets for the rhythm section and screening
committee (six copies total).
• Group performance with other students.
• Individual interview with respective performance faculty.

2. Music theory, history, ear-training and keyboard proficiency placement tests

are required of all entering graduate students prior to registration. Remedial
courses (which do not count toward degree credit) may be assigned, at the
discretion of the Program Chair, to students exhibiting deficiencies in the above
areas.

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STEP 5: Final Results and Course Level Assignment

The Graduate Admissions Committee evaluates applicants based on their completed

application, supporting materials, and Placement Testing Day results (performance
and written exams), and assigns the course levels.

STEP 6: Registration & Enrollment

Upon completion of Placement Testing Day requirements, new students will be able to
enroll in courses and complete the registration process.

Appendix 1 Instrumental arrangement for four horns + rhythm section

(Equivalent to MI’s Contemporary Arranging III)

Choose a song from the list below. Arrange in jazz/swing style, at a tempo between
mm=130 and mm=145.

Score should be in concert.

Instrumentation:
Trumpet, Alto sax, Tenor sax, Trombone
Piano, Bass, Drums [no guitar]

Form:
Intro (4 bars max.)
Melody (32 bars)
[optional: interlude – similar to intro – 4 bars]
Solos (32 bars) – use at least two horns, 16 bars each
Melody (32 bars) – (modulate to a new key?)
Ending – similar to intro, or new material - (4 bars)

Guidelines:
• Melodies are to be embellished. Do not copy the melody “as is” from the lead
sheet.
• Determine the best key for the four horns at our disposal. Do not write your
arrangement in the same key as the lead sheet, unless that is the best key for the
instrumentation. If you plan to modulate, make sure the key doesn’t end up too
high.
• Rhythm section parts should begin with one or two measures of specific notation,
after which slashes and “simile” may be used. At any point where the rhythm

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section feel changes, write a measure or two of the new pattern, after which
“simile” may again be used.
• Include rhythm section “kicks” (accents, syncopations, etc.) including the drums, as
appropriate. Do NOT write any rhythm section part consisting of nothing but
slashes.
• indicate all phrase markings clearly; use a double-bar line every 8 or 16 measures
or as needed
• Arrangement must include at least 32 bars of 4-part soli style harmonized melody.
You can use the 4-part harmony at different points in the arrangement, or write an
entire chorus in 4-part harmony. You may write more than 32 bars of 4-part soli
texture if you wish. 32 bars is the minimum.
• A change in texture must occur at least every 8 bars. For example: an additional
instrument is added; a background line enters; a change from unison to soli
harmony, etc.
• Solos should be assigned to the horn players. No piano solos.
• Write backgrounds behind soloists. Allow the soloist to play alone for 4 to 8 bars,
then introduce the background part. Backgrounds should include both unison and
voicings. Unison lines should be embellished, but not overly busy. Best range for
background lines: F below middle C to A above middle C.
• Do not copy and paste the melody from the first chorus to the last chorus.
Change the embellishments and the textures.
• Length: 3½ minutes max.

Song choices: Bernie’s Tune, If I Were A Bell, Just Friends, Let’s Fall In Love, Lullaby of
Birdland, Polka Dots and Moonbeams, There Will Never Be Another You, Yardbird Suite

Appendix 2 Adaptation and arrangement for string quintet, using reharmonization

(Equivalent to MI’s Contemporary Arranging IV)

Instrumentation: string quintet (Violin 1, Violin 2, Viola, Cello, Bass)

Choose one of the following folk songs:

Amazing Grace; Aura Lee; Danny Boy; Greensleeves; Oh Susanna;
Scarborough Fair; Shenandoah; Simple Gifts

These are very short, simple tunes, to be arranged at a slow to medium tempo. These
arrangements will require an imaginative approach to keep them interesting! You can
use a steady tempo throughout, or rubato, or a combination of both. Arrangement must
be at least two minutes in length and include reharmonization during at least one
“chorus.”

Form
Intro (optional): ensemble chords with minimal melodic content; establish key; “set up”
the melody.

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Melody - first statement: solo violin, viola and/or cello, unaccompanied – rubato, or in
tempo. One player can play the entire first statement, or you can change instruments at
the end of a phrase.
Melody - second statement: Add the other players gradually, using a contrapuntal
approach, or support the melody with the entire ensemble. A “pianistic” approach will
work well: root on the bottom; basic chord sound in mid-register, playing whole notes or
half notes. Melody on top. Use basic chords if desired, or use simple reharmonization
choices.
4-bar interlude – chords over a rhythmic pedal point
Modulate after the interlude. Do not limit yourself to simply modulating up by half or
whole step. A major or minor 3rd may work better. Pick the best key for the instrument
carrying the melody and choose the new key accordingly.
Melody - third statement: use a texture different from the one used during the second
statement. You must reharmonize the basic chords, if you haven’t done so already by this
point. This “chorus” is probably going to contain the high point of the arrangement.
Choose the best key for the melody player (probably Violin 1). Use your richest
reharmonization choices during this section.
Ending: A standard technique that works well for endings is to use a 4 or 8-bar
recapitulation of the last portion of the melody and repeat that. On the final repeat you
may want to try returning to a solo instrument for the ending, to mirror the sound of the
opening.
Final chord: full ensemble, soft dynamics

Utilize at least one change of tone color during the arrangement, for at least one player.
Possibilities include: mutes, sul tasto, pizzicato. Col legno and sul ponticello are
inappropriate for this assignment.

• Embellish the melody with simple ornamentations: appoggiaturas, grace notes, etc.
• You may modulate more than once if you wish.
• Use different reharmonizations for each “chorus” if desired.
• When cello or viola are assigned a melodic fragment, the violins typically end up
playing harmony above the melody. Choose dynamics so that the violins do not
overpower the melody.

Lead sheets can be found here:

https://www.amazon.com/clouddrive/share/B4KL4agh1e0XHKEAcCFjBxZYf1ERajX61
m8zn7PDeeH

Appendix 3 Instrumental arrangement for five horns, rhythm section + strings.

(Equivalent to MI’s Contemporary Arranging V)

Objective: rearrange an existing song by changing the style, feel, tempo, etc.

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Score should be in concert.

Instrumentation
Trumpet (doubling on Flugelhorn)
Alto sax (doubling on Clarinet)
Tenor sax (doubling on Flute)
Trombone
Baritone sax (doubling on Flute)
Electric guitar
Keyboard (acoustic piano, electric piano or organ)
Electric bass
Drums
String section: Violins I & II, Violas, Cellos

Guidelines:
• 3 – 3½ minutes maximum
• melodic embellishment is required
• an introduction, interlude and ending are required (no fade-out endings)
• change the time signature if you wish
• no odd meter, rubato or tempo changes!
• some reharmonization is required; use where appropriate
• a change of texture must occur every 8 bars. For example: an additional
instrument is added; a background line enters; a change from unison to harmony; a
change in the rhythm section, etc.
• soloing section required – soloist(s) can be horn(s), guitar or piano
• background lines, voicings, and/or rhythmic figures are required behind soloists
• at least one modulation is required
• use of one or more “doubling” instruments is required, for at least 8 bars.
Doubling instrument(s) can be used for lead or background lines. Remember to
give the player sufficient time to change from one instrument to another.
• rhythm section parts should begin with one or two measures of specific notation,
after which slashes and “simile” may be used. At any point where the rhythm
section feel changes, write a measure or two of the new pattern, after which
“simile” may again be used.
• include rhythm section “kicks” (accents, syncopations, etc.) including the drums, as
appropriate. Do not write any rhythm section part consisting of nothing but
slashes.
• indicate all phrase markings clearly; use a double-bar line every 8 or 16 measures
or as needed

Arrange a song of your own choosing. Song selection and stylistic treatment must be
approved by instructor. Choose the optimum key(s) for your arrangement based on the
instrumentation available.

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Considerations: textures to be used at different points in the arrangement; rhythmic

ideas, bass line, etc.

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