Master of Music

Master of Music combining study of performance, pedagogy, theory, history and research, with specialisations by area.

Department

Henry and Leigh Bienen School of Music

Awarding body

Not stated on the pages we checked

Official award

Master of MusicMM

Award family

MM / MMusA Master of Music or MMus, exactly as titled by the awarding institution.

Qualification level

Master’s degree

Qualification standing

Academic qualificationA degree, or a certificate or diploma awarded by a degree-awarding institution within a national qualifications framework.

Orientation

Orientation not published

Previous degree required

Not published

No program-level accreditation or validation record has been verified yet. That does not mean none exists; check the national authority and the institution.

Delivery

On campusTaught at the listed campus.

Study mode

Not published

Duration

One-year (music education with certification) or two-year programs

Intakes

Fall 2027

Campus

Northwestern University70 Arts Circle Drive, Evanston, IL 60208-2405

Taught in

English

English

English teaching not verifiedAn English-language website does not mean a program is taught in English.

Audition

Audition depends on route or instrument

Audition details

• Format: Recorded prescreening and live audition
• Prescreening: Prescreening video required for the instrument pages that state it; see each Program Requirements page.
• Prescreening deadline: Graduate Application and prescreening materials (if applicable) due December 1, 2026 (Fall 2027 timeline)
• Audition application deadline: On-campus auditions February 5-14 (Fall 2027 timeline)

Required repertoire, as published

• Bassoon: Audition dates: | February 6 & 13 | For Final Audition: | Solo Selections: | Choose exposition sections from two works or movements that are contrasting in style or time period. | NOTE: Listed repertoire is not required; any pieces of commensurate difficulty will be accepted. Two contrasting movements from the following compositions are also acceptable. | Suggested solos: | Milde, étude from Concert Studies Book 2 | Mozart, Concerto K.191, first and second movements | Saint-Saëns, Sonata, first and second movements | Vivaldi, any concerto, first and third movements | Orchestral Excerpts: | Three contrasting orchestral excerpts of the applicant's choice | NOTE: Listed repertoire is not required; any pieces of commensurate difficulty will be accepted. | Suggested orchestral excerpts: | Ravel, Boléro (solo) | Stravinsky, Le sacre du printemps , opening and recapitulation on C-flat | Mozart, Overture to Le Nozze di Figaro, opening and recapitulation (eighth-note passages) | Beethoven, Symphony No. 4, fourth movement (sixteenth-note passages) | Tchaikovsky, Symphony No. 4, end of second movement | In addition: please be prepared to play a selection of major and harmonic-minor scales and major and minor arpeggios.
• Cello: Audition dates: | February 5 & 12 | For Prescreening: | One étude by Popper or one caprice by Piatti | One movement from a Bach Suite | The exposition from a standard cello concerto | For Final Audition: | One étude by Popper and one caprice by Piatti OR two by either | Two contrasting movements from a Bach Suite | One complete cello concerto by a composer such as Dvořák, Haydn, Schumann, Tchaikovsky, Elgar, Shostakovich, or Prokofiev | One piece composed after 1940
• Clarinet: Audition dates: | February 7-8 | For Prescreening: | NOTE: The Debussy and Mozart requirements must be submitted with piano accompaniment. | #21 from Rose 40 Studies for Clarinet | #35 from Rose 40 Studies for Clarinet | Mozart, Clarinet Concerto KV 622, first movement exposition: bars 57-154 (with piano accompaniment) | Mozart, Clarinet Concerto KV 622, third movement: beginning to bar 72 (with piano accompaniment) | Debussy, Rhapsodie (with piano accompaniment) | Required Orchestral Excerpts: Respighi, Pines of Rome, third movement: beginning to rehearsal number 15 | Stravinsky, "Firebird Variation" from The Firebird Suite (1919): rehearsal 9 to end of variation | Beethoven, Symphony No. 6, first movement: 2 before K to bar 492 | Beethoven, Symphony No. 6, second movement: bars 68-77 | Mendelssohn, A Midsummer's Night Dream , scherzo: beginning to letter B, 7th bar of D until 2 bars before G (please record both Mendelssohn excerpts in one video) | For Final Audition: | Mozart, Clarinet Concerto KV 622, first movement exposition: bars 57-154 | Mozart, Clarinet Concerto KV 622, third movement: beginning to bar 72 | Debussy, Rhapsodie | Required Orchestral Excerpts: Beethoven, Symphony No. 6, first movement: 2 before K to bar 492 | Beethoven, Symphony No. 6, second movement: bars 68-77 |
• Classical Guitar: Audition dates: | February 5, 8, & 12 | For Final Audition: | Contrasting movements from a Bach lute suite or another equivalent work from the 16th- through 18th-century repertoire | Sonata, fantasy, or theme and variations by 19th-century composers such as Sor, Giuliani, Mertz, Regondi, or an equivalent work from early 20th-century repertoire by Ponce, Turina, Castelnuovo-Tedesco, or Torroba | Major 20th- or 21st-century work by Britten, Brouwer, Ginastera, Henze, Walton, or equivalent.
• Double Bass: Audition dates: | February 6 & 13 | For Prescreening: | Two contrasting solo pieces | Three orchestral excerpts of the applicant's choice from any works by Bach, Beethoven, Brahms, Mozart, and/or Strauss (any combination is acceptable). | For Final Audition: | Two contrasting solo pieces | One movement from J.S. Bach, Suites for Violoncello | Five orchestral excerpts of the applicant's choice from any works by Bach, Beethoven, Brahms, Mozart, and/or Strauss (any combination is acceptable).
• Euphonium: Audition dates: | February 5, 7, 10 | For Prescreening and Final Audition: | ​​​​​​​Please choose 6 excerpts from standard solo literature that display the following aspects of your playing. Selections can include orchestral, band, or chamber music repertoire or études. | 1. Lyrical playing | 2. Technical playing | 3. Loud dynamic | 4. Soft dynamic | 5. High register | 6. Low register
• Flute: Audition dates: | Regular Decision: February 6 & 13 | For Prescreening: | Two contrasting works, one from the Baroque, Classical, or Romantic style and one from the 20th or 21st century. If including a multi-movement work, only two contrasting movements from the work are required. | Two contrasting orchestral excerpts | For Final Audition: | Four works representing different styles from the standard repertoire. If including a multi-movement work, only two contrasting movements from the work are required. | Four contrasting orchestral excerpts demonstrating both lyrical and technical skills.
• Harp: Audition dates: | February 11 | For Final Audition: | One movement of a concerto, such as Debussy, Ginastera, Mozart, Ravel, Reinecke, etc. | One large solo work for harp. Note: memorization of one solo work is required. Solo examples include: Britten, Suite for Harp | Fauré, Impromptu | Grandjany, Rhapsodie | Salzedo, Variations on a Theme in Ancient Style | Two orchestral excerpts from Principal Harp Volume 1 or 2 by Sarah Bullen
• French Horn: Audition dates: | February 5-6, 12-13 | For Prescreening: | Solo Repertoire: | One solo movement of a sonata demonstrating style, tone, range, rhythm, and technique | Exposition section from any Mozart concerto | Exposition section from any Strauss concerto | One étude from Maxime Alphonse Book No. 5 | Required Orchestral Excerpts: | Beethoven, Symphony No. 9, Horn 4 (3rd movement, mm 82-99) | Brahms, Symphony No. 2, Horn 1 (1st and 2nd movement solos) OR Symphony No. 3, Horn 1 (3rd movement solo) | Strauss, Ein Heldenleben , Horn 1 (opening call) | For Final Audition: | Schumann Adagio and Allegro, Op.70 (first page) | Erika Raum, Confessions of St. Augustine (movement 1 only) OR Persichetti, Parable VIII for solo horn (complete) | First-movement exposition section from any Mozart concerto | Required Orchestral Excerpts: | Beethoven, Symphony No. 9, Horn 4 (3rd movement, mm 82-99) | Brahms, Symphony No. 2, Horn 1 (1st and 2nd movement solos) OR Symphony No. 3, Horn 1 (3rd movement solo) | Shostakovich, Symphony No. 5, Horn 1 (low tutti section, 1st movement) | Wagner, Götterdämmerung , "Short Call" | Strauss, Ein Heldenleben , Horn 1 (opening call)
• Oboe: Audition dates: | February 6 & 13 | For Final Audition: | Suggested Solo Selections: | Concerto by Cimarosa, Marcello, Handel, Mozart, or Strauss | Sonata by Telemann, Handel, Saint-Saëns, or Hindemith | Schumann, Three Romances | Britten, Six Metamorphoses after Ovid | In addition: Two contrasting études by Barret or Ferling and standard orchestral excerpts of the applicant’s choice
• Percussion: Audition dates: | February 7-8, 14-15 | For Final Audition: | The final audition should include selections for: snare drum, timpani, keyboard percussion, and tambourine, and MUST include both solo repertoire AND orchestral excerpts. Sight-reading is required at the final audition. | Snare Drum | • Two contrasting orchestral excerpts from the standard repertoire | • One orchestral snare drum étude | • One rudimental snare drum étude by Pratt or Wilcoxin | Xylophone | • Two orchestral excerpts from the standard repertoire | Timpani | • Three orchestral excerpts from the standard repertoire | Marimba | NOTE: Listed repertoire is not required; pieces of similar difficulty will be accepted. | One 4-mallet piece in contemporary style | Suggested 4-mallet pieces: | Sueyoshi, Mirage | Schwantner, Velocities | Stout, Sedimental Structures | Thomas, Merlin (2nd movement) | Lansky, Three Moves (3rd movement: Slide ) | Miyoshi, Ripple | Tambourine | • One orchestral excerpt from the standard repertoire
• Piano: Audition dates: | February 8-10, 12-13 | For Prescreening: | Repertoire is required and must be memorized. Prescreening should total a minimum of 30 minutes. Include a list of significant repertoire studied with prescreening submission. | Sonata-allegro movement from a classical sonata, preferably by Haydn, Mozart, Beethoven, or Schubert | Romantic work | Optional: additional pieces of applicant’s choice | For Final Audition: | Repertoire is required and must be memorized. Selections do not have to be the same as the prescreening repertoire. | A work by J.S. Bach | A full classical sonata, preferably by Haydn, Mozart, Beethoven, or Schubert | Romantic work | Impressionist or contemporary work | Étude of virtuosity | A list of significant repertoire studied should be brought to your audition.
• Saxophone: Audition dates: | February 5-6 & 12 | For Prescreening: | Spoken introduction which includes your name, current institution, teachers, and brief information about your background on the saxophone. | Two contrasting études by Bozza, Lacour, Koechlin, Karg-Elert, Ferling, or other études of similar difficulty | Two complete solo works of contrasting styles, including at least one work from the standard repertoire. | For Final Audition: | All major and harmonic minor scales, full range; major scales in 3rds; chromatic scale. | Approximately 30 minutes of music that represents both a diversity of musical styles and your interests as an artist. At least one selection should be from the standard repertoire. Selections should represent both musical and technical accomplishment. | Optional: If you have a background in jazz that you would like to demonstrate, you may present jazz selections such as a transcription, jazz étude, and/or improvisation.
• Trombone: Audition dates: | February 6 & 13 | For Prescreening and Final Audition: | All repertoire required. No substitutions. | Solo Selection: Martin, Ballade | Orchestral Excerpts: | Berlioz, The Damnation of Faust “Hungarian March” (second trombone) | Mozart, Requiem “Tuba Mirum” | Ravel, Boléro | Saint-Saëns, Symphony No. 3 | Schumann, Symphony No. 3, fourth movement | Wagner, Die Walküre “Ride of the Valkyries,” B Maj. section | Strauss, Also sprach Zarathustra | Rossini, Overture to William Tell
• Trumpet: Audition dates: | February 7-8 | For Prescreening: | 1 étude of applicant’s choice from Charlier, Bitsch, or equivalent. | 1 short standard solo (Honegger Intrada or equivalent) or first movement from a standard concerto or sonata of applicant’s choice (Haydn, Hummel, Tomasi, Jolivet, or equivalent). | 2 contrasting standard orchestral excerpts: Choose contrasting works that will display your highest level of achievement musically and technically. | For Final Audition: | All repertoire required. No substitutions. | 2 études of applicant’s choice from Charlier, Bitsch, or equivalent. | 1 movement from a standard concerto or sonata of applicant’s choice. | Honneger, Intrada | 4 contrasting standard orchestral excerpts | 1 piccolo trumpet orchestral excerpt of J. S. Bach (Magnificat, Christmas Oratorio or B Minor Mass) | Adolphus Hailstork Variations for Trumpet
• Tuba: Audition dates: | February 5, 7, 10 | For Prescreening and Final Audition: | Please choose 6 excerpts from standard solo literature that display the following aspects of your playing. Selections can include orchestral, band, or chamber music repertoire or études. | 1. Lyrical playing | 2. Technical playing | 3. Loud dynamic | 4. Soft dynamic | 5. High register | 6. Low register
• Viola: Audition dates: | February 11 & 13 | For Prescreening: | Two contrasting movements from any solo suite, sonata, or partita by Bach | One complete movement of a standard concerto, such as Bartók, Walton or Hindemith (or other) | For Final Audition: | One complete movement of a standard concerto | The first movement of any major sonata | Two contrasting movements from any suite, sonata, or partita by Bach
• Violin: Audition dates: | February 5-6, 12 | For Prescreening: | Memorization is required. | One movement from a Bach sonata or partita | First movement of a standard concerto | For Final Audition: | Memorization is required. | Two contrasting movements from a Bach sonata or partita | A full standard concerto | A Paganini caprice
• Classical Voice: Audition dates: | February 5-6, 8, 12-13 | For Prescreening and Final Audition: | Applicants needn’t perform the same repertoire for both rounds of auditions provided all repertoire meets the requirements below. | Memorization is required. | Four selections, one in each: | Italian | French or German | English | Language of your choice | Songs may be from the art song repertoire or a combination of art songs and arias from opera/oratorio. No more than two selections may be arias. Arias must be performed in the original keys and languages. Music selected should represent a variety of styles. Musical theater repertoire is not acceptable for the prescreening or live audition rounds.

SourceSpecific to this program and intake. Check the current admissions cycle; nothing here guarantees admission, and you cannot assume you may audition for a particular teacher.

Portfolio

Portfolio requirement not published

Interview

Not published

Deadlines

• Fall 2027 Graduate Application and prescreening materials (if applicable) due · Fall 2027 (2026)

No total is shown: the sources do not state a whole-program figure and the published duration and fee basis do not support a calculation.

Lesson fees, accompanists, practice-room charges, instruments, software, recording, recitals, compulsory travel and residencies are not listed by the institution on the pages we checked. Do not assume an instrument, an accompanist, software or private lessons are included.

• Partial or full tuition grants Tuition remission

  Competitive · partial or full tuition grants

  Eligibility: Master of Music students

  Source

Not published on the program’s source pages: full-time or part-time options, whether a previous degree is required, accreditation or validation record.