This audition consists of a musical portion, an interview, and an optional applied instrument audition. 

1. Demonstration of Applied Clinical Skills 

Due to the scope of voice, piano, guitar, and improvisational performance skills required in clinical practice, students must prepare the following skills on piano, voice, and guitar for their audition:

• Voice: Prepare three (3) vocal pieces demonstrating functional singing rooted in vocal pedagogy: posture, breathing, resonance, phonation, and articulation. Pieces should include at least three (3) different styles and genres (e.g., classical, pop, folk, children’s songs). Self-accompaniment on piano must be demonstrated in at least one piece. An accompanist or self-accompaniment is encouraged for all other pieces.
• Guitar: Prepare four (4) pieces/songs that demonstrate a variety of chords, including both strumming and picking patterns in a variety of styles and genres (e.g., classical, pop, folk, children’s songs). Singing and playing together is encouraged.
• Piano: Prepare a 4-minute improvisation that demonstrates the ability to change the style, accompaniment pattern, harmonization, and meter to represent at least four (4) genres. This can be based on a chord progression or an existing melody.
• Prepare 1-2 pieces from the audition repertoire on your primary instrument.  *Applicants auditioning by recording should prepare at least 1 piece from the listed audition repertoire for your primary instrument.

2. Interview

An interview and skills assessment will also be held during the scheduled audition time. For the skills assessment, please be prepared to sight-read a medium-level solo piano piece.

Applicants auditioning by recording will be invited to an interview on Zoom which will include a skills assessment. Please be prepared to sight-read a medium-level solo piano piece. 

3. (Optional): Applied Instrument Audition 

If you wish to be considered for an applied studio on your primary performance instrument, you will also prepare the complete audition requirements listed for your applied instrument within the Master of Music instrumental/vocal program. Pre-screening requirements must be followed for vocalists.

Important note for all recorded auditions: Please submit all links to your recorded auditions (both clinical and applied, where chosen) to the Applied Music and Health Audition Submission link. Recorded audition links that are uploaded to the incorrect program may not be considered. 

Accompaniment
Collaborative pianists should be used in-person where relevant/possible for the Applied Instrument Audition. A list of collaborative pianists is available from the Graduate Dept. by request. Applications are responsible for contacting and paying their accompanist(s).

Round 1. Pre-Audition Video Submission
Choral Conducting Applicants
A video recording of the candidate rehearsing two contrasting choral pieces with a choir. This recording should be at least 20 minutes in length. Applicants are welcome to also submit a performance recording, if available.

Orchestral Conducting Applicants
Applicants must submit a video of a recent rehearsal and/or performance with an orchestral or chamber ensemble, approximately 15–20 minutes in length. Ideally, the video should consist of at least 10 minutes of rehearsal, followed by a run- through of the piece or movement rehearsed. The performance portion of the video may also include a concert performance.

Wind Conducting Applicants*    
The MMus and DMA Wind Conducting programs will not be accepting new students for the 2025/26 year. 

Round 2. In-Person Audition⁺ (by invitation)

Choral Conducting Applicants
Applicants who pass the pre-screening will be asked to:
− Conduct a short rehearsal (approx. 10-15 minutes) with one of the Faculty of Music's choral ensembles (repertoire for these rehearsals will be provided in advance)
− Sing a solo piece for voice and piano (applicant's choice)
− Sight-read on the piano a short SATB (unaccompanied) composition
− Play a solo piano piece that demonstrates their current level of piano proficiency (applicant's own choice)
− Written diagnostic exam (music theory)
− Written diagnostic exam (music history/choral literature)

Orchestral Conducting Applicants
Based on the Admission Committee’s assessment of the conducting video, applicants may be invited for a live audition. Finalists invited for an in-person audition can expect to partake in an interview, complete aural and written tests, and conduct a rehearsal with a University of Toronto ensemble.

Wind Conducting Applicants
*The MMus and DMA Wind Conducting programs will not be accepting new students for the 2025/26 year.

⁺Note: Any conducting applicant residing outside of North America may inquire about alternative arrangements to the in-person audition with the Graduate Department, though in- person auditions are strongly recommended.

Collaborative Piano MMus
**The audition requirements for this program will vary depending on whether you are auditioning in-person or via recording.***

MMus In-Person Audition Requirements
Note: Partners for in-person auditions will be provided and will come from our graduate programs.
The following audition repertoire is required:

• Four (4) songs:
       - Franz Schubert: Der Tod und das Mädchen (d minor)
       - Manuel de Falla: Jota (from Siete Canciones Populares Españolas) (E major)
       - Gabriel Fauré: Nell (G flat major)
       - Amy Beach: The Year’s at the Spring (from Three Browning Songs) (D flat major)
• Aria: one (1) Mozart aria with recitative (secco or accompagnato) to be played AND sung by the candidate
• Instrumental: first two (2) movements of one of the following sonatas:
       - Brahms: Violin Sonata in d minor;
       - Brahms: Cello Sonata in e minor; or
       - Franck: Violin Sonata in A major.
•Solo: First movement of a major work by Mozart, Haydn, or Beethoven (to be memorized).

MMus Recorded Audition Requirements
Note: Candidates opting for recorded auditions will be responsible for finding their own vocal/ instrumental partners.
The following audition repertoire is required:
• Four songs (to be performed in the key that best suits the singer):
     - One lied by Schubert
     - One melodie by Debussy
     - One lied by Wolf
     - One English Song written after 1960
• First two (2) movements of an instrumental sonata by Brahms or Franck
• Opera: one (1) Mozart aria with recitative (secco or accompagnato) to be played and sung by the candidate.
• Solo: First movement of a major work by Clementi, Mozart, Haydn or Beethoven (to be memorized)

Collaborative Piano DMA
Round 1 (Pre-Audition Recording)
Applicants will perform with a singer and a violinist, violist or cellist (applicant's choice). Submit a program of your choosing that features:
     - Two (2) contrasting songs; and
     - Two (2) contrasting instrumental works (movements of major works are acceptable);
     - Solo piece of the candidates choosing (a movement of a sonata is acceptable).
Total playing time: approx. 30 minutes

Round 2 (In-Person Audition by invitation)
Partners for in-person auditions will be provided and will come from our graduate programs.
Applicants will prepare the following:
•Six (6) songs:
    - Franz Schubert: Der Tod und das Mädchen (d minor)
    - Manuel de Falla: Jota (from Siete Canciones Populares Españolas) (E major)
    - Gabriel Fauré: Nell (G flat major)
    - Amy Beach: The Year’s at the Spring (from Three Browning Songs) (D flat major)
    - Joseph Canteloube: La Pastoura als camps 
    - Jean Sibelius: War det en dröm, Op. 37 (B major)

• Aria: One (1) Mozart aria with recitative (secco or accompagnato) to be played AND sung by the candidate
• Instrumental: Beethoven Violin Sonata in F Major, No 5, Op. 24 (complete) OR Beethoven Cello Sonata in A major, No. 3, Op. 69
• Instrumental: One (1) of the following sonatas (complete):
    - Brahms Violin Sonata in d minor
    - Brahms Cello Sonata in e minor
    - Franck Violin Sonata in A major
• Solo: One (1) solo work of the candidates choice

Solo Organ, MMus
A program of at least 45 minutes (up to 60 maximum) must be prepared and should include the following:
        - Baroque: One major work by Bach, e.g. Prelude & Fugue (excluding BWV 553-560) PLUS the applicant’s choice of either
           • Two movements (one fast, one slow) from a Trio Sonata BWV 525-530; or
           • One fast movement from a Trio Sonata PLUS one Bach chorale prelude BWV651-668, or 645-650.
        - Romantic: One substantial work by Franck, Widor, Vierne, Mendelssohn, Reger etc.
        - Contemporary: Any major 20th-or 21st-century work

Solo Harpsichord, MMus
A program of at least 45 minutes (up to 60 maximum) of works in contrasting styles must be prepared and should include one (1) major work by J. S. Bach and at least one contemporary composition.

Solo Organ and Harpsichord, DMA
Round 1 (Pre-Screening Audition recording) 

Prepare 15-20 minutes of the full audition program as below. 

Round 2 (Recorded/In-Person Audition via invitation)

A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared, emphasizing the applicant’s intended area of academic research and demonstrating contrasts of style, composer, tempo, and registration.

Piano and Piano Pedagogy, MMus
A program of 45–60 minutes of repertoire must be prepared and should include the following:
   (1)a work by a Baroque composer
   (2) a complete sonata by a Classical composer
   (3) a work by a Romantic composer
   (4) Contemporary Era or OWN CHOICE - any work selected from the 20th or 21st century and we welcome works by a Canadian, female, under-represented BIPOC or 2SLGBTQ+composer, or a composer from your own culture and traditions.

All works must be memorized except for contemporary music.

*For MMus applicants auditioning by recording, multi-movement pieces should be recorded in one take. 

Piano and Piano Pedagogy, DMA
Round 1 (Pre-Audition Recording)
The pre-audition recording must include 45 minutes of repertoire with three (3) contrasting styles of the applicant’s choice. All music should be memorized except for contemporary music. See the recording guidelines above.

*Multi-movement pieces should be recorded in one take

Round 2 (In-Person Audition by invitation)
A recital length program of at least 60 minutes showing at least three (3) contrasting styles and can include compositions from your own cultures and traditions and improvisations. We welcome works by Canadian, female, under-represented BIPOC or 2SLGBTQ+ composers.

All music should be memorized except for contemporary music.

Historical Performance, MMus
Instrumental: The audition program will be a recital of at least 50-60 minutes of professional level repertoire and should demonstrate ability in repertoire from the candidate's chosen historical period. All works must be complete.

Harpsichord or Organ: The audition program should include:
• Solo: a program of at least 45 minutes (up to 60 maximum) must be prepared and should include one (1) major work by J.S. Bach, plus at least two (2) works in contrasting national styles.
• Continuo: a figured-bass accompaniment will be provided to the applicant in advance; applicants will be provided a soloist at the audition and assemble an excerpt at sight.

Historical Performance (Instrumental), DMA
Round 1 (Pre-Audition Video Recording)
The pre-screening audition recording should consists of 15–20 minutes worth of repertoire from the full audition program as indicated below.

Round 2 (Live Audition, by invitation) 
Instrumental: The audition program will be a recital of at least 50–60 minutes of professional level repertoire and should demonstrate ability in repertoire from the candidate's chosen historical period. All works must be complete. Jurors will select repertoire from the candidate's approved program equaling approximately 25 min in length.

Organ: A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared, emphasizing the applicant’s intended area of academic research and repertoire specialization.

Historical Performance (Voice), MMus
Round 1 (Pre-screening Audition recording)
The first-round video must include five (5) selections with a minimum of three (3) languages represented, one of which must be English. A minimum of three (3) selections must be works composed before 1800.

Round 2 (Live/Recorded Audition, by invitation)
The audition program must include a total of 10 pieces reflecting a minimum of three (3) languages. The audition program must include repertoire from contrasting styles and periods.
    • Three (3) contrasting arias, one of which must be in English
    • Four (4) songs written before 1800
    • One (1) art song group of two (2) songs written after 1800
    • One (1) contemporary song written later than 1950

Successful candidates must show experience as a solo performer and advanced technical and interpretive ability.

Historical Performance (Voice), DMA
Round 1 (Pre-screening Audition – Video Recording)
The first-round video must include five (5) selections with a minimum of three (3) languages represented, one of which must be English. A minimum of three (3) selections must be works composed before 1800.

Round 2 (Live Audition, by invitation)
The audition program must include a total of 10 pieces reflecting a minimum of three (3) languages. The audition program must include repertoire from contrasting styles and periods.
    • Three (3) contrasting arias, one of which must be in English
    • Four (4) songs written before 1800
    • One (1) art song group of two (2) songs written after 1800
    • One (1) contemporary song written later than 1950

Successful candidates must show experience as a solo performer and advanced technical and interpretive ability.

Accordion and Harp, MMus
A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared and should include works in three (3) or more contrasting styles and periods. Complete works are encouraged but not mandatory.

Accordion and Harp, DMA
Round 1 (Pre-audition)

Prepare 20 minutes of the full audition program as below.

Round 2 (In-Person Audition by invitation)
A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared and should include works in three (3) or more contrasting styles and periods. Complete works are encouraged but not mandatory.

Brass MMus
A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared and should include works in three (3) or more contrasting styles and periods. Complete works are encouraged but not mandatory.
Students should also prepare five (5) orchestral excerpts.

For recorded auditions: if it is not possible to record with a live accompanist, do not use a recording to play with; please record unaccompanied.

Brass DMA
Round 1 (Pre-Screen Audition) 

Prepare 2-3 contrasting styles from the audition program to present 15-20 minutes of repertoire from the audition program. ​

Round 2 (In-Person Audition by invitation) 

A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared and should include works in three (3) or more contrasting styles and periods. Complete works are encouraged but not mandatory. Students should prepare five (5) orchestral excerpts

Guitar MMus
The audition program must be full-length recital program of at least 60 minutes in length. 
The program must include: 

• Selected movements from a suite or sonata of J.S. Bach from the original cello, violin or lute works; 
• A concert work taken from the 19th century repertoire; and 

• A concert work written between 1950 and the present

Guitar DMA
Round 1 (Pre-Screening Audition recording)

Prepare 20 minutes of the full audition program as below.

Round 2 (In-Person Audition by invitation)
The audition program must be full-length 'recital' program of at least 60 minutes in length. The program must include:
    - Selected movements from a suite or sonata of J.S. Bach from the original cello, violin or lute works;
    - a concert work taken from the 19th century repertoire; and
    - A concert work written between 1950 and the present

Percussion MMus
Please prepare ONE of the following lists (25 minutes of music): 
  a.) Four (4) contrasting works in; 
      - Snare: one etude from Delécluse Douze Etudes 
      - Timpani 
      - Mallets: marimba or vibraphone 
      - Multi-percussion: e.g. Rebonds A or B, Asanga, She who sleeps with a small blanket, Side by Side or a work of similar level 
 b.) Three (3) contrasting works in 
     - Snare 
     - Timpani 
     - Mallets 
+ Selection of 10 orchestral excerpts in snare, xylo, glock, timpani, cymbals, tambourine and triangle. 

Percussion DMA
The same requirements apply to both rounds of audition (pre-audition and in-person audition) for this program. 

A recital of 30 minutes must clearly demonstrate the candidate’s: 
1) knowledge of percussion repertoire; and 
2) expertise in candidate’s chosen topic of research. 
 

Strings MMus
A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared and should include works in three (3) or more contrasting styles and periods. Complete works are encouraged but not mandatory. 
Where there is major sonata repertoire that includes piano collaboration (e.g., violin, cello, etc.), a pianist must be hired to accompany the applicant at the audition.

All repertoire requiring piano must be performed with a professional pianist.

Strings DMA
Round 1 (Pre-Screen Audition)

• Prepare 15-20 minutes of repertoire from the audition program.
• Applicants should present select movements that represent as many different eras as possible.
• Solo Bach is encouraged but not mandatory.
• Where there is major sonata repertoire that includes piano collaboration (e.g., violin, cello, etc.), a pianist must be hired to accompany the applicant.

Round 2 (In-Person Audition by invitation)

• A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared and should include works in three (3) or more contrasting styles and periods. 
• Complete works are encouraged but not mandatory.

All repertoire requiring piano must be performed with a professional pianist.

Woodwind MMus
A full-length audition program of at least 60 minutes in length of professional level repertoire must be prepared and should include works in three (3) or more contrasting styles and periods. Complete works are encouraged but not mandatory.  Students should also prepare five (5) orchestral excerpts.
​

Woodwind DMA​
Round 1 (Pre-Screen Audition) 

Prepare 2-3 contrasting styles from the audition program to present 15-20 minutes of repertoire from the audition program. ​

Round 2 (In-Person Audition by invitation) 

• A full-length audition program of at least 60 minutes in length of professional-level repertoire must be prepared and should include works in three (3) or more contrasting styles and periods. 
• Complete works are encouraged but not mandatory. 
• Students should prepare five (5) orchestral excerpts

 A rhythm section is provided for in-person auditions; details will be provided to applicants invited in mid-late January.

Jazz MMus
The applicant should show personal technical and musical strengths through the performance of repertoire in a variety of jazz tempi and styles (a total of five (5) pieces including one ballad and one up-tempo tune) and feature improvising skills prominently.

Examples of original compositions are also strongly encouraged; scores may be included with the Repertoire List in the uploaded supporting documents.

Jazz DMA
Successful applicants must show experience as a solo performer with an advanced technical and interpretive ability. Improvisation must indicate imagination and thorough mastery of the selected repertoire.

Round 1 (Pre-Audition Video Recording)
The video should feature the applicant prominently in a small ensemble setting. The applicant should show personal technical and musical strengths through the performance of repertoire in a variety of jazz tempi and styles (three (3) pieces including one ballad and one up-tempo tune) and feature improvising skills prominently. Examples of original compositions are also strongly encouraged; scores may be included with the Repertoire List in the uploaded supporting documents.

Round 2 (In-Person Audition by invitation)

The applicant should show personal technical and musical strengths through the performance of repertoire in a variety of jazz tempi and styles, and feature improvising skills prominently. Jurors will select repertoire (usually five (5) pieces including one ballad and one up-tempo tune) from the applicant's repertoire list (25-30 pieces); lead sheets for any original pieces should be provided. See the Supporting Documents - DMA Performance page for more information on the repertoire list and a sample repertoire list.

Opera (MMus)
Note: Below are the requirements for Opera applicants. Requirements for the MMus in Voice and Vocal Pedagogy are separate and found in their respective programs on the website. If you are applying to both Opera and another vocal program, you must ensure that you meet requirements for both programs.

Round 1 (Pre-Audition Video)
Two (2) contrasting arias, one of which must be in English (an aria in English translation is acceptable).

Round 2 (In-Person Audition by invitation)
Three (3) contrasting arias, one of which must be in English (an aria in English translation is acceptable).
Scores are not required at the live audition.

*Current University of Toronto opera students are not required to submit a pre-audition recording.  

**Applicants should work with a collaborative pianist for their pre-audition video recording.  An opera accompanist is provided for in-person auditions (available for applicants applying to only the MMus Opera program). Applicants applying to multiple vocal programs will be responsible for contacting and paying their accompanist(s) for in-person auditions. A list of accompanists is available on request from the Graduate Department of Music.

Please review the audition information below carefully. If you are applying to more than one program as a singer (e.g. opera, voice, historical voice, vocal pedagogy) please ensure that your audition program matches the requirements for all programs of interest.

MMus Voice
Round 1 (Pre-Audition Video Recording)*
Repertoire Requirements for Pre-Audition video submissions:
   - Two (2) arias;
   - Two (2) art songs; and
   - One (1) art song composed after 1960.

In all, your video must include five (5) selections in no fewer than three (3) languages, and one (1) of the selections must be in English.

*Current University of Toronto voice students (BMus) are not required to submit a pre-audition recording for the MMus program.

Round 2 (In-Person Audition by invitation)
The audition program must include a total of ten (10) pieces reflecting a minimum of four (4) languages, and meeting the following requirements:
    - Three (3) contrasting arias, one (1) of which must be in English;
    - Two (2) art song groups of three (3) songs each; The art song groups should be structured as you would for a recital i.e. connected by language, composer, style period, subject etc.; and
    - One (1) contemporary song written later than 1960.

The audition program must include repertoire from contrasting styles and periods. Successful candidates must show experience as a solo performer and an advanced technical and interpretive ability.

Applicants should work with a collaborative pianist for both rounds of the audition. A list of accompanists is available on request from the Graduate Department of Music. Applicants are responsible for contacting and paying their accompanist(s).

For Jazz Voice, please see the  Jazz Audition Requirements. 
For Historical Performance (Voice), please see the Historical Performance (Voice) Audition Requirements.

DMA Voice
Round 1 (Pre-Screening Audition recording)
Repertoire Requirements for Pre-Screening video submissions:
    - Two (2) arias;
    - Two (2) art songs; and
    - One (1) art song written after 1960.

In all, your video must include five (5) selections in no fewer than three (3) languages, and one (1) of the selections must be in English.

Round 2 (In-Person Audition via invitation)
The audition program must include a total of ten (10) pieces reflecting a minimum of four
(4) languages, and meeting the following requirements:
    - Three (3) contrasting arias, one (1) of which must be in English;
    - Two (2) art song groups of three (3) songs each; the art song groups should be structured as you would for a recital i.e. connected by language, composer, style period, subject etc.; and
    - One (1) contemporary song written later than 1960.

The audition program must include repertoire from contrasting styles and periods. Successful candidates must show experience as a solo performer and an advanced technical and interpretive ability.

Applicants should work with a collaborative pianist for all recordings and in-person auditions. A list of accompanists is available on request from the Graduate Department of Music.  Applicants are responsible for contacting and paying their accompanist(s).

Please review the audition information below carefully. If you are applying to more than one program as a singer (e.g. opera, voice, historical voice, vocal pedagogy) please ensure that your audition program matches the requirements for all programs of interest.

MMus Vocal Pedagogy
Round 1 (Pre-Audition Video Recording)*
Repertoire Requirements for pre-audition video submissions:
   - Two (2) arias;
   - Two (2) art songs; and
   - One (1) art song or contemporary/pop/musical theatre song written after 1960.

In all, your video must include five (5) selections in no fewer than three (3) languages, and one (1) of the selections must be in English.
Vocal pedagogy applicants should include one (CCM) piece as part of their audition program.

*Current University of Toronto voice students (BMus) are not required to submit a pre-audition recording for the MMus program. 

Round 2 (In-Person Audition by invitation)
The audition program must include a total of ten (10) pieces reflecting a minimum of four
(4) languages, and meeting the following requirements:
    - Three (3) contrasting arias, one (1) of which must be in English and may include Oratorio;
    - Two (2) art song groups of three (3) songs each; The art song groups should be structured as you would 
       for a recital i.e. connected by language, composer, style period, subject etc., and one group may 
       include Contemporary Commercial Music (CCM) repertoire;
    - One (1) contemporary song written later than 1960.

The audition program must include repertoire from contrasting styles and periods. Successful candidates must show experience as a solo performer and an advanced technical and interpretive ability.

Vocal pedagogy applicants should include one (CCM) piece as part of their audition program.

Applicants should work with a collaborative pianist for both rounds of the audition. A list of accompanists is available on request from the Graduate Department of Music.  The candidate is responsible for contacting and paying their accompanist(s).

DMA Vocal Pedagogy
Round 1 (Pre-Screening Audition – Video Recording)
Repertoire Requirements for Pre-Screening video submissions:
  - Two (2) arias (one Opera and one Oratorio preferred)
  - Two (2) art songs; and
  - One (1) art song or contemporary/pop/musical theatre song written after 1960.

In all, your video must include five (5) selections in no fewer than three (3) languages, and one of the selections must be in English.

Round 2 (In-Person Audition by Invitation)
The audition program must include a total of ten (10) pieces reflecting a minimum of four (4) languages, and meeting the following requirements:
  - Three (3) contrasting arias, one (1) of which must be in English;
  - Two (2) art song groups of three (3) songs each; the art song groups should be structured as you would for a recital i.e. connected by language, composer, style period, subject etc. and should include Contemporary Commercial Music (CCM) repertoire; and
  - One (1) contemporary song written later than 1960.

The audition program must include repertoire from contrasting styles and periods. Successful candidates must show experience as a solo performer and an advanced technical and interpretive ability.

Applicants should include one Contemporary Commercial Music (CCM) piece on their audition program.

All recordings and auditions require a collaborative pianist. A list of accompanists is available on request from the Graduate Department of Music. Applicants are responsible for contacting and paying their accompanist(s).