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All prospective music majors and minors must audition for acceptance to the UMHB Department of Music. Music auditions are held four Saturdays through out the year. A pianist will be provided for auditions, although students may bring a pianist if they wish. Recorded accompaniments are not permitted.

It is highly recommended to select an early audition date since possible scholarships are given on a " first come, first serve " basis.

It is highly recommended to select an early audition date since possible scholarships are given " first come, first serve " basis.

Prospective students who audition for acceptance to the UMHB Department of Music will be considered for scholarship. There is no separate scholarship audition.

Scholarships areavailable to music majors,music minors,and non-majors. Priority will be given to music majors.

Priority

Prospective students should apply ( future.umhb.edu/admissions-process ) to UMHB and complete the admission process before submitting an Audition Request Form. If a student submits an Audition Request Form before applying to UMHB, the student must bring an application for admission, transcripts of all previous academic work, and SAT/ACT scores to the music audition.

Prospective students should consider all potential scheduling conflicts before submitting an Audition Request Form. After the form is received, each student will be contacted with a specific audition time on the date the student has requested.

Complete the Online Audition Request Form »

November18, 2017 February3, 2018 February 24,2018 March3,2018 April 7, 2018

Audition Requirements by Performing Medium

Note: An accompanist will be provided at no charge.Recorded accompaniments are not permitted.

Classical Guitar

Percussion

Note: It is highly suggested that all solos come from the Texas PML (Class 1 or 2)

900 College Street Belton , TX 76513

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Review by Nicole Zdeb — Published on December 3, 2012 Tags: French literature , nike blazer sb premium
, seagull books , translation

Forty years have passed since L’Arrière-pays was published in French to nearly instant acclaim. It first appeared as part of a collection titled Les sentiers de la creation (The Paths of Creation, 1972) that included contributions by Claude Lévi-Strauss, Roland Barthes, Pablo Picasso and Francis Bacon. Now that Seagull Books has ushered the work into English, there can be no doubt that this was a book worth waiting for. The Arrière-pays is an immersion in the heady waters of a profound aesthetic consciousness.

In it, Yves Bonnefoy threads memory, thoughts on art and architecture, dreams, the plot of a favorite book, and two unfinished novels—all through an analytic lens that borrows from language philosophy, Freud, and modernism. He traces the branching of an idea that sparked to life in childhood: that of the l’arriere-pays , a not here that is radiant and transformative; a place of symmetries; an idealization with Platonic overlays. The phenomenon of this lived world, art and nature, reveal this deferment of perfection and trigger the yearning for Other that is so much a part of love. This book could be viewed as a moral tale of how infatuation with a concept, however alluring and seemingly benign becomes dangerous when it leads you out of love with this world.

Bonnefoy recognizes this temptation into delusion and grapples with it with spiritual grace and intellectual rigor. L’Arri è re-pays is, as Bonnefoy says in the preface, “the great phantasm”:

I have often experienced a feeling of anxiety, at crossroads. At such moments it seems to me that here, or close by, a couple of steps away on the path I didn’t take and which is already receding—that just over there a more elevated kind of country would open up, where I might have gone to live and which I’ve already lost.

This book is a study of inquietude, its signs and the system of specialized knowledge, or gnosis, that they represent. Bonnefoy states, “In L’Arrière-pays —and this is what sets it apart from my other books—I took the risk of confronting head on a particular temptation I was prey to, arguing that I had to struggle with it, saying that I had struggled with it, imagining that I had triumphed over it.”

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