Candidates should complete their online application first.
In the online application, students should include a digital portfolio (Dropbox folder, YouTube, Vimeo) with a video of the candidate performing the audition programme as prescribed here below. The video needs to be one unedited performance of the required audition programme.
After the digital portfolios have been assessed, candidates will be informed whether the department has selected them for an audition in person (On-campus courses) or for an interview (both for On-Campus and Online courses).

All the portfolios submitted should indicate the applicant’s name and ID number if any, the program applied to and the contents of the file.
For online courses only, portfolio needs to be submitted 2 weeks before the beginning of the term.
For full academic year enrolment starting September 2022, portfolios needs to be submitted by 31st January 2022.

Timpani: UNDERGRADUATE candidates shall submit a digital portfolio containing:
• A brief written statement of purpose or goals in the program
• A video of the candidate performing the following orchestral excerpts:
– Scherzo-Turandot of Hindemith’s “Sinfonische Metamorphosen” (from “Test Pieces for Orchestral Auditions”, Schott)
– Frank Martin’s “Concerto pour 7 Instruments à Vent, Timbales, Batterie et Orchestre à Cordes” (available in “Test Pieces for Orchestral Auditions”, Schott)
POSTGRADUATE Timpanists shall submit a digital portfolio containing:
• A brief written statement of purpose or goals in the program
• A video of the candidate performing a solo piece at their choice
• A video of the candidate performing the following orchestral excerpts:
– Big Waltz from R. Strauss “Der Rosenkavalier” (from “Test Pieces for Orchestral Auditions”, Schott)
– Bartók’s “Concerto for Orchestra” (from “Test Pieces for Orchestral Auditions”, Schott)

Xylophone: UNDERGRADUATE candidates shall submit a digital portfolio containing:
• A brief written statement of purpose or goals in the program
• A video of the candidate performing the following orchestral excerpts:
– Prokofiev “Alexander Nevsky” (available in the Goldenberg book)
– Gershwin “Porgy & Bess” (available in “Test Pieces for Orchestral Auditions”, Schott)

POSTGRADUATE Xylophone candidates shall submit a digital portfolio containing:
• A brief written statement of purpose or goals in the program,
• A video of the candidate performing a piece at her/his choice at the Xylophone, Marimba or Vibraphone
• A video of the candidate performing the following orchestral excerpts:
– Prokofiev “Alexander Nevsky” (available in the Goldenberg book)
– 1st movement from Hindemith “Kammermusik” from “Test Pieces for Orchestral Auditions”, Schott)

Side Drum: Candidates shall submit a digital portfolio containing:
• A brief written statement of purpose or goals in the program
• A video of the candidate performing the following orchestral excerpts:
– 3rd and 4th movement from Prokofiev “Peter and the Wolf” (available in “Test Pieces for Orchestral Auditions”, Schott
– Rimsky-Korsakov “Capriccio Espagnol” (available in the Goldenberg book)

POSTGRADUATE Side Drum candidates shall submit a digital portfolio containing:
• A brief written statement of purpose or goals in the program
• A video of the candidate performing a solo piece at her/his choice at Xylophone, Marimba or Vibraphone
• A video of the candidate performing the following orchestral excerpts:
– Rimsky-Korsakov “Capriccio Espagnol” (available in the Goldenberg book)
– Suppé: Pique Dame

MMDip candidates must also include in their portfolio at least two examples of their academic written work, each piece of written work being 1000-2000 words in length and in English. The candidate’s written work should aim to demonstrate:
• Responsiveness to music and musical issues
• Quality of critical engagement
• Capacity for research enquiry

For On-Campus enrolments, candidates short-listed from the digital portfolio examination will be invited for an audition in person.

Undergraduate and Postgraduate candidates will be asked to perform:
• The same programme presented in the digital portfolio
• Scales and arpeggios
• A quick-study or sight reading

Following the practical assessment, a panel interview will be conducted with the candidate. This will:
• Allow the panel to further examine the candidate’s knowledge of music and their suitability for the course
• Provide an opportunity for the candidate to ask questions and discuss their performance during the audition
• Allow the panel to gain a clear understanding of what the student hopes to achieve from the course if they are accepted

Throughout the audition, candidates should note and strictly adhere to the following:
• In the videos, the camera needs to face the applicant
• Videos of the applicant performing over a soundtrack (instead of a live accompanist or ensemble) will be accepted
• For in person auditions, no time will be available during the audition to rehearse or discuss any special arrangements the candidate may require with the accompanist or rhythm section provided by LPMAM
• Wherever possible, candidates shall ensure that their instruments are fully ready and warmed-up prior to entering the audition room. A warm-up room will be available for this purpose close to the audition room. No warm-up will be allowed during the actual audition
• Prior to commencing the audition, the candidate must provide the music they will be performing in the practical assessment. This should be given to the steward in a suitable folder which must be clearly marked with the candidate’s name and a list of contents. The folder must contain copies of the score or lead sheet for use by the panel along with the melodic and rhythm section parts
• Additionally, undergraduate candidates must also complete the LPMAM written paper on the day of the audition in person. This requirement does not apply to postgraduate candidates