personal statement for music conservatoire

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Essays, Personal Statements, and Résumés for Music Students

Essays, personal statements and résumés for music students can be daunting. While the audition is a key component in the acceptance process, admission reps want you to keep in mind that the paperwork side of the application is also important.

by Caitlin Peterkin

“We have a small interview component to our audition process and we review recommendation letters and a student’s music history (typically via the résumé),” says Megan Grady, music recruitment coordinator and assistant director of Admission at the University of Puget Sound School of Music. “We also like to see what else students do and if we think they’ll fit in well with our liberal arts university, not just the School of Music.”

Applying to music school is a highly-competitive process. Brittany Jimenez, associate director of Undergraduate Admission at USC Thornton School of Music , encourages students to be genuine and to put their best foot forward in all parts of the admission process.

“There are many parts of the application and admission process you cannot control, like who else is applying,” she says, “so carefully managing the parts you can control (like the writing supplements and portfolio submissions) will be very important.”

Catch the attention you want

An essay, often referred to as your personal statement, is required by many music schools. Each school posts its own guidelines for these. If you’re uncertain about what they’re asking for, contact the admissions office.

The Common App streamlines the process of applying to several schools, although not all schools use it. You’ll find out whether colleges and universities that use the Common App require a personal essay once you create your Dashboard on the Common App website. The Common App provides a list of “prompts” or ideas to write about and you are given the option to edit your essay after you submit your first application. Even if schools don’t require a personal essay, you’ll have the option to submit one.  

Music schools within universities as well as some colleges require you to apply to the university or college as well as to the music school. A separate school of music essay may also be required. Schools will indicate the word count as well as prompts or a specific theme they want you to write about. This may be referred to as a “supplemental essay.”

You can also choose to apply directly to schools instead of using the Common App. A request for supplemental materials including writing requirements is built in to these applications.

Note that these requirements may be different for transfer students.

So how do you make sure your essay and personal statement stand out from the crowd?

Here are suggestions from recruiters and admission representatives for creating essays they’ll they’ll be eager to read:

1. Do your research.

“It is beneficial to research the school and program and speak to the specific aspects and opportunities you find most relevant to you and your interests,” says Jimenez. “Getting to know the specific programs and faculty is important because every school is going to be unique in the type of experience they offer.”

Patrick Zylka, assistant dean for Admission, Financial Aid and Graduate Services at Northwestern University Bienen School of Music , agrees. “We want to know an applicant has done the research on our institution, not just that it’s a top ten ranking, or that their best friend goes here, but that they’ve really dug a little bit deeper and understand what the institution offers….and whether we’re actually a good fit for them.”

But he adds the caveat to not just regurgitate what’s on a school’s website: “Don’t tell us we’re a beautiful campus next to Lake Michigan—we already know!”

2. Don’t copy and paste.

Faculty and staff recognize that you’re probably applying to multiple institutions. Make sure to write a unique statement for each one, tailoring each essay to the specific program you’re applying to. Schools do not want to see a generic, cookie-cutter answer as to why you’re choosing their particular program.

“Essays that are clearly ‘cut and paste’ versions of an essay you’ve sent to a dozen schools…are not very persuasive,” says Christina Crispin, assistant director of Admissions at Eastman School of Music .

3. Show your personality!

As faculty and admissions reps review hundreds of applications each year, they want to read thoughtful statements from prospective students to get a better sense of each individual’s personality.

According to Zylka, admission reps view the essay as an applicant’s only opportunity to really show who they are as an individual, more than what any transcript or test score can reveal. “Speak from the heart,” he says. “If you’re funny, be funny. If you’re serious, be serious.”

Grady agrees: “We are looking for students to tell us more about themselves. We like to see creative essays that tell us something we may not be able to learn from the rest of their application.”

4. Proofread—multiple times.

Not only are essays a good way to show your personality, but they’re also a chance to demonstrate that you can write in a clear and coherent way.

“The essays that we are least impressed by are those that have typos, grammatical or punctuation errors—anything that screams, ‘I didn’t proofread this,’” says Crispin.

Some other no-nos: run-on sentences and “writing one big paragraph instead of a thought-out essay,” according to Grady.

Your résumé – the right way

Nearly all applications for music schools require a résumé.  

“The résumé is the place for applicants to highlight their musical accomplishments and experiences,” says Crispin. “If they want us to know about other extracurricular activities, leadership, volunteer work, etc., the résumé is a good place to capture that information.”

“It’s important to tell us about any honors, awards, summer festivals, private lessons,” adds Zylka. “Things that show us you didn’t just go to high school from a certain time in the morning to the afternoon.”  

• Make it clean and organized.

There is no one right way to format a résumé unless specified by the schools you’re applying to. They should be easy to read. Include your contact information plus music-specific information and experience.

“Present your résumé in an organized way so it is easy to review what you have done and when,” says Jimenez. “The résumé is typically 1-2 pages in length and mostly focuses on accomplishments and activities during high school.”

“Clean résumés are best—for musicians, that involves what you’ve performed, competitions you’ve won, ensembles you’ve performed along with chair placement (if applicable),” says Grady.  

“Keep your activities limited to your high school achievements,” she adds “unless there’s something particularly outstanding (like a performance at Carnegie Hall) that took place before high school. Show that you play multiple instruments and for how long, who you’ve studied with, ensemble directors, etc.”

• Proofread.

Edit your résumé multiple times, and have a trusted friend, family member, or teacher look it over. “We never want to see typos, misspelled words, or grammatical errors,” says Jimenez.

Final thoughts

Crispin advises all students to start their application early. “We often hear from applicants that they were surprised how much time it took to fill out their applications, and you don’t want to be rushing and risking errors right before the deadline,” she says. This also includes reaching out to teachers for recommendations well before applications are due.

Just like no two music programs are the same, no two application processes are the same. Do the research on what exactly is needed for each program you’re applying to, and make a checklist with deadlines for each one.

Finally, utilize all the resources available online and in admission offices. “Our website should be your best friend throughout the process,” says Jimenez. “Your other best friends will be the people in the office of admission. Applicants are always encouraged to ask questions anytime! We want our applicants to be successful throughout the admission process and are here to help however we can.”

Caitlin Peterkin is a writer/editor and arts enthusiast currently based in Portland, OR. She has worked as program manager for Earshot Jazz (Seattle) and has written for BestNewBands.com , Chronicle of Higher Education , and Paste Magazine . She graduated from Indiana University Bloomington with a B.A. in Journalism and a minor in Music.  

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Applying for Music at Oxbridge: The Course, and How To Craft A Standout Music Personal Statement

Find out more about the Oxbridge music courses and what to read/ listen to for your music personal statement with U2 tutor, Kai (1st Class Cambridge Music graduate and current Oxford PhD student, researching the existential implications of AI-composed music).

What does a Music course involve at Oxford or Cambridge?

Studying Music at university is an inspiring and thrilling experience—yet, until you have first-hand experience, it can be difficult to tell what an academic Music course actually entails. Specifically, how does studying Music at a university like Oxford or Cambridge differ from doing a performance or composition degree at a conservatoire? Is there a difference?

The short answer is yes—there is a huge difference. For although you can choose to make performance or composition play a role in your university studies, they will never become the main focus; at both Oxford and Cambridge, both performance and composition are each limited to around a fifth or sixth of your studies in a given year. So what do you do with the rest of your time? Here are some of the key components that make up most Music degrees:

Music history

o   This is usually focused on the development of Western music (all the way from plainchant to the present!); the emphasis is on the continuities and discontinuities between styles through history. For example, how did Schoenberg’s atonal music emerge from Wagner’s late Romanticism? At the same time, music history explores how music has both shaped and been shaped by the extra-musical features of its historical context, such as literature, visual art, philosophy, theology, and politics. For example, what impact did Stalin’s censorship have on Shostakovich’s musical style?

Theory and stylistic composition

o   This is the study of the fundamental methods and conventions that define a musical language. Although there will likely be an initial focus on the Western tonal and modal tradition—for example, Classical and Romantic harmony, Baroque fugue, and Renaissance counterpoint—there is also scope for things like jazz transcriptions, film music composition, and orchestration.

o   At first, analysis is not hugely differentiated from theory, as both involve understanding how music is constructed; at its most basic level, then, analysis involves things like identifying chords and structural markers in specific compositions. However, where analysis becomes really exciting is when you can build on these foundations to make your own judgments and interpretations. For example, there might be a Chopin nocturne you love, and that always makes you feel nostalgic; you could then try to get the bottom of how exactly Chopin’s compositional decisions—his choice of specific chords etc.—may serve to evoke such feelings.

Composition

o   Here you have ‘free reign’, as it were. Although you will be encouraged to find your own compositional voice, you will be exposed to lots of different musical styles, especially those of living composers, in order to inspire you.

Performance

o   This is predominantly assessed through solo recitals. However, given that you are studying at an academic university rather than a conservatoire, there is also an emphasis on understanding key issues in performance, rather than simply practising your instrument. For example, to what extent are a performer’s facial expressions part of their performance?

Ethnomusicology and sociology of music

o   These related areas constitute the study of music in specific cultural contexts, with a particular emphasis on how musical practices interact with social structures. Ethnomusicology differs subtly from sociology of music in its focus on musics that do not belong to the broad tradition of Western art music—for example, the gamelan music of Bali. The sociology of music tends to be more focused on issues like gender, sexuality, and power structures, as they manifest in the music of contemporary society.

Psychology of music (music and science)

o   This investigates how we perceive and are uniquely affected by music, using psychological methods such as listening experiments, surveys, and brain scans.

What should I read (and listen to!) in preparation for my music personal statement and interviews?

I would suggest, as a general rule, that there are two types of book you should read. Firstly, general overviews and introductions are extremely useful for providing a basic grounding in key areas, as well as for drawing your attention to specific topics that might strike you as especially fascinating. This brings me to the second type of book: more narrowly focused works on a specific topic, such as a composer, a period of history, or a key concept (such as cultural appropriation in music). Remember, though, that you are NOT expected to have read and to know everything! So even though I will provide quite a few suggestions, I would suggest that you stick to reading a couple of introductory books and a couple of books that align with your specific interests. What’s most important is that you read carefully and critically —make sure to note down your ideas as you read. This will be useful for your personal statement as admissions tutors are looking for applicants who can critique and present their opinions, rather than list an abundance of books they have read. Some introductory books include:

An Introduction to Music Studies , edited by JPE Harper-Scott and Jim Samson

o   This book consists of a series of chapters by renowned specialists on the key areas and themes in the study of music—in effect, a much expanded (and much better!) version of the summary I gave above.

Oxford’s Very Short Introductions

o   There are several of these for music, including: Music (in general); Film Music; Folk Music; Ethnomusicology; Psychology of Music; Early Music; World Music; Country Music; and The Blues. Because they are so short and readable, they are the perfect way to sample various areas.

A Guide to Musical Analysis , by Nicholas Cook

o   This is a readable overview of key concepts and techniques in musical analysis; it’s especially useful for those who are daunted by the topic.

Musicology: The Key Concepts , by David Beard and Kenneth Gloag

o   This book consists of a huge number of short entries on themes in musicology, including things like ethics, gender, globalization, interpretation, modernism, and the sublime.

In terms of the second type of book, there are two main ways to find them. You can look for what the above introductions reference when they are focusing on a particular theme. In addition, you can simply search on a website that sells books—such as Amazon, Waterstones, or Blackwell’s—for the topic you are interested in, such as Stravinsky’s Rite of Spring . In general, books published by university presses, such as Oxford and Cambridge, will be more detailed and will be written by specialist academics; for this reason, I would encourage you to give some a go, but also not to be discouraged if you don’t understand everything at this stage. The key point is to read what grabs your attention —for this reason, there is no extensive general reading list I can give. That said, here are some personal suggestions for particularly good books on specific areas:

The Rest is Noise , by Alex Ross

o   This is an extremely popular book, and rightly so. Ross takes you on a journey through twentieth-century music, from late Romanticism, through Stockhausen, to Rock music.

The Classical Style and The Romantic Generation , by Charles Rosen

o   Both these books are classics, and focus on the Classical and Romantic eras respectively. Their main strength is Rosen’s ability to present deep insights from the music itself—they are ‘serious’ musicology—in a beautifully readable manner.

Cambridge Music Handbooks

o   This is a series of short books, written by specialists, each of which focuses on a specific piece, from Bach’s Mass in B Minor to The Beatles’s Sergeant Pepper . They are both accessible and rigorous.

Sound and Symbol , by Viktor Zuckerkandl.

o   This is a beautiful and quite poetic book that explores the experience of listening to music. Although there is some analysis, it is engaging throughout and never dry. 

Finally, it is crucial never to stop listening to music! Never just read a book on musical history without looking up some of the music mentioned and listening to it yourself—otherwise, what’s the point of studying music? Listen to what you love, read about what you love to listen to, and listen to what you are reading about. At the same time, listen to pieces outside your comfort zone , and make sure you are familiar with some of the seminal pieces in the history of music —not just because they are important in the study of music due to their influence, but also because they are generally amazing!

Some good music pieces to listen to for Oxbridge applications

Try listening to a few pieces a week, along with the score (there are many YouTube videos with the audio synced up with the score). Here are some suggestions, in chronological order—this list is by no means exhaustive, and is focused on the kind of music that you will encounter whilst studying music history (that is, music from the Western art music tradition):

·         Dies Irae anonymous plainchant

·         O Ignis Spiritus Paracliti , by Hildegard of Bingen (12th century)

·         Viderunt Omnes , by Perotin (c.1200)

·         Ave Maria Virgo Serena , by Josquin (c.1475)

·         Missa Papae Marcelli , by Palestrina (c.1562)

·         Vespers , by Monteverdi (1610)

·         St Matthew Passion , by Bach (1741)

·         Piano Concerto no.21 , by Mozart (1785)

·         Symphony no.9 , by Beethoven (1824)

·         Dichterliebe , by Schumann (1840)

·         Tristan and Isolde (especially the Prelude and Liebestod ), by Wagner (1865)

·         Symphony no.4 , by Brahms (1885)

·         Symphony no.9 (‘From the New World’) , by Dvorak (1893)

·         Prelude to the Afternoon of a Faun , by Debussy (1894)

·         Symphony no.5 , by Mahler (1902)

·         Violin Concerto , by Sibelius (1905)

·         Gaspard de la nuit , by Ravel (1908)

·         Three Piano Pieces op. 11 , by Schoenberg (1909)

·         Fantasia on a Theme by Thomas Tallis , by Vaughan Williams (1910)

·         The Rite of Spring , by Stravinsky (1913)

·         Cello Concerto , by Elgar (1919)

·         Symphony , by Webern (1928)

·         Music for Strings, Percussion and Celesta , by Bartok (1937)

·         Symphony no.5 , by Shostakovich (1937)

·         Appalachian Spring , by Copland (1944)

·         Peter Grimes , by Britten (1945)

·         Four Last Songs , by Richard Strauss (1948)

·         Le marteau sans maître , by Pierre Boulez (1955)

·         Atmosphères , by Gyorgy Ligeti (1961)

·         Sinfonia , by Luciano Berio (1969)

·         Black Angels , by George Crumb (1970)

·         Rothko Chapel , by Morton Feldman (1971)

·         Music for 18 Musicians , by Steve Reich (1976)

·         Symphony of Sorrowful Songs , by Henryk Gorecki (1976)

·         Asyla , by Thomas Adès (1997)

·         Orion , by Kaija Saariaho (2002)

·         Partita for 8 Voices, by Caroline Shaw (2012)

·         Become Ocean , by John Luther Adams (2013)

Remember, the point of a personal statement is to be personal. Professors are looking for applicants who can demonstrate certain abilities, but how you gain those abilities and how you exhibit them in your personal statement and at interview is completely up to you and should be determined by your interests. Studying music at Cambridge or Oxford is an incredible experience.

Good luck, and happy reading and listening!

Looking for a Cambridge or Oxford Music Personal Statement Writing Tutor or Support For Your Wider Oxbridge Music Application?

Music Degree Personal Statement Support

U2’s Oxbridge-educated mentors have a close insight into what admissions tutors like to see in a Music personal statement, and can help students to convey their skills, motivations, and long term goals, in order to stand out from other applicants. The statement should be the candidates own work, but our mentors will provide direction and guide you through the process of content building and writing. We offer offline drafting as well as tuition sessions.

Oxbridge Music Mentoring

U2 offers wider Oxbridge Mentoring programmes (book a free consultation to discuss options). We have a large team of Oxford and Cambridge Music tutors including 1st Class, Master’s and PhD level graduates.

The Process:

1) We suggest a Cambridge or Oxford Music graduate as a mentor and send their full CV for review. Our mentors are deeply familiar with the admissions process to study Music at Oxford and Cambridge University, and are well-placed to guide you through personal statement curation and preparation for the interview process. We may suggest a range of application tutors to choose from with slightly differing rates depending on qualifications and level of experience.

2) We typically suggest beginning with a 1.5 hour informal assessment/ taster session , where the mentor will informally assess the student’s current performance level for application, including test and interview. Following this, we issue a report with feedback, and structure a plan to best prepare.

3) U2’s approach for regular Oxbridge Music application sessions: The main focus of tutorial sessions will be to explore material that can be discussed in the personal statement and at interview - this may sometimes stretch to First Year Undergraduate. Mentors ensure each student refines their interests, and is exposed to a range of new concepts, guiding students in their reading and wider subject exploration. Together, we build a case for the student, solidifying the stance and direction they will take during interview and honing critical discussion and analytical skills for interview.

Frequency of sessions can be decided between student and mentor. Students can take either ad hoc sessions, or we structure a full programme for preparation, which may include further co-curricular opportunities such as our Oxbridge mock interview days. Honing the skills necessary to succeed for Oxbridge ideally requires long-term preparation and mentoring presents a wonderful opportunity to learn from some of the very best Oxbridge has produced.

Sessions from £75/h.

Preparing for Philosophy at University: Reading, Personal Statement and Oxbridge Interview Questions

Preparing for computer science at university: reading, super-curriculars, oxbridge interview questions and more.

Application & Audition

All Applicants

1. Online Application

Domestic Students Only: APPLY

International Students Only: APPLY

• FALL 2021 DEADLINE FOR DOMESTIC STUDENTS: AUGUST 15, 2021
• FALL 2021 DEADLINE FOR INTERNATIONAL STUDENTS: JULY 1, 2021

Late applicants will be accepted on a case by case basis and should contact our office for further information.

2. Additional Materials: AFTER completion of the online application

• An in-person or electronic (YouTube video preferred) audition demonstrating your level of proficiency on two contrasting pieces (contrasting by style, time period, or tempo)
• One-page personal statement describing your interest in pursuing the certificate program and your musical background
• An in-person or web conference interview with NEC Continuing Education Associate Dean
• An additional in-person or web conference interview with respective department chair
• A recommendation letter from an academic institution or former teacher which will exhibit your academic performance/personal character and such.
• Copy of transcripts from previous institution (either high school or higher educational institution)
• Copy of a photo I.D.
• Copy of TOEFL exam with a minimum score of: 79iBT or 550 Paper-Based  (International Students only)   Find additional information in Frequently Asked Questions.

Please submit these materials either by email or mailing address:

[email protected]

Mailing address:

NEC School of Continuing Education 290 Huntington Ave. Boston, MA 02115

Questions? Please email us at  [email protected]

New England Conservatory of Music does not discriminate on the basis of race, color, religion, sex, age, national or ethnic origin, sexual orientation, physical or mental disability, or veteran status in the administration of its educational policies, admission policies, employment policies, scholarship and loan programs, or other Conservatory-sponsored activities.

Music Performance Personal Statement

Sample Music Performance Personal Statement

From a young age, hearing stories of my grandfather’s career as a play-by-ear pub pianist, I have been passionate about music and determined to pursue a career as a musician. Having worked hard to gain academic and practical experience in the field I am confident that I have the ability to succeed at undergraduate level.

At school I have performed solidly across a range of subjects, showing motivation and ability by taking my GCSEs and my A-levels 12 months early. It has been in musically related subjects where I have performed best, however, and, through undertaking both Music and Music Technology at A-Level I have given myself an excellent foundation for future study.

As with anyone who is pursuing a career within the field, studying various instruments and music theory has also constituted a large element of my extra-curricular activities. My main instrument is the alto saxophone, in which I have achieved a distinction at Grade 8. My love of woodwind instruments extends from playing the clarinet, in which I have achieved a Grade 7, while my broader interest has allowed me to gain both Grade 5 Music Theory and a merit in Grade 2 Piano.

It is performing and sharing my love of music with others that has truly inspired me, however, and I have taken every opportunity to gain experience where possible. I am currently the principle saxophonist for a number of local orchestras, I also fill in as principle clarinettist when necessary. This has offered the opportunity to play in a range of venues and contexts, including concerts at Symphony Hall and various fundraising events. I also play with a range of smaller ensembles throughout my community, covering every type of performance and venue, from busking to residential care homes. More recently I have begun playing with a function band, covering bass sections in a range of covers. While broadening my experience into different styles, this has also improved my arrangement abilities by working out the relevant parts from the recordings by ear. Recently I also attended the Summer Saxophone Spectacular course run by the National Saxophone Orchestra, which offered the opportunity to perform with noted professionals, such as Nigel Wood. I also gained experience teaching saxophone, clarinet and music theory for Musical Den International, Walsall Academy and at local primary schools, greatly improving my confidence in my knowledge, my ability to communicate my enthusiasm verbally and musically, and my teamwork skills. Perhaps the experience of which I am most proud, however, is my performance at last year’s Walsall Young Musician of the Year competition, in which I was a finalist.

While my love of music, and my dedication to developing my skills in the field may well dominate both my educational and extra-curricular activities, I also find time to indulge my desire to play a valuable role in my community, arranging regular fundraising events. I am also a keen traveller with a limitless curiosity about the world, having visited various countries both with school and family.

As my achievements within the field suggest, I am a hardworking and dedicated student with the passion and ability to make a real contribution as a musician. While I have worked hard to gain the relevant academic knowledge to ensure I can perform to a high level throughout undergraduate study, it is my skill in performing, and communicating my enthusiasm to others both through playing and teaching, that will continue to motivate me to achieve my future goals in the field.

We hope his sample Music Performance Personal Statement has been helpful in developing your own.

Personal Statement

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Writing a personal statement

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UCAS / UCAS Conservatoires

If you are applying through UCAS for a university course or UCAS Conservatoires (e.g. Trinity Laban Conservatoire of Dance and Music) then you will need to write a personal statement.

Personal Statement Mind Map https://www.ucas.com/file/4251/download?token=KIC9lMgH

Personal Statement Worksheet https://www.ucas.com/file/4261/download?token=u7I6M9Q5

How to write a UCAS Undergraduate personal statement (University courses) https://www.ucas.com/undergraduate/applying-university/how-write-ucas-undergraduate-personal-statement

How to write a UCAS Conservatoires personal statement https://www.ucas.com/conservatoires/filling-your-conservatoires-application/how-write-ucas-conservatoires-personal-statement

Ten places to get personal statement pointers https://www.ucas.com/connect/blogs/ten-places-get-personal-statement-pointers

• Personal Statements
• Music Personal Statement

Music Personal Statements Example

Sample statement.

I love music but I also enjoy a challenge. That is why I have decided to focus on music as my future career rather than just a way to relax. I have had an instinctive feel for playing music, singing and moving to music since I was a small child and I have enjoyed training to improve my skills and to make my playing and singing a pleasure for others. That has not always been easy. It’s a lot of hard work at times but the rewards for sticking with it are very worthwhile.

A university course in music is the next natural step for me and I realise that it won’t be easy. It will be an opportunity to grow as a musician and I look forward to being able to immerse myself in music and to develop my skills both on a personal and academic level. Music for me is relaxing but it is that all-encompassing relaxation that comes with the self-discipline required to practice and improve. Learning to play a musical instrument can be torture, but getting through the difficult stages and learning to make the instrument sound good is so satisfying.

Music needs determination, commitment and skill to be able to make it sound good, but being able to apply your musical achievements to build a career also needs a thorough grounding in the music industry. I want to focus on expanding my musical skills and knowledge but also on where it can take me in the future. Studying at university level seems a very natural next step.

I have looked for music courses that allow flexibility and that will give me the widest experience and appreciation for different types of music and different ways of making it. I want to learn the technical knowledge too, building on my experience with music software I have already been using.

College has been a positive experience for me and I am lucky to have been within an environment that was encouraging and challenging at the same time. My music teachers provided the push we needed to achieve our best but were also realistic in the deadlines that they set. This has made me able to cope well with time pressure and I work consistently and well to finish set tasks, which has given me added confidence. I have a high natural ability, with a good ear, timing and good rhythmic skills but I have learned to become a polished performer and to work well within a group.

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Musical theatre personal statement example 1.

For as long as I can remember I have had a very deep passion for Musical Theatre. A passion that was accompanied by a burning ambition to succeed, and even as a small child that ambition was enough to make any sacrifices that were necessary to ensure I would always perform at my best, and since I was about ten years old, small things such as not eating chocolate before a performance, wearing a distasteful, but very warm coat and scarf to prevent catching a cold, and just always taking care of my body and my voice, even if it does mean missing that party that “everyone is going to” and instead holding my head over a bowl of hot water, and inhaling the steam for fifteen minutes! No sacrifice has or will ever be too much. Because I get my joy out of striving to be the best that I can be, and I get my fun from succeeding in something that was difficult and knowing I had to work hard to do it.

I have always taken part in as many performances as I can, because I believe that it's always good to gain experience, and I also find I can learn so much from watching others perform. I am a member of the ___ Youth Theatre, and on my first course we did a play called “Widows” by “Arial Dorfman” I was playing a small part so spent a lot of my time sitting at the side, and while I was there I learnt a very valuable lesson, that watching others being directed and performing, can be as helpful if not more helpful than actually being up there yourself. I was amazed at how much I learned about acting from that course, one of my faults in my acting was I tended to “over act” but its was during this play I began to realise that sometimes less really is more when you are trying to deliver emotion though acting. This is also something I was to discover in singing one year later at____College while I was doing my B-Tec in Performing Arts.

I have been classically trained in singing since I was eleven, and have always adored beautiful melodic and lyrical sounds, so I would really sing each phrase of the Music, but whilst being at college I learnt how to control those sounds and not to “over sing” as many modern pieces of musical theatre such as work by “Stephen Flaherty” and “Jason Robert Brown” ask for much more genuine and intricate sounds, I learnt that some lines need to be almost spoken in a very natural way, to actually become a more believable character. I found it was a challenge for me, because it was a total change from what I was used to, I was worried about people thinking I wasn't a very good singer, it just took practise and a lot of trust in my singing tutor and of course my peers. And I was able to put it into place when I played _____ in lucky Stiff by Stephen Flaherty. In our final major project in year one.

I believe its very important to build a strong working relationship with your lectures because when you are learning new ways to perform it is so important that you learn to trust them, and you can then believe in what they are telling you, as new things often feel strange and unfamiliar. I also feel it is extremely important to have a close bond with the peers your working with, this is because most of the time musical theatre is not about individuals it is about the team work, and whenever I have been in a musical or a play the most successful times were when we had a strong team. There really is nothing more powerful than stepping onto a stage ready to perform when you know you have a whole cast around you, who are supporting you one hundred percent, and you know your supporting them one hundred percent, It can feel so invigorating. There are of course times when the teams are not successful and it is so important that you work hard to combat this, I find something that has helped me is playing drama improvisation games, some that focus on integration and some that focus on trust, going back to the simple ways of childhood came sometimes overcome the most complex adult relationship problems.

I auditioned for your School of Musical Theatre last year at ____ College, and I was absolutely delighted to get through to the re-call stage, however due to circumstances at home I was unable to attend last year, I was naturally extremely disappointed, however I decided to make the most of my “gap year” and do something completely different. I wanted to gain some life experience, as I have never travelled or even lived away from home, and felt perhaps doing something like that would help me mature and would be a great base to hopefully study with you this year. So I did some research and noticed that British Airways were recruiting for cabin crew and within two months of my interview I was on my way to my new flat in Crawley, ready to take on an exciting and challenging career. After my six weeks training I was ready to fly! I have had so many wonderful experiences and feel truly lucky to have tried something so exciting in my life, however it is not where my heart lies, and I am desperate to take what I love doing more than anything in the world. Performing.

Your Musical Theatre course really stood out to me cause of its practical nature and of course your impressive reputation, but also because I feel being part of the GSA Conservatoire is something I have always wanted and something to be extremely proud of. I feel I am suited to the course because I am very egger to learn and more than anything I enjoy a challenge and will always do my best to succeed. I also believe that criticism is one of the key ingredients to improving, and so im always keen to hear any advise that I can learn from.

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This personal statement was written by emz_8 for application in 2008.

This personal statement is unrated

Related Personal Statements

I think you sound really.

Wed, 20/02/2008 - 14:06

i think you sound really dedicated! good luck! and the cabin crew thing sounds impressive. it is abit long though, but still not boring to read. well done!

Did you ever get anywhere? i

Tue, 14/12/2010 - 10:39

Did you ever get anywhere? i think its not veey good in getting a positive view of yourself across rather than a pretentious one.

Wed, 26/10/2011 - 00:31

Loved this statement. Too many statements plod on and on about academic awards and grades and groups, but not once have I found a statement that, like yours, actually goes on to explain the relevance and challenges in any of these things! Gold star for you my friend, and good luck ^_^

Fri, 05/10/2012 - 12:00

this is a bit shit, sozza

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How To Write A Conservatoire Reference: No More Stress!

If you’re asked to write a reference for a conservatoire applicant, the chances are that they’re applying through UCAS in the UK or directly to specialist schools in the US, such as Berklee College of Music .

Each system has its own guidelines, with some institutions requiring both academic and practical references or sometimes just broader letters of recommendation.

So how do you write a conservatoire reference?

You should write a conservatoire reference by ensuring that you include commentary and opinion of your first-hand experience of the applicant’s ability in their specialism. Include informed opinion of their suitability for higher study and professional practice, as well as their academic potential.

That sounds like a lot, but basically, universities and colleges want to know if the applicant is of a good enough standard to be called for an audition and if they have the potential to achieve highly on the course.

Your role is to help the applicant secure that audition and to give the judging panel confidence in their capability and commitment.

Here’s my snapshot guide to how to write a stress-free conservatoire reference…

1 Writing a Practical Conservatoire Reference

If you’ve been asked to write a practical reference for a conservatoire applicant, then the chances are that you are a class music, art, drama or dance teacher, a 1:1 peripatetic teacher, band leader, coach or head of a relevant academic department.

It’s possible that you might be a club leader or someone that the applicant has undertaken work experience or placements with, but you should have enough of a history with them that you feel comfortable commenting on their practical progress and potential.

You may not be part of an academic establishment, like a school or college, so you may not have access to the systems and guidance they use. You should feel confident about contacting the applicant’s school for help and advice if you need it.

Sometimes, not being a member of staff at the applicant’s school can be quite valuable, as it means that you’re likely to have a unique relationship with the student and can write about them from a very different perspective.

That’s great for admissions teams, who will get a rounded picture of the applicant.

If you don’t feel qualified to write the reference, then don’t. Instead, work with the applicant to help them identify the most appropriate referee and help support them through the process.

What to Include in a Practical Reference:

• A very brief personal introduction that gives contextual information to support your qualifications, experience and authority in the field.
• A very brief explanation of your relationship to the applicant, the length of time you’ve known them and in what capacity.
• The applicant’s practical, theoretical and artistic abilities in their specialism. This should be based on your direct experience and observation of their progress over a period of time.
• The applicant’s commitment to their specialism outside of the classroom. What do you know of their wider experience in their specialism, opportunities taken or challenges overcome?
• The applicant’s attitude to work and their level of discipline and application. How motivated are they?
• Your opinion of their innate talent and capability, with examples.
• The applicant’s key achievements, their experience and their potential for working professionally in their intended field.

If you want to find out more about writing awesome college references, then check out my 7 quick tips for writing college references right here .

2 Writing An Academic Conservatoire Reference

It’s possible that you’ll find yourself writing an academic reference for a conservatoire applicant and that your knowledge of their arts specialism is limited.

That’s fine.

Someone else will cover their practical reference, so your focus can be on outlining their more traditional academic potential.

However, your academic reference or letter of recommendation needs to be slightly different to a more conventional application…

Elements to Include in an Academic Reference

As with the majority of academic references, you should include:

• A summary of the applicant’s academic progress, achievements and potential, including their strengths, areas that they find challenging and obstacles they’ve overcome.
• Their attitude towards learning, motivation, and meeting academic goals.
• Their transferable skills.
• Contributions to the wider life of the school or college.
• Their potential value to the university and their suitability in general for study at degree level and beyond.
• Their ranking within their cohort for core subjects.
• Details of how the school or college has generated pending or predicted results data.

Additional Elements For Conservatoire References

• The degree and scope of the applicant’s engagement with their arts specialism at school (if you know).
• Comment by teachers relevant to the application (if they are not providing the practical reference).
• The candidate’s history in their specialism as well as your justified opinion of their potential to succeed in this field.

You can find my in-depth article on how to write university references here or click on the image below…

3 How Do References Work On UCAS Conservatoires?

I’m often asked this question, and it’s true that the conservatoire system in the UK can seem a bit complicated. Here’s how it works in a nutshell…

Students can apply for up to six courses in the conservatoire system, which is different to the standard undergraduate number of five.

Applications can also begin much earlier than most other degree courses, so it’s possible that you’ll be asked to complete a reference late in the previous academic year or at the very beginning of the current one.

Applicants can choose their referees, although this is usually done in consultation with their school. UCAS requires both practical and academic references, but these must come from different sources.

Don’t write both, as this is likely to delay their application.

How Do I Submit A UCAS Conservatoire Reference?

You’ll need to supply your email, and details of how to upload the reference will be sent to you via UCAS. You should not pass the reference directly to the applicant to upload, as they will not be able to do this.

You can show the applicant your reference in advance if you would like, and it’s good practice to liaise with the member of staff at their school who is coordinating the application or providing the academic reference (if that’s not you).

That way, you can check that, between you, everything relevant is included.

The applicant will then be notified that your references have been uploaded (they won’t be able to see them), and their application will move forwards.

If you’re not confident about the quality of your writing and want to make sure that your reference or letter of recommendation is as expert, accurate and compelling as it can be, then why not use Grammarly to help?

It’s a great option for improving all kinds of academic writing, and the free version is super-powerful. You can find out more here , or hit the banner below.

Good luck with your reference writing, and don’t forget to contact me if you’d like some 1-1 support. You’ve got this! D

Research and content verified by Personal Statement Planet .

David Hallen

I've worked in the Further Education and University Admissions sector for nearly 20 years as a teacher, department head, Head of Sixth Form, UCAS Admissions Advisor, UK Centre Lead and freelance personal statement advisor, editor and writer. And now I'm here for you...

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