Conservatory Graduate Admission

A master's in music education student playing the violin

Graduate Admission Process

  1. Click here if you are pursuing a Master of Arts in music therapy
  2. Click here if you are pursuing a Master of Music in music education
  3. Scroll down if you are pursuing a Master of Music in performance, jazz studies, conducting or voice pedagogy 

Conservatory Application Process

  1. Submit a graduate application to University of the Pacific.
  2. Complete the conservatory questionnaire (received by email after application submission):
    1. Provide audition date preference (if applicable);
    2. Respond to writing prompt;
    3. Indicate additional degrees/tracks of interest.
  3. If applicable, schedule your interview/audition (schedule opens in December). In-person interview/audition is strongly encouraged. 

All conservatory master's degrees require an audition. Once you have submitted your application to Pacific, you will receive an email with instructions on how to schedule your audition. Applicants are strongly encouraged to audition in person, however, in some cases, we also accept video-recordings.

Conservatory graduate application deadlines

December 1 - performance (percussion and voice), conducting, voice pedagogy

  • MM Performance (voice) application and pre-screening deadline
  • MM Performance (percussion) application and pre-screening deadline
  • MM Voice Pedagogy application and pre-screening deadline
  • MM Conducting application and pre-screening deadline 

January 15 - Application deadline for all other graduate programs 

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Graduate Admission and Audition Requirements

Submit a graduate application to University of the Pacific no later than December 1. Your application should include:

  • Two letters of recommendation.
  • Official transcripts from all collegiate institutions where you have studied.
  • Resume or Curriculum Vitae outlining your musical and academic accomplishments.
  • Repertoire list including works you have studied and/or conducted, along with previously studied solo, chamber, etude, operatic/oratorio and large ensemble works. 
  • Biographical statement (personal statement) describing your musical background, artistic interests, professional goals and reasons for pursuing graduate study at University of the Pacific (500-word max.).

NOTE: A completed bachelor’s degree is required for consideration to this master’s degree program.

Pre-Screening Requirement 

A video demonstrating a minimum of 10 minutes of rehearsal and a minimum of five minutes of performance. The camera must face the conductor, so your face and gestures are easily visible (videos from behind the conductor are not acceptable). The repertoire in the rehearsal does not need to be the same as the performance.

Submit your pre-screening recordings through a link to video files stored on a cloud-based platform (e.g., Google Drive, OneDrive, Drop Box, Apple iCloud, pCloud, etc.) or through unlisted public YouTube links.

Your submission link will be sent following the application submission due date of December 1. Pre-screening recordings are due by December 6.

Live Audition

Invitations for live auditions will be distributed in late December and early January. Live auditions will take place during a weekday in February. You will have a few date options.

Submit a graduate application to University of the Pacific no later than January 15. Your application should include:

  • Official transcripts from all collegiate institutions where you have studied.
  • Resume or Curriculum Vitae outlining your musical and academic accomplishments.
  • Repertoire list including standards and jazz tunes you have studied and those you know from memory, as well as compositions/arrangements composed.  
  • Biographical statement (personal statement) describing your musical background, artistic interests, professional goals, and reasons for pursuing graduate study at University of the Pacific (500-word max.). 

NOTE: A completed bachelor’s degree is required for consideration to the master’s degree program.

Live Auditions

Live auditions are strongly encouraged for MM Jazz Studies applicants and required for full scholarship consideration. Auditions will take place on the Stockton campus on: 

  • Sunday, January 24, 2027 
  • Sunday, February 28, 2027

Alternative audition dates can be made available by request. 

Auditions Repertoire Requirements

1. One medium swing standard selected from the following:

  • All the Things You Are
  • Stablemates
  • Have You Met Miss Jones

2. One ballad selected from the following:

  • Body and Soul
  • Misty
  • Naima

3. One blues selected from the following:

  • Blues for Alice
  • Straight No Chaser
  • Birdlike

4. One Latin composition selected from the following:

  • Recorda Me
  • Song for My Father
  • Pensativa

5. One selection of your choice demonstrating your artistic identity (original encouraged).

6. Additional audition items include:

  • Sight-reading excerpt
  • Faculty interview covering artistic goals, teaching interests and career aspirations.

NOTE FOR BASSISTS: for each audition selection, you are required to:

  • Play the melody.
  • Walk or play another appropriate accompaniment for a minimum of one chorus.
  • Solo for a minimum of one chorus.

NOTE FOR DRUMMERS: you should solo on most selections and demonstrate trading with soloists.

Submit a graduate application to University of the Pacific no later than December 1. Your application should include:

  • Two letters of recommendation.
  • Official transcripts from all collegiate institutions where you have studied.
  • Resume or Curriculum Vitae outlining your musical and academic accomplishments.
  • Repertoire list including previously studied solo, chamber, operatic/oratorio, and large ensemble works and any composition composed in any genre. We welcome applicants who explore a variety of vocal styles, including pop, rock, R&B, jazz, country, hip-hop, musical theatre and classical singing.
  • Biographical statement (personal statement) describing your musical background, artistic interests, professional goals and reasons for pursuing graduate study at University of the Pacific (500-word max.).

Pre-Screening Requirement 

Submit two selections of contrasting styles with live or recorded accompaniment.

Provide a pedagogy-focused response (written or video) addressing prompts about your interest in teaching, questions they want to explore, and their understanding of vocal learning

Optional: Teaching video (15-minute length max.).

Submit your pre-screening recordings through a link to video files stored on a cloud-based platform (e.g., Google Drive, OneDrive, Drop Box, Apple iCloud, pCloud, etc.) or through unlisted public YouTube links.

Your submission link will be sent following the application submission due date of December 1. Pre-screening recordings are due by December 6.

Live Audition

Invitations for live auditions will be distributed in late December and early January. Live auditions are scheduled for the same dates as undergraduate Conservatory auditions/interviews. Please do not make your travel plans to Pacific until you have received confirmation of your audition appointment.

Live Audition Requirement

  • Two selections of contrasting styles with live or recorded accompaniment
  • A pedagogy interview
  • A short teaching demonstration or applied problem-solving component
MASTER OF MUSIC IN PERFORMANCE

Submit a graduate application to University of the Pacific and include:

  • Two letters of recommendation
  • Official transcripts from all collegiate institutions where you have studied.
  • Resume or Curriculum Vitae outlining musical and academic accomplishments.
  • Repertoire list including previously studied solo, chamber, etude, operatic/oratorio, and large ensemble works. 
  • Biographical statement (personal statement) describing your musical background, artistic interests, professional goals and reasons for pursuing graduate study at University of the Pacific (500-word max.).

NOTE: A completed bachelor’s degree in music or the equivalent is required for consideration to this master’s degree program.


Application Deadlines: 

  • December 1 - Percussion and voice
  • January 15 - All other instruments


Pre-Screening Requirement for Voice and Percussion Applicants

Only voice and percussion performance applicants need to fulfill pre-screening requirements. 

  • Submit your pre-screening recordings through a link to video files stored on a cloud-based platform (e.g., Google Drive, OneDrive, Drop Box, Apple iCloud, pCloud, etc.) or through unlisted public YouTube links.
  • Your submission link will be sent following the application submission due date of December 1. Pre-screening recordings are due by December 6.
  • You will be notified of prescreening results and live audition details via email from Pacific’s Conservatory of Music. Please do not make travel plans until you have received confirmation of your audition appointment.
  • Music selection requirements:


VOICE

Submit four or more selections of contrasting styles. One of the selections must be an aria or an art song in English, others must represent at least two foreign languages. Selections may consist of a combination of art songs, operatic and/or oratorio arias. All selections must be performed from memory with live accompaniment in real time with a pianist (or orchestra).


PERCUSSION  

Two contrasting works from two different percussion areas (choose from: snare drum, keyboard, timpani or multiple percussion). Submissions of performance(s) from a recent recital are accepted, if within one year of submission.


Live Auditions for ALL Master's in Performance Applicants

Live auditions are strongly encouraged for MM Performance applicants and required for full scholarship consideration. Video-recorded audition submissions are permitted in certain cases.

Auditions will take place on the Stockton campus on: 

  • Sunday, January 24, 2027 
  • Sunday, February 28, 2027. 

Alternative audition dates can be made available by request.

MM Performance Audition Requirements

HORN

Applicants should prepare approximately 20–30 minutes of music consisting of 2–4 contrasting selections that demonstrate their technical command, musical expression, versatility and artistic individuality.

Repertoire should represent contrasting styles and may include:

  • Solo or unaccompanied works
  • Concertos and sonatas
  • Chamber music
  • Orchestral excerpts
  • Works by historically underrepresented composers
  • Original compositions or arrangements
  • Improvisation
  • Jazz, commercial, contemporary, or cross-genre repertoire
  • Historically informed performance repertoire
  • Applicants should include three standard orchestral excerpts representative of those commonly encountered in professional auditions.

Applicants are encouraged to design an audition program that both demonstrates a strong foundation in traditional horn performance and represents their individual artistic interests.

Auxiliary Instruments — Optional

Applicants with previous experience are warmly encouraged, but not required, to perform on an auxiliary or historical instrument. This may include natural horn, baroque horn, alphorn, Wagner tuba or another related instrument.

Prior experience on these instruments is not expected for admission. Rather, applicants should know that exploration of these performance traditions is available within graduate horn study at Pacific, and those who already have experience are welcome to showcase it as part of their audition.

Additional Audition Components

Applicants may also be asked to:

  • Sight-read
  • Discuss their musical and professional experiences
  • Describe their artistic interests and professional goals
  • Discuss their reasons for pursuing graduate study at Pacific
  • Applicants are also welcome to share additional creative or scholarly work that more broadly represents them as an artist, educator, and musician. Examples may include compositions, arrangements, research, historical performance projects, recordings, improvisations, interdisciplinary work, or teaching projects.

TRUMPET

  • One movement of a standard solo work (concerto or sonata) or five to eight minutes from
  • a single-movement work.
  • Two contrasting etudes of the applicant's choice
  • Three standard orchestral excerpts

LOW BRASS

Applicants should prepare approximately 20–30 minutes of music consisting of 2–4 contrasting selections that demonstrate technical command, musical expression, versatility and artistic individuality.

Repertoire should represent contrasting styles and may include:

  • Solo or unaccompanied works
  • Concertos and sonatas
  • Chamber music
  • Orchestral excerpts
  • Works by historically underrepresented composers
  • Original compositions or arrangements
  • Improvisation
  • Jazz, commercial, contemporary, or cross-genre repertoire

Applicants should also prepare three standard orchestral excerpts representative of those commonly encountered in professional auditions.

Applicants are encouraged to design an audition program that demonstrates both a strong foundation in brass performance and their individual artistic interests.

Additional Audition Components

Applicants may also be asked to:

  • Sight-read
  • Discuss their musical and professional experiences
  • Describe their artistic interests and professional goals
  • Discuss their reasons for pursuing graduate study at Pacific

Applicants are welcome to share additional creative or scholarly work that more broadly represents them as an artist, educator, and musician. Examples may include compositions, arrangements, research, recordings, improvisations, interdisciplinary work, or teaching projects.

SNARE DRUM

  • A contemporary snare drum solo of your choice or a selection from “Douze Etudes” by Jacques Delecluse

TIMPANI

  • A solo work (e.g., “Eight Pieces for Four Timpani” by Elliot Carter, “Declaration, Song and Dance for Solo Timpani” by Kristen Shiner McGuire) or 3 contrasting orchestral timpani excerpts (ex. Symphony No. 5 or 9 by Beethoven, Symphony No. 1 by Brahms, Symphony No. 4 by Tchaikovsky)

MALLET KEYBOARD

  • A 4-mallet marimba solo or your choice
  • Optional: vibraphone solo, drumset demonstration, multiple percussion work (confirm with Dr. Jonathan Latta prior if instruments are requested)

Minimum 40 minutes to be performed from memory, including:

  • One virtuoso concert etude by Chopin, Liszt, Rachmaninoff, Scriabin, Debussy, Prokofiev, Stravinsky, Bartok, or Ligeti (etudes in slow tempos such as Chopin Op 10 #3, Op 10 #6, Op 25 #7 or Rachmaninoff Op 39 #2 are not acceptable). 
  • At least three complete works representing different styles

We encourage you to explore the works of underrepresented composers

Applicants should prepare repertoire demonstrating contrasting styles and periods. Repertoire must include a minimum of one work by a composer from an historically underrepresented racial/ethnic group, gender and/or culture. 

Prepare three standard orchestral excerpts commonly requested in professional orchestra auditions, plus choose three selections/movements that represent the following categories:

  • Concerto
  • Solo or unaccompanied work
  • Sonata/additional repertoire 

Prepare five or more selections of contrasting styles:

  • One of the selections must be an aria or art song in English
  • One of the selections must by a composition by a living composer.
  • Others must represent at least two foreign languages
  • Selections may consist of a combination of art songs, operatic and/or oratorio arias.

The same selections may be used for both the prescreening recording and the live audition.

For all live in-person or video recorded auditions, all selections must be memorized and performed with live accompaniment in real time with a pianist.

Applicants should prepare repertoire demonstrating contrasting styles and periods. Repertoire must include a minimum of one work by a composer from an historically underrepresented racial/ethnic group, gender, and/or culture. 

Select three selections/movements that represent the following categories:

  • Concerto
  • Solo or unaccompanied work
  • Sonata/additional repertoire 

and:

  • Orchestral excerpts* - prepare three standard orchestral excerpts commonly requested in professional orchestra auditions.

FLUTE

*Some examples of work/s by composer/s from an historically underrepresented racial/ethnic group, gender, and/or culture: Valerie Coleman, Danza de la Mariposa; Chen Yi, Three Bagatelles from China West; Adolphus Hailstork, Flight; Shawn Okpebholo, On a Poem by Miho Nonaka: On Harvard Square; Toru Takemitsu, Itinerant; Zhou Long, Confluence; Alvin Singleton, Argoru III; Yuko Uebayashi, Deuxième Sonata; Joaquin Rodrigo, Concierto Pastoral; Allison Loggins-Hull, Homeland

OBOE

*Some examples of work/s by composer/s from an historically underrepresented racial/ethnic group, gender, and/or culture: Jean Ahn, Blush, Short Hair; Grażyna Bacewicz, Sonata, Sonatina; Jenni Brandon, In the City at Night (English horn); Dorothy Chang, Still; Chen Yi, Elegy; Daniel Cueto, La peña y la luna; Viet Cuong, Six Canadian Scenes; Miguel del Aguila, Summer Song; Marina Dranishnikova, Poeme; Reena Esmail, Jhula Jhule; Ruth Gipps, Concerto, Helen Grime, Arachne; Adolphus Hailstork, Siciliana (English horn); Jennifer Higdon, Concerto; Ulysses Kay, Pieta (English horn); Alyssa Morris, Four Personalities, Collision Etudes; Thea Musgrave, Dawn, Night Windows; Brian Nabors, Sonata; Fred Onovswerosuoke, 6 Sketches

CLARINET

*Some examples of composer/s from an historically underrepresented racial/ethnic group, gender, and/or culture: Jean Ahn, Violet Archer, Jenni Brandon, Valerie Coleman, Paquito D’Rivera, Adolphus Hailstork, Amanda Harberg, Libby Larsen, Dorothy Rudd Moore, Theresa Martin, Shulamit Ran, Kaija Saariaho, Clara Schumann, Roberto Sierra, Jerod Impichchaachaaha' Tate, Germaine Tailleferre, Chen Yi

BASSOON

Additional Requirement: An etude of choice from 25 Studies in Scales and Chords Op. 24 by Ludwig Milde

*Some examples of work/s by composer/s from an historically underrepresented racial/ethnic group, gender, and/or culture: Jenni Brandon, Colored Stones; Nanci Carol, Prelude and Reflections on Regina Caeli; Nubia Jaime Don Juan, Son De Cuidado; Noelia Escalzo, Argenta; Nancy Galbraith, Sonata; Margie Giebling-Haigh, Sortilège; Adolphus Hailstork, Bassoon Set; Ulysses Kay, Sonata; Libby Larsen, Concert Piece; Mark Lomax, Trouble Don't Last; Francisco Mignone, Waltzes; Natalie Moller, Translations; Jeff Scott, Elegy for Innocence; Jose Siqueira, Three Etudes; William Grant Still, Three Songs; Villa-Lobos, Cirandas das sete notas, Jacqueline Wilson, Dance Suite

SAXOPHONE

*Some examples of composer/s from an historically underrepresented racial/ethnic group, gender, and/or culture: Jean Ahn, Valerie Coleman, Paquito D’Rivera, Adolphus Hailstork, Amanda Harberg, Libby Larsen, Dorothy Rudd Moore, Shulamit Ran, Kaija Saariaho, Clara Schumann, Roberto Sierra, Jerod Impichchaachaaha' Tate, Germaine Tailleferre, Chen Yi, William Grant Still, Florence Price