- Pre-Screening Procedures
- Notes on Repertoire
- Practice Rooms During Auditions
- Criteria for Acceptance
Applicants to the following majors are required to submit pre-screening materials with their application by the appropriate application deadline:
- Cello (audio recordings);
- Collaborative Piano (audio-visual recordings);
- Composition (scores and recordings);
- Double Bass (audio-visual recordings);
- Flute (audio-visual recordings);
- Horn (audio-visual OR audio recordings);
- Percussion (audio-visual recordings);
- Piano (audio-visual recordings);
- Tenor Trombone (audio-visual recordings);
- Viola (audio recordings);
- Violin (audio recordings);
- Voice (audio recordings).
Applicants who fail to provide required pre-screening materials by the appropriate deadlines will not be considered for an invitation to a live audition.
To submit pre-screening materials:
- You should submit your online application for admission BEFORE you submit pre-screening materials.
- You must upload all required pre-screening materials via Acceptd. (Links to the Acceptd portal are also available with each department's pre-screening repertoire requirements.) Acceptd charges $15 for this service, payable by credit card.
- Do not mail CDs, DVDs, or any other pre-screening materials to Juilliard, as they are no longer accepted in these formats.
- If technical problems arise when uploading pre-screening materials, be sure to first seek help through the links provided on Acceptd.
- Pre-screening components (and any individual movements or excerpts within each component) must be in separate digital files. Do not upload all pre-screening requirements in the same file. Do not upload files containing more than one movement, excerpt, etc.
- Juilliard strongly encourages applicants to complete their uploads well in advance of application deadlines!
- In many cases, is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials (check your department's specific requirements). However, both the pre-screening and the live audition repertoire must meet the departmental requirements.
- Pre-screening recordings need not be presented in the order listed in the repertoire requirements section, unless a particular order is specified (check your department's specific requirements). Instead, applicants should put the pre-screening requirement which represents their best work first, and then present the other required pre-screening works after.
- All works with accompaniment must be performed with piano accompaniment on the pre-screening recordings, unless otherwise specified in the pre-screening repertoire section.
- Recordings must be genuinely performed by applicants and may not be edited, nor should any effects such as “reverb” be added.
- To ensure that poor recording quality does not interfere with faculty’s ability to review the material, avoid distortion, excessive “buzz,” and ensure that accompaniment is not louder than the applicant (where applicable).
- Applicants should review their pre-screening recordings before uploading to ensure that they are of good quality and represent their best work to date.
- Pre-screening materials become the property of The Juilliard School and will not be returned. We encourage you to keep a copy for your records.
- Current Juilliard College Students are not required to submit pre-screening materials, unless they are applying to different majors.
- Formerly enrolled Juilliard College Students are required to submit pre-screening materials to the majors listed above.
Applicants to the majors listed above whose materials pass pre-screening will be invited to the required live audition in New York, at The Juilliard School. Notification of pre-screening status will be provided to all applicants approximately one month prior to auditions. Applicants for majors that do not require pre-screening materials will automatically be scheduled for an audition.
Please note: The online portal for pre-screening materials will close immediately after the application deadline. It will not be possible to submit late pre-screening materials without permission of the Associate Dean for Admissions. Approval of late submissions does not guarantee that materials will be reviewed for an invitation to a live audition! Applicants who receive permission to submit late materials will be considered only after all on time materials have been reviewed and it is determined that audition slots are still available. Applicants will be notified whether the late materials were reviewed by the end of January. If late materials were considered, pre-screening results will be sent by the end of January as well.
- Many departments require recordings of the required repertoire for pre-screening purposes.
- All applicants must prepare the complete required repertoire and follow all instructions indicated.
- Insufficient or incomplete audition repertoire may affect consideration for admission.
- Where specific works are required, substitutions are not allowed.
- Please note that audition requirements which state a complete piece or work are indicating all movements must be prepared.
- Applicants should first consult with their private teachers to determine the suitability of their proposed pre-screening/live audition repertoire. If there is any concern regarding the appropriateness of a particular piece, send an e-mail with the following information:
- Your instrument
- The degree level to which you are applying
- The number of the specific requirement which concerns you
- Your question regarding the requirement
- (PIANISTS should list their complete proposed audition repertoire, as program length is a crucial factor in determining whether a work or works will satisfy the requirements.)
- The correct e-mail address for repertoire concerns is [email protected]. Due to the volume of e-mails, it may take seven to ten business days to respond to your e-mail; therefore, applicants should consider their department's repertoire requirements and submit any questions well in advance of application deadlines/live audition dates. Admissions cannot assist applicants regarding repertoire matters over the phone.
- Applicants may update their proposed live audition repertoire in advance of auditions, so long as the new works meet departmental requirements. Instructions on how to submit updated repertoire will be provided to auditioning applicants about a month before the live auditions. Do not mail/e-mail/fax updated repertoire to Admissions unless asked to do so.
- See here for required repertoire.
- For classical music applicants, all works with piano accompaniment must be accompanied for pre-screening recordings (if applicable) and the live audition.
- We encourage you to use a Juilliard accompanist for your audition.
- Accompanists will be provided free of charge for the audition; please note that accompanists charge fees for rehearsals.
- A list of accompanists will be provided approximately two weeks before auditions. You must contact an accompanist from the list two weeks prior to your audition and provide him/her with a piano score of the repertoire for the audition.
- Applicants who wish to bring their own accompanists may do so. Please note, however, that they will not be paid by Juilliard, nor can your Juilliard audition be rescheduled around your accompanist's availability.
- If you plan to play with a Juilliard-provided accompanist, please carefully consider general familiarity of your repertoire. Juilliard cannot guarantee accompanists will know unusual or non-standard repertoire. Please be particularly mindful to select contemporary works that have become standard repertoire or have piano parts which are easily sight read. If the Juilliard accompanists hired for your audition day are unable to learn or sight read a non-standard work, you may need to play that work unaccompanied.
- Collaborative Piano applicants: please refer to the Collaborative Piano audition requirements regarding the audition partner guidelines.
The Juilliard School does not have practice space for applicants except on the assigned audition date. Practice space is available on the day of your audition on a first-come, first-served basis, with a brief designated warm-up time immediately preceding your audition.
- The DMA audition process will take at least two days (up to four for composers). In general, applicants should plan to be available for the entire day following the scheduled audition date. Applicants must be available for all portions of the audition process in order to be considered for admission.
- All musicians will play for the faculty once. Only Flute, Harp, Historical Performance, and Voice have a performance callback. Flute, Harp, Historical Performance, and Voice applicants must be available on the scheduled audition date until 10 p.m. for callbacks. Please refer to the live audition requirements for callback procedures. If an applicant is not invited to do a performance callback, he/she may reasonably conclude that he/she is no longer under serious consideration for admission.
- Upon the strong recommendation of the audition panel, applicants will be invited to a required interview with members of the Doctoral Governance Committee, usually on the day following the audition. Interviews are scheduled daily by the Admissions Office as audition results become available. This interview is, in effect, a callback for D.M.A. applicants. Applicants not invited to the interview may reasonably conclude that they are no longer under consideration for admission.
- D.M.A. applicants must also take a written exam in music theory and music history. Exams are given Monday through Thursday during the audition week and include exercises in harmonization and counterpoint, as well as a music history component. In general, only applicants invited to interview need write the exam; however, it may be written on any date that it is offered.
- A serious commitment to music training and a career in music performance.
- A potential for meeting the technical standards of Juilliard’s professional training program in the major field.
- Exceptional talent and potential as a performer.
- Broad and thoughtful interest in the world of music, including its historical traditions and contemporary trends.
- A clear dedication to artistic excellence and a desire to exercise artistic leadership.
- A high level and quality of previous training and musicianship.
- A capacity for sustained, disciplined practice.
- Ability to sight-read music.
- Personal maturity and a generosity of spirit essential to ensemble work.