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1. Obtain an Application for Instrumental and Vocal Instruction (from Music Center 127 or 244). Meet with the instructor(s) in your instrument to discuss lessons. Instructors' schedules are posted upstairs in the Music Center. For guitar, percussion, piano, or voice lessons, students should contact all teachers of the instrument, in order to find the appropriate instructor. Obtain instructor's signature on the application form.
2. Check Schedule of Classes for information about enrollment in ensembles. Audition sign-ups for Chamber Singers, Concert Choir, Jazz Ensembles, and Orchestra are posted near 127 Music Center. Audition for, or attend first class meeting of, an appropriate ensemble. Obtain the ensemble director's signature on the application form. The ensemble director should also provide the call number for enrollment in the ensemble.
3. To obtain the call number for your lessons, bring the application form, signed by the instructor and the ensemble director, to the Music Department Office (Music Center 244) before the Registrar's enrollment deadline listed on the Academic and Administrative Calendar (see p. 20). Music Department Office hours are M-F, 9:00 AM - noon, and 1:00 - 4:00 PM. Students who wish to enroll in Music 162 must have approval from an audition committee or proof of prior enrollment in Music 162.
4. Check with your instructor to ascertain lesson time.
Advisory audition
Proficiency audition
B.M. audition
Senior Recital audition
Scholarship audition for continuing students
Scholarship audition for new students
Standard classical repertoire examples by instrument
All students in Music 30A, including music minors, will be scheduled for a juried audition on their major instrument or voice at the
that this audition is advisory only. You will be heard by a faculty committee of three members, who will be asked to judge your current performance ability: elementary, lower intermediate, advanced, etc. The purpose of the Advisory (Music 30) audition is to apprise you of your present level and to inform you of what, if any, work is needed for you to pass the required Proficiency (Music 100) Audition next year. You will receive a copy of the evaluation form with the committee's comments, as will your private instructor. Performance levels must be demonstrated on a standard orchestral instrument, piano, harpsichord, voice or guitar. You should prepare two contrasting pieces and major and minor scales.
If you are a declared music minor, or intend to declare a minor, and therefore feel that you should not be required to take this audition, you must request permission from the Applied Music Coordinator.
All students in Music 100A, including those emphasizing composition and those who were judged at an "Upper Intermediate" or "Advanced" level on the Advisory Audition must audition at the
At that time, all B.A. students should exhibit at least an upper-intermediate level on their major instrument or voice, as defined by the following guidelines:
- tone production of high quality;
- all major and minor scales over the range of the instrument (except voice);
- performance of two contrasting prepared pieces.
B.A. students who may not yet be prepared to pass the audition should nonetheless play at least one piece. Original compositions are not permitted. Students must provide the jury committee with a copy of their audition pieces.
B.A. students must attain an upper-intermediate level to continue in the major. Two-quarter extensions may be allowed by the audition committee in rare circumstances; students must audition at the end of each quarter and demonstrate significant improvement each time. B.A. students who have demonstrated an upper-intermediate level on the Proficiency Audition are not required to take subsequent juries, although they are urged take at least one jury yearly for feedback from faculty other than their applied instructors.
Auditions for admittance to the B.M. program will be held on campus at the .* A member of the Bachelor of Music Committee will sit on the juries. Students must get the approval of their applied instructor in order to audition. Students should be prepared to play three pieces or movements of a contrasting nature from at least two different stylistic periods. (Two contrasting movements from the same sonata or concerto may count as two of the three required pieces.) Students who have attained an advanced level on a previous audition are still required to audition.
Upper division students: Only students on an advanced performing level who have scheduled a recital date in their junior year, and who have auditioned no more than twice (the last audition possible being Fall of the senior year), will be allowed to change to a BM degree.
*Only junior transfer students entering UCSC in Winter Quarter may audition for the BM program in the Spring.
Continuing B.M. students are required to take two juries per academic year, at at the same time as auditions for B.A. students (Saturday following the last day of instruction), for continuing review and criticism on their major instrument. Repertoire for the auditions must be approved by the applied instructor. If a student does not attain, or maintain, an advanced level, the Bachelor of Music Committee will re-examine the student’s continued participation in the B.M. program in consultation with the applied instructor.
In order to present a senior recital, a student must attain an advanced level on the Proficiency Audition .
In unusual cases, exceptionally accomplished undergraduate may be considered for a senior recital in composition. To be considered for such a recital, student composers must submit a portfolio of their works by the to the faculty member who has been their primary composition teacher. Portfolios will be assessed by all regular composition faculty (Cope, Jones, Kim, Nauert); senior recitals will be approved or disapproved by the end of spring quarter.
To all instructors whose students are planning to play a senior recital: all the ensemble pieces should be coached or supervised personally by the instructor
. To compete, a student must be nominated by her/his teacher. For first-year students, and transfer and re-entering students, auditions will be held at the end of fall quarter at the time of juries to accommodate those who were not enrolled the previous spring.
Students should be prepared to play three pieces or movements of a contrasting nature from at least two different stylistic periods. (Two contrasting movements from the same sonata or concerto may count as two of the three required pieces.) Auditions will last approximately 10 minutes; faculty may interrupt you during your piece. This has no bearing on their judgment. Scholarships are awarded on the basis of performance at these auditions, not on overall talent, potential, or financial need. If a piece is written with accompaniment, students must use an accompanist. If they do not, they are disqualified.
Scholarships are awarded to incoming students, based on performance. These are lump-sum scholarships credited toward tuition costs. Strong performers are encouraged to apply.
To be considered for a scholarship, send a non-returnable cassette of your playing, two pieces or movements of a contrasting nature from different stylistic periods. (Two contrasting movements from the same sonata or concerto may count as two pieces.) Label the cassette with your name, address, phone number, instrument and composers and titles of the works included. Submit tapes to:
Music Department Scholarships
244 Music Center, UCSC
Santa Cruz, CA 95064
Bass - Marcello Sonata; Scarlatti Sonata in C minor; Corelli Sonata in D major.
Bassoon - Weissenborn Studies, Book I; Ouradous Daily Scales and Exercises; Milde Op. 24, 25 Etudes in all keys.
Cello - Saint-Saëns Allegro Appassionata ; Bach Prelude to G major Suite, Allemande to C major suite; Popper Etude No. l in C major.
Clarinet - Mozart Clarinet Concerto; Hindemith Sonata; Weber Concertino; Saint-Saëns Sonata.
Flute - Donjon Etudes de Salon; C.P.E. Bach sonatas; Bloch Suite Modale; Mozart concertos in G or D; J. S. Bach sonatas; Fauré Fantasie; Hindemith Sonata.
Guitar - Bach lute suites (any movement); Villa-Lobos Preludes 1-5; Sor Studies (Segovia edition); Brouwer Studies; Ponce Preludes; Luys de Narvaez Diferéncias sobre Guardame las vacas.
Harpsichord - Bach Well-Tempered Clavier (any prelude or fugue except Book I, Prelude 1); Scarlatti Sonata.
Horn - Kopprasch Studies, Book 1 or 2; Mozart concertos Nos. 2 or 3; B. Heiden Sonata for Horn; P. Dukas Villanelle.
Oboe - Telemann Sonata in A minor; Marcello Oboe Concerto; Albinoni Concerto in D major; Hindemith Sonata.
Percussion - Portraits in Rhythm, Study 1 or 2 (snare drum); Begamo Style Studies, l-6 (mallets); Bach Bourrée Anglaise for solo flute (mallets); Telemann Canonic Sonatas; Peters Introduction and Waltz for 4 toms and cymbal.
Piano - Any prelude and fugue from the Well-Tempered Clavier; Mozart sonatas K. 280, 570, 309, 332, 333; Beethoven Sonata Op. 14; any Chopin nocturne (except the c minor, op. post.); any Brahms Intermezzo, Capriccio, or Rhapsody; any Debussy Prelude (Livres I or II) or movement from the Suite Bergamasque; any of the Gershwin Three Preludes; any of the Bartok Three Rondos; any Rachmaninoff Prelude.
Saxophone - Klosé Etudes; Gurewich Concerto for Alto Saxophone and Orchestra.
Trombone - Blazevich Studies in Clefs; Rochut Melodious Etudes.
Trumpet - Bozza Badinage; Gibbons Suite; Latham Suite; Hovhaness Prayer of St. Gregory.
Voice - Pieces in at least 2 languages are required: Schubert Die Forelle ; Fauré Après un Rêve; Mozart "Vedrai Carino" from Don Giovanni; Debussy Beau Soir; Stravinsky Ricercare I (Cantata); Machaut (Ballade) Dousamis.
Violin - sonatas and concertos of Händel, Corelli, Tartini, Vivaldi.
Viola - études of Mazas, Sitt, Kreutzer.
Bassoon: Jane Orzel
Cello: Karen Andrie
Clarinet: Mark Brandenburg
Flute: Leta Miller, Greer Ellison
Fortepiano: Linda Burman-Hall, Mary Jane Cope, Anatole Leikin
Horn: Susan Vollmer
Guitar: William Coulter, Mesut Özgen
Harpsichord: Linda Burman-Hall
Lute: Mesut Özgen
Oboe: Patricia Mitchell
Percussion: George Marsh, William Winant
Piano: Mary Jane Cope, Maria Ezerova, Anatole Leikin
Saxophone: Paul Contos
String Bass: Barry Green, Stan Poplin
Trombone: Wayne Solomon
Trumpet: Owen Miyoshi
Violin, viola: Roy Malan
Voice: Patrice Maginnis, Brian Staufenbiel
Karen Andrie, Lecturer in Cello
B.M., Performer’s Certificate, Eastman School of Music; Premier Prix, Licence du Concert, École Normale de Musique, Paris; Diploma, Soloist, Accademia Chigiana, Sienna, Italy. Concurrent affiliations: instructor, Suzuki Program, Cabrillo College; member, Santa Cruz Chamber Players, Santa Cruz New Music Works, Monterey Symphony. Performances: solo and chamber music performances in the U.S. and Europe. Teachers: Florence Reynolds, Ronald Leonard, Andrie Navarra. Chamber coaches: Joseph Gingold, Claus Adams, Michael Tree, Arnold Steinhart. Former member: Atlanta and Columbus String Quartets, and Trio d’Accord (winner of the Concert Artist Guild Competition of New York).
Mark Brandenburg, Lecturer in Clarinet ( markgbrand@yahoo.com )
B.M., M.S., Juilliard School of Music. Performances: San Francisco Symphony, San Jose Symphony, Midsummer Mozart Festival, Cabrillo Music Festival, Anchor Chamber Players, Opera San Jose. Teachers: Frealon Bibbins Jr., Rosario Mazzeo, Bernard Portnoy.
Linda Burman-Hall, Professor of Music ( lbh@ucsc.edu )
Ph.D., Princeton University. Specialist in Baroque music, historical performance practices, and chamber music. Extensive solo and ensemble performances, including continuo harpsichord and chamber organ. Director, Santa Cruz Baroque Festival. Recordings: Musical Heritage Society, Wildboar, Centaur, Helicon.
Paul Contos, Lecturer in Saxophone ( paul_contos@csumb.edu )
Concurrent affiliations: California State University, Monterey Bay; saxophone clinician, Monterey Jazz Festival Education Program; director, Monterey County High School Honor Band; co-director, California High School All-Star Band; Monterey Jazz Festival Summer Camp, Ray Brown’s Great Big Band, Dave Eshelman’s Jazz Garden Band, Juan Sanchez Ensemble, and others. Performances with McCoy Tyner, Wayne Shorter, Dizzy Gillespie, Mundell Lowe, Clark Terry, Roy Hargrove, Bobby Hutcherson, Billy Childs, Joe Williams, Jon Hendricks, Dianne Reeves, Sheila Jordan, Rebecca Paris, Rufus Reid, Bill Berry, Bruce Forman, Louie Bellson, The Temptations, The Four Tops, and others. Previous affiliations: Santa Cruz County Symphony, San Jose Civic Light Opera Orchestra. Recordings: Capitol Records Angel Recordings, Fantasy Records, and others.
Mary Jane Cope, Lecturer in Piano and Fortepiano ( mjcope@ucsc.edu )
M.M., Indiana University. Master Teacher Certificate, Music Teachers National Association. Interests: Classical and Romantic piano music (including lesser known works and composers), literature of the fortepiano, 20th-century piano literature and extended techniques. Performances: solo and chamber performances, including premieres of compositions (some written for her). Recordings: Opus One Records, Orion Records. Pedagogical philosophy: natural holistic approach to pianism that emphasizes anatomical and psychological considerations, strength through balance, and an integration of the physical and musical gesture. Focus on development of tone, pedal technique, stylistic awareness, and encouragement of independence and imagination. Acquaintance with the Dorothy Taubman approach.
William Coulter, Lecturer in Classical Guitar ( billski@ucsc.edu )
M.A., San Francisco Conservatory of Music; M.A., Ethnomusicology, UC Santa Cruz. Interests: Classical guitar repertoire, especially guitar ensemble and guitar with other instruments; traditional folk music and songs from the British Isles, especially from Ireland; the music of Turloch O’Carolan. Pedagogical philosophy: influenced by the Suzuki method and the teaching of Benjamin Verdery; emphasis on communication of musical ideas, the enjoyment of playing, tone production, and accurate, fluent technique.
Maria Ezerova, Lecturer in Piano ( mvezerov@ucsc.edu )
M.A., UC Santa Cruz; M.M. and D.M.A. equivalents in Piano Performance, Moscow State Conservatory. Teachers: Russian pianists Stanislav Neuhaus, Lev Vlasenko, and Michail Pletnev; master’s degree in early music performance practice from UC Santa Cruz included harpsichord study with Linda Burman-Hall. Performances throughout the former Soviet Union, Europe, the U.S., Canada, and Asia as a soloist and chamber pianist and harpsichordist. Recordings: Centaur and New Albion labels. Interests: keyboard repertoire from the Renaissance, Baroque, Classical and Romantic periods, and the 20th century.
Barry Green, Lecturer in Bass ( barry@innergameofmusic.com )
M.M., University of Cincinnati, Conservatory of Music. Previous affiliations: bass instructor, University of Cincinnati and Indiana University; numerous bass workshops in U.S. and abroad. Performances: principal bass, California Symphony, Sun Valley Idaho Summer Symphony, Cincinnati Symphony, Nashville Symphony, Casals Festival Orchestra of Puerto Rico. Publications: The Popular Bass Method in 3 Volumes, Fundamentals of Double Bass Playing and Advanced Techniques of Double Bass Playing (Piper Publications); numerous journal articles for the International Society of Bassists and Northern California Bass Club, and in Double Bassist Magazine, Instrumentalist Magazine, and in many other trade journals. Recordings: six solo recordings of Baroque, Romantic, and contemporary bass music.
Anatole Leikin, Professor of Music ( asl@ucsc.edu )
Ph.D., University of California, Los Angeles. Interests: Classical and Romantic performance practice, music history and theory, and piano performance. Recent and present projects include structural and hermeneutic analysis, early tonality, Romantic performance practice, Chopin, Scriabin, Granodes, and Shostakovich. Solo and chamber ensemble performances in the U.S.S.R., Italy, and the U.S.
Patrice Maginnis, Lecturer in Voice ( patrice@ucsc.edu ) (831) 459-3213
M.A., San Jose State University. Concurrent affiliation: Opera San Jose. Interests: operatic, recital, and concert work, especially of 19th- and 20th-century art song. Pedagogical philosophy: emphasis on strong technical foundation, broad-based knowledge of vocal repertoire from the 16th century to the present, and preparation of effective recitals and operatic roles, including programming, historically informed interpretation, and effective stage presence.
Roy Malan, Lecturer in Violin and Viola (831) 423-7923
Diplomas in Violin: Royal Academy of Music, Juilliard School of Music, Curtis Institute of Music. Concurrent affiliations: concertmaster, San Francisco Ballet Orchestra; principal violinist, San Francisco Contemporary Chamber Players; founder and director, Telluride Chamber Music Festival; faculty, Rocky Ridge Music Center. Teachers: Ivan Galamian, Efrem Zimbalist, Yehudi Menuhin. Performances: solo and chamber music in the U.S. and abroad. Interests: 19th-century literature, performance practice, and virtuoso techniques; chamber music. Recordings: Sonatas, by Efrem Zimbalist and Efrem Zimbalist Jr. (Genesis Records); Sonatas, by Robert Russell Bennett and Ottorino Respighi, and Fredrick Kaufman Concerto, Violin Sonata (Orion Master Recordings); Music from Telluride (Transparent Recordings); numerous contemporary works for CRI and Newport Classics, including Gihon for solo violin, written for him by jazz flutist James Newton. Pedagogical philosophy: acquisition of the technique, tone, and musical culture for performance of the Classical, Romantic, contemporary, and virtuosic basic repertoire; cultivation of the sensitivity and discipline essential for chamber music playing.
George Marsh, Lecturer in Percussion ( Marshdrum@aol.com | website )
Former affiliation: San Francisco Conservatory of Music. Concurrent affiliation: Sonoma State University. Performances: with Terry Riley, Pauline Oliveros, Mose Allison, David Grisman, Joe Henderson, Roscoe Mitchell, John Abercrombie, and others; solos with San Francisco Taiko Dojo. Recordings: In C, with Terry Riley and friends; Upon A Time, with jazz guitarist John Abercrombie, and many others. Publications: Inner Drumming, a drumset method book; articles in Percussioner International, Modern Drummer, Drum Tracks, and Percussive Notes. Interests: innovative performance and the art of teaching rhythm and drumset; inner drumming and use of the I Ching to devise rhythm patterns and study systems (taught in clinics nationwide); study of pulses for healing.
Leta Miller, Professor of Music ( leta@ucsc.edu )
Ph.D., Stanford University. Solo and ensemble performances on modern and baroque flutes. Specialist in Renaissance and Baroque music, historical performance practices, chamber music of all eras. Recordings on modern/baroque flutes.
Patricia Mitchell, Lecturer in Oboe ( pmitchel@ucsc.edu )
B.M., San Jose State University. Performances: San Jose Symphony, Opera San Jose, San Jose Chamber Orchestra, American Musical Theatre of San Jose, San Francisco Best of Broadway series.
Owen Miyoshi, Lecturer in Trumpet ( oiyoshi@mac.com )
B.M., San Francisco Conservatory of Music. Concurrent affiliations: Monterey Symphony, Santa Cruz County Symphony, Bay Shore Lyric Opera, Farallon Brass Ensemble, North Bay Opera.
Jane Orzel, Lecturer in Bassoon ( janeorzel@razzolink.com )
M.A., San Jose State University. Concurrent affiliations: Organist, First United Methodist Church of Salinas; Santa Cruz County Symphony, Monterey Symphony, Ensemble Monterey, Santa Cruz Chamber Players, Laurel Wind Quintet. Teachers: Leonard Sharrow, William Waterhouse, Milan Turkovic, Wilbur Simpson, Sam Jordan, Steve Paulson, Artemus Edwards. Professional memberships: International Double Reed Society, American Guild of Organists.
Mesut Özgen, Lecturer in Guitar ( mozgen@ucsc.edu )
M.M., Artist Diploma, Yale University; D.M.A. candidate, Arizona State University. Prizewinner: International Portland Guitar Competition. Performances: solo and ensemble concerts in U.S., Turkey, and Spain. Interests: classical guitar repertoire; lute and vihuela music of the Renaissance and Baroque periods; 19th-century Romantic guitar music; 20th century works, especially those based on various folk traditions; composing and arranging solo and ensemble music based on traditional Turkish music. Pedagogical philosophy: combining musical and physical aspects of guitar-playing technique from the beginning level, influenced by Benjamin Vedery's pedagogical concept of "sound and sensation." Works in Progress: a pedagogical book on designing individualized technical training programs based on exercise physiology principles; assisting Professor Frank Koonce to revise his celebrated edition of "the Solo Lute Works of J.S.Bach."
Stan Poplin, Lecturer in String Bass ( spoplin@cruzio.com )
Studies at Norwegian State Academy of Music and privately with Stephen Tramontozzi, Mel Graves, and Bob Manning. Concurrent affiliations: Santa Cruz New Music Works, Mendocino Music Festival, Monterey Symphony, California Parallele Ensemble, Monterey Jazz Festival. Performances with Toots Thielemans, Dave Brubeck, Herb Ellis, Charlie Haden, Bobby Hutcherson, Roger Kelloway, James Moody, Eddie Harris, Smith Dobson, Chuck Berry, Charlie Bird, Chet Baker, and Muddy Waters.
Wayne Solomon, Lecturer in Trombone and Tuba ( wayne_solomon@sbcglobal.net )
M.M., San Francisco Conservatory of Music. Concurrent affiliations: Monterey County Symphony, Santa Cruz County Symphony, Napa Valley Symphony, Carmel-Bach Festival. Performances: San Francisco Symphony, San Francisco Ballet Orchestra, Pacific Symphony Orchestra, Minnesota Orchestra, San Jose Symphony, and numerous other solo and ensemble venues, including performances with Ray Charles, Manhattan Transfer, The Temptations, The Four Tops, Diana Krall, and Dave Brubeck. Teachers: Mark Lawrence, Paul Welcomer, and John Engelkes.
Brian Staufenbiel, Lecturer in Voice ( staufen@ucsc.edu ) (831) 459-3756
D.M.A., Eastman School of Music. Interests: Vocal repertoire from Baroque to the present with special emphasis on oratorio, Mozartian opera, German lied, art song, Benjamin Britten and other music of the 20th century. Pedagogical philosophy: emphasis on applying new research in physiologically based vocal techniques and pedagogy; development of a sound knowledge of standard vocal repertoire, which is both historically informed and at the highest level of preparation; instruction in effective preparation, professionalism, and artistic effect. Recordings: Electra, Koch International Classics, Musical Heritage Society.
Susan Vollmer, Lecturer in Horn ( svollmer2001@yahoo.com )
B.M., M.M, San Francisco Conservatory of Music. Concurrent affiliations: Principal, Santa Cruz County Symphony and Western Opera, and other ensembles in the Bay Area.
William Winant, Lecturer in Percussion ( steakatto@hotmail.com )
M.F.A., Mills College. Concurrent affiliations: principal percussionist, San Francisco Contemporary Music Players; artist-in-residence, Mills College (Abel-Steinberg-Winant Trio), John Zorn Chamber Ensemble, Mr. Bungle, Mark Morris Dance Group, extra percussionist for San Francisco Ballet Orchestra; faculty, UC Berkeley. Performances: Cabrillo Music Festival, Pierre Boulez with the Los Angeles Philharmonic, San Francisco Symphony, Kronos String Quartet, Steve Reich and musicians, Yo-Yo Ma, Oingo Boingo, Charles Wourinen, and Frank Zappa. Interests: performance of new works for solo and multiple percussion, and integration of this medium with analog and digital electronics; world music, especially Balinese, Javanese, and South Indian Classical Carnatic music. Performances: in collaboration with Anthony Braxton, Gordon Mumma, Alvin Lucier, Lou Harrison, John Cage, Iannis Xennakis, Danny Elfman, Ralph Shapey, Terry Riley, Sonic Youth, and John Zorn. Recordings: more than 100 recordings of new music, rock, and jazz, including works by Lou Harrison (New Albion), the Glenn Spearman Double Trio (Black Saint), Siouxsie and the Banshees (Polydor), Mr. Bungle (Warner Brothers), Sonic Youth (Geffen Records, SYR4), and the sound track of Tim Burton’s film Batman Returns (Warner Brothers). Pedagogical philosophy: emphasis on the study of musics from Western and non-Western cultures and on solo and ensemble performance.
Greer Ellison Wolfson, Lecturer in Flute ( greere@juno.com )
B.M., Oberlin Conservatory of Music; M.M., University of Michigan, Ann Arbor. Concurrent affiliations: Mainly Mozart Festival, California Symphony Orchestra, San Francisco Philharmonia Baroque Orchestra of the West (early flutes).
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