Most high school students assembling the material for college applications know that extracurricular activities highlighting community engagement are desirable data points for admissions officers.
“A musical skill set can punctuate a student’s college admission application to showcase unique expertise and differentiate it from measures of other applicants,” according to music educator Curtis Forbes, with participation in performing ensembles checking boxes for “initiative and commitment to collaboration, culture, and creativity… Ultimately, colleges don’t care that you chose a particular instrument—they want to witness the results of your commitment to music education and understand your love of the craft.”
Pretty much ANY young musician who has qualified for PIMF is on that track already. But for high school artists with an eye on acceptance to university music programs and conservatories, PIMF’s daily College Audition Preparation Seminar during its July session can sharpen their resumes, hone their search and get them into top audition-acing form.
Longtime Philadelphia Orchestra cellist Gloria DePasquale directs CAP at PIMF, compressing the months-long program she developed for young musicians in the Philadelphia Youth Orchestra Music Institute into a popular and extremely effective one- to two-week PIMF camp session.
Alumnae of this program have gone on to study – often with generous scholarships — at such outstanding institutions as: Curtis Institute of Music, The Juilliard School, Cleveland Institute of Music, Eastman School of Music, Manhattan School of Music, Mannes College, National Conservatory of Music – Mexico, Peabody Conservatory, Princeton University, Rice University – Shepherd School of Music, Rome Conservatory of Music, Royal Academy of Music, Temple University – Boyer College of Music, U.C.L.A., University of Pennsylvania, and many, many others.
In addition to attending lectures on subjects from managing adrenaline to choosing a repertoire to crafting a resume, participants play for their peers every day, getting grilled by them and by instructors with increasing specificity. They even take turns on a peer adjudication panel.
“They become more acute in what they’re listening for in their peers,” Ms. DePasquale explained. “So, when they go to prepare their own audition, they’re more acute in listening to themselves for what needs to be improved. It gives their practice much more structure, and how they’re spending their time is much more targeted.” 
“I think the constant exposure of constantly performing in front of a group, even if you aren’t 100% comfortable, is really helpful to learn how to do your best when you can’t control your environment,” CAP participant Austin Choi told us. “The first day, I had no idea I’d be called on to perform, and had to dive right in. Another time, I had to run across campus, literally three minutes of running, then play in front of a panel. It helped that it was a panel of fellow musicians that day, not stern-faced judges, but still!”
Ms. DePasquale notes that over the years, she’s seen the program engage not only high school seniors with an eye on a music degree, but underclassmen as well.
“When you arrive and you actually have your audition repertoire ready, you’re going to get a lot more out of it,” she said. “But if you’re a junior or a sophomore, you’re still going to get a lot out of it because you’re going to learn what you need to do, how you need to choose that repertoire.”
