Congrats! You’ve decided that you want to study music in college.

I’m so excited for you! Allow me to share my expertise from decades of recruiting for music departments across the country. I understand your situation and want you to do your best.

You’ve enjoyed your musical experiences prior and you’ve chosen to pursue your dreams. Those dreams may include performing, teaching, researching, discovering, inventing, creating, and interpreting music.

All you know is, you want to be immersed in music.

So now you’re searching for higher education music training that checks all of your boxes. Maybe you’re a…

Jazz soloist.
Film score composer.
Orchestral conductor.
Band director.
An opera singer performing on the premier stages across the globe.

What’s your next move?

You need to discover what each institution is prepared to do for you.

You need to know what you want, aka your goals.

Choir Director at a high school? Professional violin soloist? Theorist? Music Therapist? The greatest salsa band director/performer that ever lived? What are your goals?

Once you’ve decided on your goals, even if they’re a general outline of potential outcomes, you’ll be better prepared to choose the right music school for you.

So, the next question is: Which music schools are going to set you up for success?

Well if you ask “colleges,” they’ll all reply, “me!”

Because every college, university, institution, conservatory, and academy believes they’ve got it right – go figure. They believe they hold the keys to the kingdom of whatever music degree journey you’ve decided to take. And only they can guide you to your goals.

… Some colleges will present alumni who’ve achieved what you want to achieve.

… Some colleges will display a distinctive “loyalty” to you, and only you, if you choose their institution.

… Some colleges will thrill you with the sheer volume of degree and ensemble varieties.

… Some colleges will infer connections that only they can provide when it comes to post-graduation employment or continued schooling.

There are a few aspects that may or may not be displayed by the college website that separates an exceptional experience from a good one:

Skills
Environment
Expectations
Service vs. Service-Learning
Partnerships

Now, let’s dive into what each of these aspects means for your music career – and what to look for in a potential school.

#1 Your Skills: How good are you really?

You only know what you only know. In other words, if you’ve never been exposed to music from different eras, styles, and societies, or harmonic aural-interval training, basic music theory, or the history of the instrument, genre, or culture you wish to pursue – then how do you know you’ve not experienced it?

It’s not fair, mind you, but it’s the truth.

Not fair. Psssft. I mean, I can play the $#*! out of the trombone, according to my band director and my mama, so I’ll go to whatever school I want!

Perhaps you’re right, but here’s the thing – many students are seeking various music degrees who’ve received:

Audition Training
Academic Tutors
Mentors
Private Lessons
Quality Music Educators

Along with many other academic and musical advantages to listen, learn, and produce – then the other number of degree-seeking students – when they go to choose an institution for musical education.

These students – the ones with the advantages – will be selected by the “better” institutions because these “better” institutions can afford to be selective. Now, if you’re indeed the “best” trombonist (or whatever-ist) auditioning for a school, then good chance you’re getting accepted, depending on your academic achievements (if that institution “cares” about those statistics – that’s a fluid discussion for another day).

The “better” institutions I’m referring to typically are Conservatories, Academies, and the larger College or Schools of Music housed within a college or university.

So, before you start your hunt for the perfect school, take an honest look at your talents and advantages.

#2 Their Environment: Music Sector Identifiers

King's College, University of Cambridge, Cambridge, UK

Most institutions offering a degree in music have a Department of Music.

Typically this indicates that the music faculty and staff operate independently, but are a subset of a larger grouping. For example, it’s not uncommon for a Department of Music to be included in a School of Arts and Humanities, which contains several other related Departments. Usually, this means the Department of Music has limits on offerings and resources such as:

Full-time Faculty
Ensembles
Facilities
Budgets

It’s not a “bad” thing, but simply something to know when you examine a Department of Music – especially when it comes to larger institutions.

A College or School of Music means that the institution offers:

A broad range of undergraduate and graduate music degrees
Substantial full-time faculty with terminal degrees in their fields
Graduate teaching assistants
Various and copious ensembles
Typically averages a large number of music majors within their College or School

Conservatories or Academies of Music are equivalent to a College or School of Music, but typically are more condensed and focused in their student population.

An institution with a College of Music (COM) could have a total enrollment of 40,000 to 100,000 with 400 to 1,000+ in the COM, whereas an institution with a music conservatory could have 2,000 to 5,000 total with 200 to 800+ in the conservatory.

And although this may seem like plenty of opportunities for you, all of these institutions can and will be very selective.

#3 Their Expectations

Institutions of all sizes will have expectations of you, and you should understand this going in. There’ll be expectations that you’ll develop your skills, that you’ll be a willing participant in a minimal number of performances each term and that you’ll practice every day. In other words, there’ll be an expectation that you’ll engage in your learning.

I know that may seem “well, duh” obvious, but as a veteran college professor, I can tell you that students may choose pathways that are counterproductive to what those expectations are – from the perspective of the faculty at least.

The faculty, you should know, have expectations placed upon them by:

Administration
Donors
Board of Regents or Directors
Alumni
The community at large – especially in music

Opening a new building on campus? We need music.

Participating in a sport? We need music.

Winning something? We need music.

Celebrating a holiday or event or fundraising or…. MUSIC!

And all these “needs” for music are expressed to the faculty, who in turn expect their students to participate for any number of reasons: experience, scholarship, community engagement, donations, because we said so, etc.

Problems arise when some faculty have expectations that other faculty disagree with, but don’t offer solutions to. For example, administrators may have expectations for the athletic band director that may not sit well with the applied studio faculty. Vocal faculty may have expectations that you compete in solo competitions that instrumental faculty may not have. Piano faculty may have expectations that you use both hands independently – stop lumbering! (Sorry...flashback.)

Anyway, you should inquire about the expectations of the faculty you’re entrusting to train you.

How?

Well, ask.

If you receive a bunch of ambiguous and subjective responses, then that faculty person doesn’t know their expectations – and that can be dangerous. If you receive specific answers, and they’re confusing to you, ask to clarify. If you receive clear answers, then you can make an informed decision.

If you’re not sure WHO to ask, here’s a good list:

Applied Studio – In most cases, this person will be with you every term in a 1-on-1 weekly lesson. There’s no one you’ll be with more during your time at your chosen institution.
- Faculty or graduate student?
- Full-time or adjunct professor?
- How many are in the studio?
- Does the studio have expectations beyond the 1-to-1 weekly lessons (ensembles, masterclasses, seminars, juries, etc.)?

Ensemble Director – Depending on the institution, you’ll be with this person or persons the second most. You may have to audition to achieve access to certain ensembles, but in most cases, you’ll be with this person or persons quite a bit.
- Will this group travel?
- On average, how many performances per term?
- What kind of performances?
- Will small groups be formed out of the larger group?

Advisor – This will be different at each institution. Some have advisors assigned to you, and others have advisors available (by appointment). Some colleges match you to faculty or staff, others to graduate students, and others to peers. Some have general advisors, and others have degree-specific advisors. Regardless, the question is – who is my advisor?
- How do I register for classes?
- What does my degree path look like for 4 years?
- What requirements are needed to complete a degree outside of coursework?
- Can I double-major?
- What minor options are there?
- What if I want to create a path through music, but include business or medicine or leadership or science or…?

Talking to these folks should provide you with a good picture of the institution’s expectations. If it doesn’t, that should assist you in deciding on choosing the best institution for you.

PRO TIP: Now if you really want to find out about expectations, ask the ensemble director what the applied studio’s expectations are – and vice versa. Ask an instrumental faculty what the vocal faculty expectations are – and vice versa. Ask the music theorist what the performance expectations are for your degree, and ask the performing faculty what the music theory expectations are… In other words, see if the music faculty is in consonance or dissonance harmony in their expectations (music nerd pun alert!).

#4 Their Expectations versus Your Education

This could be considered a subset of point #3, knowing their expectations, but I believe understanding if your institution provides service-learning opportunities versus service possibilities will give you a better overall picture of the college.

So, what’s the difference between service and service learning?

Service, for the college or community, provides fantastic life skills that you learn and grow from.

As a music major, this may come in many forms, such as performing as a soloist or an ensemble for:

Graduation ceremonies
Campus celebrations
Donors and/or the Administration
Charities
Grand openings
Sporting and recruiting events

And on and on – all in an attempt to serve the college in some manner.

And you may receive personal benefits from such service, such as:

Cash
Scholarship
Exposure
Positive perceptions and relationships
Future performance opportunities
Potential “soft skills” such as professionalism and teamwork – assuming all goes well

These service opportunities are typically specific, and may or may not be available for or to you. If you’re not the “best” person for these service opportunities, you may not get selected – or if you’re not the correct “fit” because you’re not a singer or a percussionist or…. You get it.

If you’re in a small college music program – or anywhere there’s a limited number of options the faculty can offer – there’ll be services you’ll be expected to participate in – whether you’re ready or not. Service can change from volunteer to “volun-told”.

Services become expectations.

These expectations of each ensemble will seem obvious to the faculty in charge, but do you know what’s expected of you? Or the services you’re expected to do as an individual music major? Or the services you’ll be expected to do as a specific music major, such as education or therapist?

More importantly, do you know what the benefits are for you?

They could be for the financial health of the department, ensemble, or a specific future event. They could be for the positive relationships between a School of Music and the administration or community at large. The benefits could be for the institution as a whole – but how does that affect you?

Of course, the immediate answer is “happy (school, department, ensemble, etc.), happy life” – although that doesn’t rhyme. The other benefits mentioned are based on the event and you, and only if you strive to achieve these benefits beyond providing the service required.

However, Service-Learning benefits the student or students doing the work and the ones receiving the service more educationally.

The focus is on your intentional learning and the service is secondary.

In conjunction with the appropriate faculty, the student or students providing the service develop a plan. That plan is in partnership with the people receiving the service. The students take action, reflect on the event, then celebrate the service. Under the guidance of the faculty, students advance their education in total while providing a wonderful service.

Service-Learning provides more opportunities for students to develop ownership, leadership, responsibility, and creativity by being part of the planning and reflection. Music majors will perform when asked, but to establish occasions where students invest in the service pre- and post-production – this is higher education at its finest.

PRO TIP: If you really want to find out the level of education you’re going to receive from an institution, ask the music faculty about the service-learning opportunities. Specifically, ask for examples in music. If there’s no mention of planning or reflection for the students involved, then they’re describing service. And while service is a good thing (and in music, a necessary thing) to be a member of, just ask yourself, who is benefiting? Hopefully, it’s your education.

#5 Their Partnerships

I’m using the word “partnership” to cover a broad base of connections an institution may or may not have. Partnership implies equality, as in “equal partners,” but this is not specifically my intent in using this word. I’m using the more liberal definition of “agreeing to cooperate to advance their mutual interests.”

So what partnerships should you be looking for?

Well, that depends on you and your goals.

Some institutions have partnerships with specific companies such as Steinway (pianos), Conn-Selmer (instruments), or Wenger (equipment). Typically, these types of partnerships are not developed to lead to specific internships or apprenticeships for students but are financial agreements to provide you the best hardware while at your chosen institution.

Some universities have partnerships with professional music organizations and performance venues. Orchestras, military ensembles, opera houses, etc. can all be partners with various music schools. Faculty and other fantastic music opportunities occur within these partnerships, typically to the benefit of the student.

Some colleges have partnerships with various community institutions. These can vary from businesses to schools to volunteer organizations to international improvement projects. Typically, these partnerships are developed to provide internships, apprenticeships, clinical practices, and other academic resources to complete your chosen degree.

For example, if you’re pursuing a music education degree, then you’ll need schools to complete observations and eventually a clinical practice (aka student teaching) to finalize your certification. This would be standard to any institution offering a degree in education.

However, if any of these partnerships provide service-learning opportunities beyond those required to complete your degree, this should tell you that the college values your education tremendously. That’s a great find!

PRO TIP: If you really want to find out how invested the institution is, ask if the college has partnerships that lead to an internship or apprenticeship during or after the completion of your chosen degree. Especially if the internship or apprenticeship is not required, but merely an option – this should tell you that the college values your success and you’ve found a quality school.

Pro Tips Recap

Understand I’m not advocating for small versus large institutions or telling you to better prepare, or even stating that you cannot win entry into your desired college or university. I’m not trying to crush any dreams here!

What I share with you are my experiences from decades of recruiting talent to music departments. I want every music degree-seeking student to succeed – so please consider these pro tips:

Your Skills
Their Environment
Their Expectations
Their Expectations vs. Your Education
Their Partnerships

If you’re honest with yourself and your goals and seek these insights regarding your potential college choices, you’ll find the best match for you.

I hope this helps you find the best school for your music degree journey. I know you can be overwhelmed in determining what’s best, but keep your head up and know most are wanting you to succeed. I know I am!