top_tabs University of Alabama College of Arts and Sciences

Welcome to Music Services! We are here to ensure that all Moody Music faculty, students and guests are equipped with the essentials they need in order to have a successful event.

How can we help?

  • Event Management

-Scheduling: Request a Room
-Buy tickets here!
-Event advertising, marketing, design
-Recital program generator: Please email to when completed.
-Live Stream Request form


 Meet Our Staff


Michelle Rosenberg
Coordinator of Music Services

Michelle is a 2012 graduate of the University of Alabama with a bachelor of arts in interdisciplinary art. She joined the Moody Music staff in August 2012 and lends her artistic abilities to designing concert posters and other graphic design projects. She enjoys working with the talented students, staff and alumni of Moody Music.

Phone: 348-1477




Contact Michelle if you have any questions concerning:

  • Venue management
  • Event scheduling
  • Advertising and design
  • Contracts and Professional Service Agreements


Courtney FairCourtney Fair
Marketing Support Assistant

Courtney Fair joined the Moody Music staff the Monday after her graduation from the University of Alabama in May 2014. She graduated with a bachelors degree in journalism and a minor in English. In college, Courtney worked for the Pickens County Herald and was the Features Editor for a student-run online news site, Dateline Alabama. She is thrilled to be able to work alongside her talented co-workers at Moody Music.

Phone: 348-1672

Please contact Courtney if you have any questions

  • Press Releases
  • Event programs
  • Website management
  • Key loan/renewal
  • Tickets



Michael Wilk
Recording and Sound Producer

Michael joined the faculty at the University of Alabama in Fall 2013. Partners and co-producer with John Kay and keyboardist with Steppenwolf, Michael has worked with Boz Scaggs, Mick Fleetwood, Christy McVie, Billy Burnette, Phil Seymour, Danny Hutton (3 Dog Night), Rick Derringer, the Pointer Sisters and jazz/saxophonist Tom Scott. Michael has been a live performer since 1979, touring with Willie Nelson, 3 Dog Night, Deep Purple, Lynyrd Skynyrd , Michael McDonald and Steppenwolf, just to name a few. He has worked on the soundtracks of 1988’s Satisfaction and 1986’s Pretty in Pink and has worked on various television commercials including a Diet Pepsi ad starring Ray Charles and featuring Jerry Lewis, Bo Jackson, Vic Damone, and Charro.

Click here to read his complete bio.



Glen SharpGlenn Sharp
Audio/Visual Technician

Glenn joined the staff at Moody Music at the end of February in 2014. He gained experience with lighting and sound while he was involved in various bands beginning in ’79 and continues to work with bands in Tuscaloosa. He is a business owner and since 2006 he has worked as the sound engineer at First United Methodist Church in the contemporary service.

Phone: 348-1477

Contact Glenn if you have any questions concerning:

  • Audiovisual and building needs
  • Recording
  • Archives


Music Services
8:00 a.m. – 4:45 p.m. (Lunch 12 p.m.-1 p.m.)
169 Moody Music Building
Box 870366
Tuscaloosa, AL 35478


Since 1982, musicians of national and international reputation have taught on the University of Alabama campus through the UA Endowed Chair through concerts, workshops, and lectures.

Originally, the Chair rotated annually among four areas: composition/theory, history/musicology, education/therapy, and performance. Since 1988, the Chair has rotated only among the first three areas, and there has been a smaller performance component each year.

Endowed Chair in Music Education and Music Therapy 2013-2014

 September 22-26, 2013

Dr. James F. Daugherty is Associate Professor of Choral/VocaDaugherty3l Pedagogy, Director of Graduate Studies in Music Education and Music Therapy, and Director of the School of Music Vocology Laboratory at the University of Kansas.  His research interests include lifespan voice pedagogy, acoustics of choir sound, choral conducting behaviors, and the philosophy of music and music education.

Dr. Daugherty has published in leading journals, served on numerous editorial boards (including the Journal of Research in Music Education and editorship of the International Journal of Research in Choral Singing), authored several book chapters, and regularly presents his research at national and international symposia. He works regularly with teacher workshops and festival choirs in many parts of the United States, and has lectured and conducted in Sweden, Australia, Canada, Italy, England, Spain, Germany, and the Netherlands. KU choirs under his direction have been heard nationwide on National Public Radio’s “Performance Today.”

Dr. Daugherty holds a PhD from Florida State University, and other graduate degrees from Columbia University (M.A.), Union Theological Seminary in New York City (M.Div.), and the University of Virginia (M.Ed.). He completed a certificate in voice at the Staatliche Hochschule fuer Musik Berlin, Germany and undergraduate concentrations in vocal performance and philosophy at Maryville College. Prior to his university career, he taught choral music for 17 years in the Virginia public schools.

 Click here for Daugherty’s schedule for his visit

October 6-9, 2013

Dr. Elaine Bernstorf serves as Professor of Music Education at Wichita State Bernstorf headshot 2013University. Her degrees include the BME and MME in Special Music Education and a PhD in Communicative Disorders and Sciences. She taught Elementary General Music and Special Music Education in the Wichita Public Schools (1976-1990).   She served as an adjunct instructor for graduate music education (1984-1992) and as a faculty member for undergraduate and graduate music education in the School of Music (1993-current), serving as Director of Music Education (2005-2008).   Dr. Bernstorf served as Associate Dean for the College of Fine Arts (2001-2009) and as Interim Dean (2003-2004). As a professor and researcher, Dr. Bernstorf’s specializations include elementary vocal music, special music education, early childhood arts education, speech pathology (especially in the areas of voice, fluency and child language), literacy development and curriculum development. Dr. Bernstorf is co-author of the book The Music and Literacy Connection (2004) published by MENC (National Association for Music Education). Locally, she directs the early childhood music program for Kaleidoscope, the speech-language preschool of the Evelyn H. Cassat Speech-Language-Hearing Clinic.  Bernstorf guest lectures in the College of Health Professions for the Interprofessional Education (IPE) program and has served as an adjunct professor for Communicative Sciences and Disorders and in the College of Education in Curriculum and Instruction.  She assists with a variety of integrated arts programs in area schools through Arts Partners, Inc.  She served as Administrator for the WSU Kodály Program and Summer Workshops (2005-2012).  From 2008-2011, Bernstorf served as PI for Accentuating Music Language and Cultural Literacy through Kodály Inspired Instruction, a US Department of Education grant for Professional Development in Arts Education. She serves on the administrator’s committee for the Organization of American Kodály Educators (2007-current).

Click here for Bernstorf’s schedule for his visit

November 11-15, 2013Autosave-File vom d-lab2/3 der AgfaPhoto GmbH

Professor Stephen W. Pratt is Professor of Music at the Indiana University Jacobs School of Music, where he teaches graduate courses in wind conducting and wind band history. Currently in his thirtieth year on the Jacobs faculty, he serves as Chairman of the Department of Bands/Wind Conducting, personally conducting the internationally acclaimed Wind Ensemble. His appearances with the Indiana University Wind Ensemble in the past several years include the College Band Directors National Association divisional convention in Normal, Illinois, the CBDNA national convention in Ann Arbor, Michigan, the Music Educators National Conference national convention in Milwaukee, Wisconsin, and the American Bandmasters Association national convention in Indianapolis. He is in constant demand as a clinician, guest conductor, and adjudicator across the nation and internationally. Recent appearances have included guest conducting the U.S. Army West Point Chamber Winds, the U.S. Army Field Band and all state orchestras and/or bands in North Carolina, Kansas, Kentucky, Michigan, New Jersey, Indiana, Illinois, and Nevada, as well as at the International School in Beijing, China. An advocate for new music, as well as a specialist in standard works from the wind band repertoire, Pratt has received praise from many contemporary composers for his interpretive conducting of their compositions. His graduate conducting students (MM, DM, PhD) hold prominent positions at some of the leading colleges and universities in the United States and internationally, as well as at outstanding high schools and academies.

November 17-20, 2013

Dr. Laurie Scott is Associate Professor of Music and Human Learning at The Scott 1University of Texas at Austin. Additionally, she serves as the director of The University of Texas String Project. Previous to this appointment, Dr. Scott served as Professor of Violin and Viola and Music Education Studies at Southwestern University in Georgetown, Texas. She is a registered teacher trainer for the Suzuki Association of the Americas, and is on the editorial board for the American String Teacher. Dr. Scott is a guest clinician and conductor at state and national conventions speaking on string pedagogy, inclusive school music programs, and character development through the arts. Her articles have appeared in the American String Teacher, the American Suzuki Journal, and the Journal of Research in Music Education.

 She is co-author with William Dick of the textbooks, Mastery for Strings, Level One and Two, and Learning Together: Sequential Repertoire for Solo Strings or String Ensembles, co-authored with William Dick and Winfred Crock. Her latest publication, From the Stage to the Studio: How Fine Performers become Great Teachers, is co-authored with Cornelia Watkins and was published by Oxford University Press in April of 2012.


February 10-24, 2014

Dr. Melissa Mercadal-Brotons, PhD, MT-BC is Director of the Music Therapy Brotons 1Master Program (Universitat Pompeu Fabra) in Barcelona Spain. She is also Professor  and Coordinator of Graduate programs and Research in ESMuC (Escola Superior de Música de Barcelona-ESMUC).  She has over twenty years of clinical experience , working with older adults with Alzheimer’s disease  and other types of dementia. She has published extensively and is co-author of the book “Manual de Musicoterapia en Geriatría y Demencias: Teoría y Práctica” [Manual of Music therapy in Gerontology and Dementias:  Theory and Practice(2008), “Musicoterapia en Medicina: Aplicaciones Práctticas” [Music therapy in Medicine: Practical Applications] (2010), and “Música, Musicoterapia y Discapacidad” [Music, Music Therapy and Disability] (2012).  She has served on the editorial review board of the Journal of Music Therapy of the American Music Therapy Association and currently she is member of the editorial board of Music Therapy Today of the World Federation for Music Therapy.  She is also the Spanish country representative of the European Music Therapy Confederation.


February 18-20, 2014

Dr. Steven N. Kelly is a Professor of Music Education in the College of Music at The Dr. Steve KellyFlorida State University. He has degrees in music from the University of North Carolina at Greensboro and his Ph.D. in music education from the University of Kansas.

Dr. Kelly taught in the Virginia public schools, at Brevard College and the University of Nebraska (Omaha). He is the author of the book Teaching Music in American Society: A Social and Cultural Understanding of Music Education and has served as a guest reviewer for Psychology of Music and the International Journal of Music Education.  He currently serves on the editorial boards of the Journal of Research on Music Education, Journal of Band Research, Research Perspectives in Music Education, the Desert Skies Symposium on Research in Music Education, and is the Editor-In-Chief of the Florida Music Director.

At FSU, Dr. Kelly teaches undergraduate and graduate music education classes, conducts the University Concert Band, and coordinates in the music education internship program. He has been a recipient of the University Undergraduate Teaching Award and is the Director of the FSU Summer Music Camps.


March 3-7, 2014

Dr. Christopher M. Johnson is Professor of Music Education and Music Therapy, Johnson Formal1and Director of the Music Research Institute at the University of Kansas.  Johnson earned the B.M.E., M.M.E., and Ph.D. degrees from The Florida State University and came to the University of Kansas in 1992.  Johnson previously served as director of bands at Baldwin High School in Milledgeville, Georgia, and instrumental music supervisor in Baldwin County, Georgia.

Since his arrival at The University of Kansas, Johnson has taught courses in Instrumental Conducting, Teaching Instrumental Music, Managing Behaviors in the Music Environment, Psychology and Acoustics of Music, and Research Methods in Music Education and Music Therapy.  Johnson just completed his second term as the editor of the International Journal of Music Education: Research, the research publication of the International Society for Music Education.  He recently ended his service as the Chair for the MENC Executive Committee of the Society for Research in Music Education and also just completed his term as the Chair for the Research Commission of the International Society for Music Education.  Johnson has published articles in many journals including the Journal of Research in Music Education, the International Journal of Music Education, the Journal of Music Therapy, Journal of Band Research, Contributions to Music Education, and the Bulletin of the Council for Research in Music Education, among others.  Johnson has also been an active member of the Research Seminar with the International Society for Music Education and has also served on the editorial board of the Journal of Research in Music Education.

His research interests include applied research in music education, applied research in music therapy, and basic research in the psychology of music.  Johnson also received a university teaching award, the Ned N. Fleming Award for Excellence in Teaching and a lecturing & research award as a J. William Fulbright Scholar.



The University of Alabama – Community Music School

Office: 171 Moody Music Bldg.   Phone: (205)-348-6741


Kindermusik General Information 

  • All classes take place in the Moody Music Building on the UA campus in room 141, off the main lobby.
  • Kindermusik classes are non sequential. Kindermusik classes are designed for a one parent or caregiver per enrolled child experience.   Attendance by more than one adult per child is subject to teacher approval. Due to room size and the need to keep an appropriate teacher to children ratio, attending a different class other than the one enrolled for is subject to teacher approval.
  • Class day/time options are listed on the CMS online enrollment form and the printable CMS enrollment form.  Classes are enrolled on a first come first served basis. Once listed classes are enrolled to capacity (8), additional class options may be opened for enrollment.  There is no proration of session fees for Kindermusik.
  • Tuition includes a supply pack for each child to keep.
  • The Fall semester classes begin the last full week of August. If interest exceedes the listed classes, an additional classes will start the week after Labor Day.  Spring Session classes begin the last full week of January. Our 5-week Summer session starts the first full week of June.
  • CMS Kindermusik teachers are Michelle Shumate and Caroline Nordlund.
  • A free one-time visit to experience a Kindermusik class may be scheduled as spots become available. Please call the CMS office to schedule a visit for you and your child to one of our classes.


Kindermusik classes are age-specific.  See below for class descriptions for Fall and Spring sessions. SUMMER SESSION class descriptions may be viewed on our printable form on main page.


Kindermusik Village (8 weeks)

Ages: Birth to 17 months

Fee: $115

  • Kindermusik Village fosters creativity, social development, and self esteem through exposure to music for infants from birth to 17 months.
  • 45-minute classes for infant and caregiver or parent, offered in 8-week non-sequential semesters.  Summer session is 5-weeks.
  • Many of the class activities and materials can easily be adapted fir the family to use at home.

Kindermusik Our Time (15 weeks)

Ages: 18 months to 3 years

Fee: $220

  • Kindermusik Our Time brings the joy of music and movement to the lives of children 18 months to 3 years and is offered in four 15-week non-sequential semesters.
  • Six to eight children, each with an accompanying parent or caregiver, meet weekly with the teacher for a 45-minute class.
  • These lessons also help parents and caregivers become familiar with ways to encourage and facilitate musical development and appreciation.

Kindermusik Imagine That! (15 weeks)

Ages: 3 ½ to 5 years

Fee: $230

  • Kindermusik Imagine That! Is a two semester non–sequential program focusing on children ages 3 ½ to 5 years.
  • 45 minute lessons will encourage children to participate and expand their potential for creative expression.
  • The class combines activities for children and teacher interaction (first 30 minutes) and those with parent’s direct involvement (last 15 minutes).

Kindermusik Young Child (30 weeks)

Ages: 5 ½ to 7 years

Fee: $425

  • Kindermusik Young Child is the final part of the four-stage Kindermusik curriculum for children 5 ½ to 7 years. Parents are not required to attend.
  • Enrollment does not require prior Kindermusik experience.
  • This class is structured in a two-year sequential curriculum. Each year consists of 30 weeks (August – May) of 60 minutes classes.


To enroll as a music major or minor in the Bachelor of Music, Bachelor of Science, or Bachelor of Arts degree programs in the School of Music, students must:

(1) be admitted to the University of Alabama; and

(2) audition successfully for the appropriate faculty member(s) in the School of Music; and

(3) show fundamental competence, including the ability to read music, on a diagnostic exam given at the time of audition.

In lieu of (2) and (3) above, any student intending to major in composition must submit a portfolio of compositions, and any student intending to major in theory must submit a writing sample and a statement of career goals.

Audition Requirements

Auditions occur in the studios and performing spaces of the Moody Music Building.

The audition must include three works of contrasting style that exhibit musical and technical difficulty appropriate to college music study. For singers, the undergraduate audition program should demonstrate the potential understanding of the classical vocal style (i.e., three art songs in the classical style with one (minimum) sung in a foreign language.)

Auditions in more than one area are discouraged.

Students should plan to spend at least a half-day on campus for an audition. On audition day, students will have the opportunity to meet with various members of the faculty and staff and to tour the facilities. Parents will have the opportunity to meet with members of the faculty and administration. In addition, the student will take a Music Fundamentals Diagnostic Exam.

Students who cannot audition in person because of distance from campus may audition by submitting a recorded audition. Recorded auditions must follow the same format as live auditions and must be recorded on a compact disc, a high-quality audio cassette, VHS format video tape, or DVD. Recorded auditions must be accompanied by a completed audition application with “Recorded Audition” written at the bottom. Arrangements must be made for completion and submission of the Music Fundamentals Diagnostic Exam.

Scheduling an Audition

Spring 2015 Audition dates for ALL AREAS:

  • Saturday, January 10, 2015 (There will not be any Voice auditions scheduled on this day)
  • Saturday, January 24, 2015 (Voice Auditions ONLY)
  • Monday, February 16, 2015
  • Saturday, February 28, 2015

Spring 2015 Audition dates STRINGS:

  • Thursday, February 12, 2015 (attending All-State Orchestra ONLY)

Fall 2014 Audition dates VOICE:

  • Monday, October 27, 2014 (attending Honor Choir ONLY)

Spring 2015 Audition dates for WIND/BRASS/PERCUSSION:

  • Thursday, February 5, 2015 (Honor Band ONLY)

Note: Click here for info on percussion auditions and Click here for info on Jazz Studies auditions

To audition, students must submit an audition request by regular mail or online and contact the above indicated instructor or area.

UNDERGRADUATE STUDENTS click here for the online form
UNDERGRADUATE STUDENTS click here for the regular-mail audition form

Forms must be received two weeks before the audition date to guarantee a place.

To inquire about late admission, contact the Director of the School of Music.


Students who audition for admission will be considered automatically for all available music scholarships. However, admission to the University of Alabama must be granted before a scholarship can be awarded. The School of Music has its own scholarship fund, distributed as follows:

  • The School of Music makes awards according to performing or creative talent.
  • Awards can carry any amount up to full tuition.
  • Awards are restricted to students enrolled as music majors in the School of Music B.M. or B.S. degree programs. Students in the School’s B.A. programs are not eligible for School of Music scholarships.
  • As per University policy, the amount of a music scholarship may be reduced should a student receive other scholarship awards from The University of Alabama.

More Information

Further information about the School of Music can be found in The University of Alabama Undergraduate Catalog, by calling the School of Music, or by exploring this web site.

School of Music
The University of Alabama
Box 870366
Tuscaloosa, AL 35487-0366
(205) 348-7110

Screen Shot 2014-06-20 at 3.50.43 PMJoin us on the beautiful University of Alabama campus at the School of Music for a new summer string experience. Improve your ensemble and music reading skills this summer by attending our weeklong camp featuring daily orchestra rehearsals, masterclasses, technique and elective classes, chamber music, and more. Daily snacks provided, students bring a sack lunch. The week culminates with a Saturday afternoon performance by the Summer Strings Orchestra.

The Summer String Orchestra registration is open to rising4th  – 9th  grade string students with prior playing experience. Students must be able to read music on all four strings and play in several keys. Experience with shifting and playing outside of first position is a plus, but not necessary. Teacher recommendation required. Extended day option for additional fee. See attached schedule.

The Summer Chamber Music option is open to rising 10th grade students through rising college freshmen with prior playing experience. Students must be able to fluently read music and play in several keys. Experience with advanced technique (shifting and playing through fourth position, vibrato) is a plus. Teacher recommendation required. Extended day option for additional fee. See our schedule for more details.

String Camp Enrollment Form 14

Summer String Camp Schedule 14


Summer String Camp





Use this form to request a scholarship audition time at the School of Music. Please complete all pertinent sections of this form. When you are finished, click the “Submit” button at the bottom. Do not use this form if you cannot appear on a scheduled audition date.

Please check the date you wish to audition. To be guaranteed an audition time, this application must be received at least two weeks prior to your selected audition date. You will be notified of the time and place.

This form is not compatible with Internet Explorer 6. You can get a free upgrade to the latest version of IE here, or you can get a free download of the Firefox or Safari browsers.


Stop by Moody, Office 169, Music Services and see Michelle Rosenberg for scheduling your recital date and to fill out the Recital Intake Form. Payment will be charged to the student account.

If you need special attention, such as harpsichord moved and tuned or piano tuned, please let Michelle Rosenberg know upon scheduling your recital.

If you’d like to schedule rehearsals for your recital, please see Michelle Rosenberg in Music Services and she can help you navigate ASTRA to find and secure those times. You will also need to check out a key for the respective hall. Please fill out the short-term key checkout form in the green book. This key must be returned, or you will have to repay the cost of the key at $200.00.

Please submit the following at least two weeks before your recital date:

Use the Recital program generator to create your program. Save a copy of the Word Document for your records and then email your program to Courtney Fair at

  • If your program is not received two weeks prior to your recital date, please be aware you are not guaranteed to have programs for your event. Programs are produced for student record and accreditation purposes.
  • The program will be designed and sent for editing to your professor. Any corrections you find after turning the program in need to be addressed ASAP. After appropriate proofing the program will be sent to printing.


You will need to get the yellow [masters] or blue [DMA] form from Amy Whitaker in Moody, 175 Main Office. She will fill out the form for you and you will fill in the recital dates you would like. Your professor will sign off on the selected date and they will sign the form. Then bring the completed form to Michelle Rosenberg in Moody, Office 169, Music Services.

Then follow all of the other recital procedures above.



If you plan on doing a reception, please make arrangements with Alumni Hall at 205-348-5863 to ensure that the Conference Room is free and they can check out a key for you. There is no charge for the use of Alumni Hall for your reception, though you have to have a sponsor, who will attend the event. SAI can cater your event.


The $50.00 fee for your recital pays for the hall usage, programs, staffing and a recording of your recital. The CD will be recorded and will be turned in to Music Services, Moody 169. When we receive it, you will be sent an email to come and retrieve it. If you have not received the email, your CD is not ready.

If you have any questions about the recital process, please contact Music Services at 205-348-1477.


Twenty-Sixth Annual


Monday, October 28, 2013



8:00-8:45 AM: Registration in Concert Hall Lobby (Moody Music Building)

9:00 AM-noon: Rehearsal

9:30 AM-noon: Auditions for the Honor Choir Full Tuition Scholarship (for those who will be majoring in music only in the Fall of 2014)

Noon: Lunch on your own

1:30-4:30 PM: Rehearsal

2:00-3:00 PM: Alabama Choral Participation Award Scholarships Auditions

4:30-6:00 PM: Dinner on your own

6:45 PM: Gathering in Concert Hall

7:30 PM: Concert

Registration will be via email: (after August 29, 2013)


Each new school participating in UA’s Honor Choir can bring a total of eight singers, trying to maintain a balanced ensemble as much as possible (SI, SII, AI, AII, TI, TII, BI, BII). If you are a returning school, you may bring as many as 16 or more students. Registration will be on a first-come, first-served basis until the choir is full.


The registration fee of $50 per participant will cover the rehearsals, the cost of the music, a T-shirt, an opportunity to rehearse and perform with University Singers, a festival participation medallion and the concert. Please make sure that you select the appropriate size of T-shirt for each participating student and for yourself as well. The concert is free and open to the public. (If paying by check make them payable to the University of Alabama) You can pay by clicking here.

All registration will be made via an Excel spreadsheet, and it can be downloaded at HONOR_CHOIR_REGISTRATION_2013. Simply download the file, and click the tab in the lower left-hand corner that meets your criteria:

Sheet 1. Returning schools
Sheet 2. New schools

Complete the spreadsheet and email it to The registration process is not complete without your school’s payment. (If paying by check make them payable to the University of Alabama) You can pay by clicking here.

Registration will be available from August 29-October 7, 2013.


Voice lessons are available from UA School of Music voice faculty for those students who will be music majors in college. Simply click on the drop-down box in the spreadsheet to select which teacher is preferred.
DRESS FOR THE CONCERT: Your school’s concert attire.


A full tuition scholarship will be awarded to a qualified student at the final concert on Monday evening. This award is based upon a superior level of performing ability
as evidenced in the student’s audition for the School of Music’s voice faculty. No additional audition is necessary. The Alabama Honor Choir Full Tuition Scholarship
pays all resident or non-resident tuition for four years and is limited to only those students who will be music majors at Alabama in the Fall of 2014. Receipt of this
award requires participation in selected University of Alabama choral ensembles. Students who wish to audition for the full tuition scholarship must audition to be
a voice major at the School of Music on Monday morning from 9:30 a.m. to Noon. Please click the link to register HONOR_CHOIR_REGISTRATION_2013. YOU MUST APPLY TO THE UNIVERSITY AS WELL AS TO THE SCHOOL OF MUSIC TO AUDITION FOR THIS SCHOLARSHIP. Contact Dr. Susan Fleming for further information concerning audition procedures.

These scholarships, in varying amounts, are awarded to incoming students whose standard of performance is commensurate with membership in the University of Alabama concert ensembles (University Singers and University Chorus) and who have a sincere interest in outstanding choral performance. The awards are based upon demonstration of a superior level of performing ability and upon the applicant’s aptitude and desire for leadership. Auditions for these non-major scholarships will occur on Monday afternoon. The scholarships, in varying amounts, are awarded for the fall semester with the understanding that the student participates in a choral ensemble. They are allocated based on the respective talent level and needs of the university choirs, are renewable for up to four years, and are available to qualified students regardless of major. The audition will include vocalization, pitch memory, and sight reading. These awards are for students who are coming to BAMA in the Fall of 2014, who want to sing in a choir, but who will not be music majors.

Audition requirements for the BM in Jazz Studies

Note: It is expected that you contact the instructor of your Primary Instrument that you will be auditioning on for any additional requirements to what is listed here.  Their contact information can be found on the Faculty/Staff page of the School of Music website.

Live auditions are expected however; in extenuating circumstances a live-taped audition may be accepted.  Please contact Chris Kozak, Director of Jazz Studies with any questions.

All students auditioning into the Jazz Studies program should be able to satisfy the following:

-       Two classical pieces of varying style (etudes can be used however it is recommended that you consult their viability by contacting the Professor of your Primary Instrument) 

-       Two jazz tunes, i.e. a blues and a jazz standard – Standards can be chosen from and can be found in the Jamey Aebersold catalog of Play-A-Longs or Real Book lead sheets.  The format to follow when performing these pieces is:

  • Play the melody (1 time through)
  • Improvise over the chord changes (minimum 2 choruses)
  • Comp (if applicable) by walking, playing the chord changes, and playing time (minimum 2 choruses) 

-       Basic jazz improvisation – Be able to improvise over a set of chord changes from the above chosen pieces as well as comp if applicable 

-       Sight-reading – Will be provided 

-       Scales: Major & Minor – You may also be asked for additional Scales i.e. Modes of the Major or Minor.  Scales should be a minimum of 2 octaves (ascending and descending to the 9th degree.)  You will also be asked to play the arrpegiation of the asked scale 2 octaves.

-       You may also be asked to do pitch matching as well as note identification on the Piano

**Jazz accompaniment will be provided if the request is made at the time of application**

Instrument specific Details for Jazz Studies Auditions:


Follow the above instructions


Follow the above instructions


All of the above general information including:  Please visit the following link for further info on Guitar auditions  Recommended Classical pieces for the audition: ex. Sor etudes or the Carcassi Melodious and Progressive Studies etudes


All of the above general information including:  Classical pieces should be discussed with the Piano Faculty.  Solo Jazz Pieces may be used for the Jazz requirement i.e. Body and Soul as a Ballad would be acceptable but preferably not a transcription.

Double Bass

Student MUST audition on Double Bass and exhibit skills using Arco technique (bow) on both of the classical selections.  You may also include an additional piece on Electric Bass in addition to the above general information.  Example Classical repertoire: Simandl Etudes, Eccles Sonata, George Vance Progressive Etudes.

Drum Set

-       Be able to play several different styles i.e. Bossa Nova, Samba, Afro-Cuban, Mambo, Calypso, Funk-Groove, Ballad (with and without brushes,) Swing (Slow, Medium, and Fast tempos with Sticks and Brushes.) 

-       Demonstrate trading “4’s & 8’s” on a Blues i.e. Play 4 measures of time, 4 measures of solo, etc. 

-       Exhibit proficiency in basic technique i.e. proper stick technique and grip 

-       Mallet keyboard technique is not required at the audition but if you have some ability in that area, it is highly encouraged. 

-       A play-along minus Drum Set in any of the above mentioned styles is recommended but preferably swing. 

-       One prepared Snare Drum solo or excerpt from a standard method book.

Some General things to consider regarding the overall audition process:

Apply early!  The sooner you get that information in, the sooner you can start preparing!

Be sure you have completed the University of Alabama Application.  Acceptance to the University is required in order to attend the School of Music.  That info can be found here:

-      Main Undergraduate page

-      Undergraduate School of Music application and auditions 

-      University Application  

As this is a formal audition, we recommend you come with a comprehensive C.V. or Resume and dress appropriately.  Arrive at least 1 hour to your scheduled time to allow for sign-in and warm-up.  Auditions can tend to run over so your patience is appreciated. 

Once the audition is complete this is time for Q&A about our program so come with questions.  Read up on our program and its course offerings. That info can be found here:

-      Jazz Studies Main Page and 

-      Course List

Letters of acceptance aren’t sent out until all auditions are complete.  This generally takes until the first week of March. 

Below is a copy of the info our Theory faculty provide to offer assistance for students preparing for the Theory placement exam taken when school begins.  This is different and separate from the one you will be asked to take at your audition.  The exam at the audition is a general diagnostic that give us a general idea of whether or not you are prepared to enter the School of Music as a freshman. 

Preparing for Courses in Music Theory

All freshman music majors are required to enroll for MUS 115 Theory I in their first semester. The theory faculty recommends that students acquire at least the basic musical skills listed below before entering MUS 115.

  1. Using treble and bass clefs, be able to read and write notes on the staff.
  2. Be able to quickly identify and write signatures for all major and minor keys. Know the relative and parallel minor of each major key; know the relative and parallel major of each minor key.
  3. Be able to quickly identify and write all major and minor (natural, harmonic and melodic) scales.
  4. Be able to write and identify major, minor, perfect, augmented, and diminished intervals. Know the inversion of any interval.
  5. Be able to write, clap, and count simple rhythm patterns.
  6. Be able to sing major scales using letter names or scale-degree numbers.
  7. For students who have experience in sight singing and ear training, practice singing and dictating simple diatonic melodies. Practice singing major and minor scales in all keys.
  8. Information regarding note reading, key signatures, scales, and intervals can be found in most theory texts. If you plan to study a theory text to acquire skills beyond those listed above, we recommend Harmony and Voice Leading, 2d ed. (New York: Harcourt Brace Jovanovich, Inc. 1978) by Edward Aldwell and Carl Schachter.

Sight-reading is a necessity and no professional musician would succeed if they did not show proficiency it this realm.  It is something I recommend students work on daily (a minimum of 20 minutes) to improve and further develop music reading skills.  The piece given will have a variety of rhythms in the Jazz idiom (think 8th note lines and arppegiations.)  The piece will also contain chord changes which you will be expected to comp and solo over.

If you have any questions regarding the above information or about the process, please contact Chris Kozak, Director of Jazz Studies at: or 205.348.6333

We look forward to hearing your audition!

The University of Alabama School of Music and the UA Opera Theatre
is pleased to host the sixth annual

May 20-28, 2015

An intensive opera training and young artists program and
performance opportunity for singers, pianists, and directors.

Paul Houghtaling, Artistic Director

The 2014 Druid City Opera Workshop and Young Artists Training Program was held May 21-29, 2014 with participants from Texas, Arkansas, Mississippi, Minnesota, Nevada, Ohio, Nebraska, and Alabama.

The 2014 program also included two collaborative pianist interns, as well as our own stage directing intern.

21 young artists were selected from over 100 applicants. Thank you to all who applied to Druid City 2014, and we hope you’ll consider our program again next year.

Screen shot 2014-07-11 at 2.01.33 PM

2014 Druid City Opera Workshop

Click Here for a video featuring 2013 Druid City artists.

Follow us on Facebook -!/pages/The-Druid-City-Opera-Workshop

See our Facebook page for photos of recent Druid City seasons
and for additional information and periodic updates.

Click Here to see the 2014 Druid City SCHEDULE of classes and events,
including a list of participating young artists.

Click Here to see the 2014 PROGRAM for the Final Druid City performance,
May 29, 2014.


Click Here to see the 2013 Druid City SCHEDULE of classes and events.

Click Here see the 2013 PROGRAM for the Final Druid City performance,
May 30, 2013, including a list of participating young artists.

Click here for DRUID CITY PHOTOS

Opportunities and Experience available for singers, apprentice coach/pianists and apprentice stage directors.

  • Performances (with piano) with repertoire selected from:opera-22
    • scenes from opera, operetta, and musical theater
    • one-act operas
    • arias and songs
  • Daily coachings and rehearsals of assigned repertoire
    (carefully selected based on voice type and
    experience level)
  • Daily classes including:
    • improvisation and acting for singers
    • movement (dance, mime)
    • stage combat
    • audition techniques
  • Special sessions and classes which may include:
    • body mapping and performance anxiety clinics
    • yoga for singers
    • diction for singers
    • masterclasses


Apprentice Pianists and Stage Directors: The same application procedures should be followed (see below).  Aspiring coach-pianists and stage directors should submit a detailed resume which includes the names and contact information of three references along with recordings (MP3 links, YouTube videos, etc) via email.


Minimum Age for Participants: 19 years of age; no maximum age restriction

2015 Tuition: $650 (limited financial assistance available)

Housing: Campus housing (single rooms) is available for $350 for the week (9 nights)**.  This price includes linens and lunch on 6 days of the program.  Housing is a 5-minute walk to the music building, with many restaurants and food options nearby.  (Note: These are current costs. Housing expenses may be subject to change closer to the spring 2015 deadline.)



2015 Druid City Faculty, Guest Artists, and Clinicians:

Paul Houghtaling, Artistic Director

2015 faculty will be announced in winter, 2014/2015. Check back with us often for updates.

Druid City Faculty, Guest Artists, and Clinicians:

Paul Houghtaling, Artistic Director

  • Kevin T. Chance – pianist and vocal coach (UA; Birmingham-Southern Conservatory)
  • Susan Fleming – mezzo-soprano, masterclasses in diction and repertoire; stage director (UA)
  • Paul Houghtaling – bass-baritone, producer, director, the business of opera  (UA)
  • Amanda Johnston – pianist and vocal coach (University of Mississippi)
  • Christopher Jordan – baritone, dance classes, stage directing intern (UA)
  • Choyoung (Gloria) Kim – vocal coach/collaborative pianist intern (MM, Rice University)
  • Linda Lister – soprano, stage director, Yoga for Singers  (University of Nevada Las Vegas)
  • Richard Masters – pianist and vocal coach (Virginia Tech University)
  • Emily Martin-Moberley – soprano, stage director (Bucknell University)
  • Stacy Panitch – actress, acting for singers (University of Alabama Opera Theatre)
  • Mary Price – vocal coach/collaborative pianist intern (MM candidate, Arizona State University)
  • Mary Ruth Pruit – stage combat assistant (Emory and Henry College, Virginia)
  • Matthew von Redlich – stage combat instructor (Tuscaloosa Academy)


Application Procedure:

Please send an email to the address below with the following attachments: 1) resume, 2) headshot (singers), and 3) links to recordings (MP3 files, YouTube videos, etc.) of two selections, at least one of which should be an opera aria in any language. Resumes should include the names and contact information of three references.

Application Deadline: March 15, 2015.

The Druid City Opera Workshop
c/o University of Alabama Opera Theatre
The School of Music
PO Box 870366
Tuscaloosa, AL 35487-0366

Feel free to call Dr. Houghtaling for further information on the program at (646) 345-5584.


Comments from 2014 Druid City participants:

“I want to sincerely thank you for a wonderful experience at Druid City. I came away from the trip as a much better musician, actress, and person. Your kindness will forever be with me.  I loved working with students of all levels of experience and getting to know them on a personal level as well. This program helped me understand what it means to be a well-rounded singer-actor and what it takes to succeed in this business. Druid City gave the confidence, focused mindset, and encouragement I needed to call myself an ‘Opera Singer’.”  (Grace Manley, soprano – University of Nebraska Omaha)


“Druid City truly was a life changing experience! I learned more than I ever thought possible in just a week’s time and I am amazed at my growth as a musician. I made friendships that I will cherish for a lifetime and through those people I have a renewed sense of purpose in my career choice. Thank you so much for the opportunity to change my life!”  (Cori Beasley, soprano – Arkansas State University, Jonesboro)

“Druid City was truly a positive and life-changing experience. Under the direction of Paul Houghtaling I learned three things: be prepared, perform with abandon, and love the people around you and the art itself. I never thought I would perform at this caliber over a year ago.” (Faustino “NJ” Solis, tenor – University of Nevada Las Vegas)

“After going to The Druid City Opera Workshop 3 different times, I have to say this year was by far the best one yet. It was so refreshing to return to a program I hold close to my heart and meet new, amazing people, learn so much more, and sing better than I ever have. Thank you to everyone who was a part of this special week, especially Paul Houghtaling who has put so much into giving us a life changing experience. You continue to change my life and make me a better person and performer. As sad as I was to leave today, the memories we all made together will be a part of me forever. Thank you for sharing your hearts, talents, and knowledge with me. I love you all more than you’ll ever know! “This is who we are, this is what we do.”  (Courtney Stancil, soprano – Southern Methodist University)
“The Druid City Opera Workshop has by far been the BEST decision I’ve ever made. Being selected to be a part of this great program was a huge blessing to Me! I’ve met some AMAZINGLY, INCREDIBLE young artists, coaches, and directors during this experience.  As well as, gained knowledge and insight on my dream career and what it takes to be successful in this field. Each member of the Druid City company has a special place in my heart, and I am honored to call you all my friends!  (De’Von Smith, baritone – Alcorn State University, Mississippi)


Comments from 2013 Druid City participants:

“I can honestly say, this has been one of the best experiences of my life!!!! Thank you Dr. Houghtaling and everyone at Druid City Opera for everything!! This experience will have a special place in my heart forever.”  (Nick Szoeke, baritone – Sam Houston State University, Texas)


“Druid City Opera Workshop is life-changing. Not only will you be able to own your craft like you never thought possible, but it will give you the tools to become a triple threat.”  (Cheyna Alexander, soprano – University of Nevada Las Vegas)

“I never imagined how much Druid City would change me as a person and, more importantly, as a singer. It gave me back my confidence and inspired me to continue pursuing my career. It reminded me why I love singing so much.” (Cristian Torres, tenor – University of Texas, Brownsville)

“Doing Druid City last week was one of the best experiences of my life, and I am so grateful that it happened.”  (Cornelia Lotito, soprano – Montclair State University, New Jersey)

“Druid City Opera Workshop is the place to be. I learned so much, not only about my art but about who I am. I’ve never been more confident about my craft and I feel like I’ve been revived.”  (Seth J. Stemple, tenor – Glenville State College, West Virginia)

“Compared to other programs I’ve done, Druid City is unparalleled in terms of the amount of individual attention each participant receives. The scenes were carefully chosen to highlight every singer, and the abundance of master classes and coachings provided fantastic opportunities to work with enthusiastic, knowledgeable professionals. The seminars on the business aspects of an operatic career were a wonderful supplement.”  (Rachel Yap, soprano – North Park University, Chicago)

“Thank you so much for such an amazing experience. I learned so much, not only about my voice, but also new skills which will make me a better artist.”  (Rachel Hutzenbiler, soprano – East Carolina University)

“Thanks for allowing me to be part of such a wonderful group! Druid City is such a well-rounded program, with one on one advice from professionals in opera. I feel so much more confident about applying to other summer programs and graduate schools.”  (Briana Fae Raif, mezzo-soprano – University of Mississippi)

“Thank you so much for the opportunity.  Druid City was truly one of the best experiences of my life. I felt like I grew more as a professional and artist over the course of the week. This program is worth every penny, one of the most complete young artist programs out there.”  (Colin Alexander, baritone – Birmingham-Southern College)

Comments from 2012 Druid City participants:

opera-33“Thank you for an amazing program.  Those eight days have made me feel extremely confident in my abilities as a performer and on what I have to offer Young Artist Programs.  This program was exactly what I needed.  I can’t tell you enough how wonderful it was and how much I’ve appreciated all that you’ve done for it.” (Elayne Juten, mezzo-soprano – University of Iowa)

“I learned so many different things in this week I will take them with me for my whole career. This was such a fantastic program with wonderful people.” (Brittany Anderson, soprano – University of Northern Illinois)

“Thanks for such a great experience. I learned so so much, not only about everything involved with opera but about myself as well.” (Aimee Allen, soprano – Simpson College, Iowa)

“This program was just fantastic.  The caliber of the faculty was ASTOUNDING.  Each teacher contributed so much to my growth throughout the week.  Druid City was CLEARLY the right decision.   Your program has re-kindled my love for performing and helped me to realize that I can continue to grow as a singer/actress.  I have never met anyone so devoted to helping young singers succeed.” (Rachel L. Smith, soprano – graduate of University of Northern Colorado)

Comments from 2011 Druid City participants:

“My heart was opened by a group of people I will never forget. Spending the week with such gifted, talented, intelligent, loving people was a tremendous blessing. I can’t wait to return next year.” (Ashley Drake Estes, soprano - New York, NY)

“This week has been the greatest week of my entire life! I miss my Druid City family already.” (Leah Marsella, soprano – Sam Houston State University, Texas)

“I attended this program last year. My excitement for this year’s experience comes from witnessing this program, in one year, growing to become a powerhousse of intense training that I have not yet experienced anywhere else. The faculty fuels the environment for growth and development. I have every intention of continuing to attend this program once a year. I cannot wait to see what Druid City has in store for its participants in the future”  (Katy Green, soprano – recent graduate, Murray State University, Kentucky)


“My experience with the Druid City Opera Workshop was phenomenal. The “Business of Singing” workshops were especiallyresourceful because learning how to market yourself is one of the most important aspects of being a performer. I will always remember ‘This is who we are and this is what we do!’ ” (Vincent Hale, baritone – Stillman College, Tuscaloosa, AL)

“This week has been amazing.” (Courtney Stancil, soprano – Sam Houston State University, Texas)

Comments from 2010 Druid City participants:

“This was an amazing experience for me! I loved how everything was so organized.  It was truly inspiring to be around such exciting and energetic faculty members. They were helpful, insightful, and critical while maintaining a positive approach to teaching us. I had a blast and I’m already looking forward to returning next summer.” (Katy Green, soprano – Murray State University, KY)

“The experience gave me the opportunity to involve myself in the operatic art form in a way that was more enriching and fulfilling than anything else I’d ever experienced … a friendly, focused, and professional community.” (Jacob Wooten, baritone – University of Alabama-Birmingham, AL)

“The program exceeded my expectations!  Every second was spent honing our craft and growing in the art of opera. ”  (Katelyn Perkins, mezzo-soprano – University of Montevallo, AL)

“I learned a great deal from this program.  I wish it was longer!  The movement and acting classes were tremendously enlightening and helpful.” (Kawika Berthelette, baritone – Colorado State University, Colorado Springs, CO)

“This was an intense program that was reasonably priced. At the end, I felt as if I had grown as a performer. It is really beneficial to have a program like this in the state.” (Marc Anderson, tenor – University of north Alabama, Florence, AL)

“It was fun working with a group of new people with different backgrounds. Everyone was just concerned with doing well and that was quite refreshing.”  (Pete Lake, tenor – University of Mobile, AL)

“This week taught me numerous things I’ll never forget. I’m so thankful to have had Druid City constantly push  me toward my potential … and this week I was pushed!  (Camille Sonnier, soprano – University of Alabama, Tuscaloosa, AL)


About UA and Tuscaloosa:

Tuscaloosa is the home of the main campus of The University of Alabama.  (And yes … there is more than football here!)

It’s a beautiful campus and surrounding community, located about an hour away from Birmingham.  We are easily reached from the Birmingham airport (we can arrange ground transportation if you come to Tuscaloosa without  a car … you won’t need one) and there is plenty to do when you’re not busy with the workshop program — restaurants, museums, cultural events, theater and concerts.  We have named our workshop after our city’s nickname — the Druid City.

Additional Information:

Please feel free to email us with any questions regarding this program.  We would be happy to hear from you and to answer any questions you may have.  Thank you for your interest.  We’re looking forward to a great opera workshop experience!