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Postgraduate Handbook 2019-20

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Contents

1. Introduction .............................................................................................................................. 4

2. Where do I find information about my studies? ..................................................................5

3. The Postgraduate Programmes Team .................................................................................. 6

3.1 Keeping in Touch ................................................................................................................................. 6

3.2 The Tutorial System .............................................................................................................................. 7

4. Key Programme Dates ............................................................................................................. 8

5. Study Requirements and Assessment (not ProfDip)............................................................ 9

5.1 MA Programme Structure ................................................................................................................... 9

5.2 MA (2 years) ........................................................................................................................................... 9

5.3 MA (1 year)2 .......................................................................................................................................... 10

5.4 MMUS Programme Structure ............................................................................................................ 11

5.5 MMUS (2 years) .................................................................................................................................... 11

5.6 MMUS (1 year) ...................................................................................................................................... 12

6. Principal Study (PG Cert, MA, MMus) ...................................................................................13

6.1 Final Examinations .............................................................................................................................. 13

6.2 Professional Skills ................................................................................................................................ 13

7. Artist Development and Pathways ...................................................................................... 14

7.1 What is Artist Development? .............................................................................................................14

7.2 What is on offer? .................................................................................................................................14

7.3 What is compulsory? .......................................................................................................................... 15

7.4 What can I do in addition to the compulsory requirements? ..................................................... 17

7.5 Introduction Seminars for Portfolio and AD .................................................................................. 17

7.6 Artist Development Days ................................................................................................................... 17

7.7 Pathway Registration .......................................................................................................................... 17

7.8 Dedicated Pathways .......................................................................................................................... 18

8. Portfolio ................................................................................................................................... 19

8.1 Introduction .........................................................................................................................................19

8.2 What do I have to submit? .................................................................................................................19

8.3 Portfolio Supervision Classes and Tutorials .................................................................................. 22

8.4 One-Year/Two-Year submission requirements ........................................................................... 22

8.5 Portfolio Submission FAQs ............................................................................................................... 23

8.6 Instructions for submitting ............................................................................................................... 23

9. MMus Project Work ................................................................................................................ 25

9.1 Introduction ........................................................................................................................................ 25

9.2 Assessment Criteria............................................................................................................................ 25

9.3 Developing the project ..................................................................................................................... 26

9.4 Presenting the project ....................................................................................................................... 26

9.5 Course Details ..................................................................................................................................... 26

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10. Credit Frameworks ................................................................................................................. 27

10.1 Component Areas .............................................................................................................................. 28

11. Professional Diploma ............................................................................................................. 29

11.1 Introduction ........................................................................................................................................ 29

11.2 Credit Structure and Assessment .................................................................................................... 29

11.3 Key Dates ............................................................................................................................................. 29

12. Academic Malpractice ........................................................................................................... 30

13. Institutional Information........................................................................................................31

13.1 Feedback (to the Academy)............................................................................................................... 31

13.2 ........................................................................................................................ 31

13.3 Graduation for MMus ......................................................................................................................... 31

13.4 Tier 4 Student Work Placements ..................................................................................................... 32

14. Guidance on Submissions ..................................................................................................... 34

15. Research Events ...................................................................................................................... 34

16. Licentiate of the Royal Academy of Music (LRAM) ........................................................... 34

17. Pathway Descriptors .............................................................................................................. 35

17.1 ANALYSIS AND AESTHETICS (Alex Hills) ........................................................................................ 35

17.2 APPROACHING THE GREAT LUTHIERS (George Zacharias) ...................................................... 35

17.3 ATTENTIVE LISTENING (Roderick Chadwick) ............................................................................... 36

17.4 AUDIO RECORDING TECHNIQUES (Andrew Lang) .................................................................... 36

17.5 BEYOND THE SCORE: COMMUNICATING WITH AUDIENCES (Gerard McBurney) ............. 37

17.6 COMPOSITION PATHWAY (David Gorton) ................................................................................... 37

17.7 CONCERT WORKSHOP (Roderick Chadwick) .............................................................................. 38

17.8 CONTEMPORARY MUSIC WORKSHOP (David Gorton) ............................................................. 38

17.9 CREATIVE COLLABORATION: DEVELOPING YOUR IDENTITY AS A PROFESSIONAL ARTIST (Jessica Walker) .............................................................................................................................................. 39

17.10 CREATIVE PROGRAMMING AND RESEARCH (Neil Heyde and Briony Cox-Williams) .......... 39

17.11 ENHANCED PERFORMANCE TECHNIQUES (Sophie Langdon) ................................................ 40

17.12 HISTORICALLY INFORMED PERFORMANCE CLASSES ............................................................... 40

17.13 HISTORICAL PERFORMANCE PATHWAY .......................................................................................41

17.14 ADVANCED HISTORICAL PERFORMANCE PATHWAY ................................................................ 42

17.15 -Ben Pienaar and Neil Heyde) ............................... 43

17.16 LEADERSHIP SKILLS FOR ARTISTS (Gwendolyn Tietze) .............................................................. 43

17.17 OPEN ACADEMY PATHWAY (Julian West) .................................................................................... 44

17.18 PERFORMING EXPERIMENTAL MUSIC (Alex Hills) ....................................................................... 45

17.19 PERFORMING FRENCH MUSIC (Roy Howat) ................................................................................ 45

17.20 PRACTICAL CONDUCTING PATHWAY (Dominic Grier) ............................................................. 46

17.21 SOUNDBOX (Peter Sheppard Skærved) ......................................................................................... 46

17.22 STUDIO PERFORMANCE (Amy Blier-Carruthers)......................................................................... 47

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1.

The Academy offers the following postgraduate awards:

Postgraduate Certificate (PG Cert)

Master of Arts in Performance or Composition (MA)

Master of Arts in Musical Theatre (MA)

Master of Music in Performance or Composition (MMus)

Professional Diploma (Prof Dip)

CPD Diploma in Creative Music Leadership

Advanced Diplomas in Opera and in Performance (Adv Dip)

Research degrees in Composition and Performance Practice (MPhil/PhD)

This handbook provides academic and operational information about the majority of the taught postgraduate programmes. The Advanced Diplomas, CPD Diploma in Creative Music Leadership, and Musical Theatre programmes have their own Handbooks, whilst Research degrees are covered in the Research Degrees Code of Practice. There will also be crucial information about your faculty requirements in the departmental handbooks, which also cover general aspects of study at the Academy. There are separate handbooks to cover Examination Procedures and Student Support. All handbooks are available on AIR. Information is also available from a range of staff who are detailed in the Handbooks.

If you have queries or concerns about any aspect of your studies or your wellbeing please contact your Tutor (see section 3, below) who will be able to help you to find the right support.

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2.

Postgraduate Programme Handbook

Postgraduate programmes team and tutorial system

Key programme deadlines, including written work submission

Blackboard (submission of work, registering for pathways, class information)

Study requirements and credit frameworks

Principal Study overview (Final Examinations and Professional Skills)

Pathways and AD (Artist Development)

Portfolio

MMus project

Guidance on submissions

Feedback

Departmental Handbook

Department staff and contacts

Principal study teaching expectations (including teaching off-site)

Key department dates

Department-specific expectations (attendance, concerts, masterclasses, etc.)

Departmental classes

Departmental facilities

Principal study final examination requirements

Professional Skills

Special Circumstances procedure

Leave of absence

Examination Procedures

Composition of recital panels

Assessment Criteria

Examination requirements

Equipment and accompanist provision

General information for students and examiners

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3.

Head of Postgraduate Programmes Professor Neil Heyde Neil is responsible for all of the postgraduate programmes. [email protected]

Room G81, ext 452

Senior Postgraduate Tutor and Associate Head of Research Professor David Gorton David has an overview of postgraduate taught degree programmes and is Tutor for historical performance, brass and composition students. He also helps co-ordinate research activities at the Academy.

[email protected] Room 178, ext 481

Senior Postgraduate Tutor Dr Sarah Callis Sarah has an overview of research degree programmes and advanced diplomas and is Tutor for jazz, musical theatre, advanced diploma students in opera and performance, and research degree students.


Postgraduate Tutor & Lecturer in Postgraduate Studies Dr Amy Blier-Carruthers Amy is Tutor for strings and harp students. [email protected]

Room 278, ext 497

Postgraduate Tutor and Reader in Music Roderick Chadwick Roderick has an overview of the professional diploma programme, and is Tutor for accordion, guitar, organ, choral conducting, percussion and professional diploma students.


Postgraduate Tutor Dr Mei-Ting Sun Mei-Ting is Tutor for piano students. [email protected]

Room 278, ext 358

Postgraduate Tutor & Lecturer in Postgraduate Studies Dr Briony Cox-Williams Briony is Tutor for vocal studies and piano accompaniment students. [email protected]

Room 278, ext 441

Postgraduate Tutor Anna Wolstenholme Anna is Tutor for woodwind students. [email protected]

Room 278, ext 358

Postgraduate Tutor & Lecturer in Artist Development Dr Jessica Walker Jessica is Tutor for conducting students and lecturer in Artist Development.


Postgraduate Programmes and Research Administrator Oliver Till Ollie provides administrative support for the postgraduate and research degree programmes, and manages the public research events.

[email protected]

Aybrook Street 206, ext 316

3.1 Keeping in Touch

The Tutors and Heads of Department liaise to make sure the information you receive is clear and consistent, but if you have any queries do please ask one of us.

The Academy is an extremely lively and active community and it is vital that you keep in touch with us. Please check your @ram email account and ASIMUT schedule (online timetabling and room booking system) every day. Also please check your pigeon hole in the Student Common Room whenever you are at the Academy. Your account is accessible on-site on any Academy computer, and off-site through: www.air.ram.ac.uk or through

- compatible with most email programmes.

mailto:[email protected]









http://www.air.ram.ac.uk/

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It is vital that you let the Registry and Departmental Administrators know of any changes to your address or telephone number. Academy staff will use the Academy email system to communicate information and updates to students as necessary. Your personal email address will only be used in an emergency.

3.2 The Tutorial System

Your Tutor is responsible for overseeing your programme of study. You can come to your Tutor with any concerns about your life at the Academy.

Your Tutor is a contact point outside of your department, who can:

Advise on all aspects of your life at the Academy, including academic, financial, pastoral, or career concerns

Help to fix any problems, or direct you to the right people within the Academy to resolve an issue

Supervise your Portfolio and/or MMus project work (as part of the supervision team)

Oversee your programme of study behind the scenes in consultation with your Head of Department

Represent you at the Examination Boards and write references for you

Sign Leave of Absence requests, applications to the Special Circumstances Committee, and other request forms relating to your studies

Every Tutor has a weekly drop-in session (see below), and you can also book an appointment by email.

Tutor / Contact Departments Drop-In Times

David Gorton [email protected]

Historical Performance, Brass, Composition

Monday 11.00-12.00 Room 178

Sarah Callis [email protected]

MPhil/PhD, Advanced Diploma (Opera and Perf), Jazz, Musical Theatre

Monday 13.00-14.00

Room 178

Amy Blier-Carruthers [email protected]

Strings, Harp Friday 9.00-10.00

Room 278

Roderick Chadwick [email protected]

Professional Diploma, Accordion, Guitar, Organ, Choral Conducting, Percussion

Monday 14.00-15.00

Room 278

Briony Cox-Williams [email protected]

Piano Accompaniment; Vocal Studies

Tuesday 12.00-13.00

Room 278

Anna Wolstenholme [email protected]

Woodwind Friday 11.30-12.30

Room 278

Mei-Ting Sun [email protected]

Piano Thursday 14.30-15.30

Room 278

Jessica Walker [email protected]

Conducting Friday 11.30-12.30

Room 509









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4.

Au

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Monday 9 - Friday 13 September Enrolment week

September / October First Portfolio supervision meetings

Tuesday 17 September, 12.00 Deadline for applying for Historical Performance Tuition (inc. HP pathways)

Monday 23 September, 17.00 Deadline for Pathway registration

NB some pathways have earlier deadlines

Monday 28 - Friday 1 November Intensive Projects Week (no academic teaching)

Sp

rin

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Tuesday 7 and Wednesday 8 January Artist Development

Monday 20 - Friday 24 January Intensive Projects Week (no academic teaching)

March Final Examination Part One (in the majority of departments a concerto examination)

Su

mm

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Te

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Thursday 30 April, 15:00

Pathway submission deadline

N.B. some dedicated pathways have an alternative deadline

Thursday 7 May, 15:00 Portfolio deadline

Thursday 14 May, 15:00

Professional Skills Student Self-Declaration Form deadline

Deadline for Professional Skills performances to have taken place

18 May - 5 June Final Examination Part Two (Final Recital)

End-of-year recitals

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Thursday 1 October 2020, 15:00 MMus Project deadline

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5.

5.1 MA Programme Structure

5.2 MA (2 years)1

Year One

Progression requirements (pass) Attendance requirements

End-of year Principal Study examination

Year-one departmental Professional Skills

End-of year Portfolio

Principal Study lessons / classes / ensembles etc. as determined by your department

Portfolio supervisions with Tutor (both group and 1-to-1 sessions)

Pathway and Artist Development Requirements (see section 7.3)

None of these components contribute to your final degree result; however, a Professional Skills Profile mark will be recorded on your transcript

1 PG Cert students follow the MA programme without Portfolio

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Year Two

Award requirements (pass) Weighting % Attendance requirements

Final Examination Part One 25 Principal Study lessons / classes / ensembles etc. as determined by your department

Portfolio supervisions with Tutor (group and 1-to-1 sessions)


Final Examination Part Two 50

Portfolio 25

Year-two Professional Skills (this component does not contribute to your degree result, but a profile mark will be recorded on your transcript)

5.3 MA (1 year)2


Final Examination Part One 2

25 Principal Study lessons / classes / ensembles etc. as determined by your department



Final Examination Part Two3 50

Portfolio 25

Departmental Professional Skills (this component does not contribute to your degree result, but a profile mark will be recorded on your transcript)

3 For Musical Theatre students, the two core assessments are equally weighted at 37.5%

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5.4 MMUS Programme Structure

5.5 MMUS (2 years)

Year One

Progression requirements (pass) Attendance requirements

End-of year Principal Study Examination

Year-one departmental Professional Skills

End-of year Portfolio

Principal Study lessons / classes / ensembles etc. as determined by your department



MMus Performance Workshops (as appropriate)

None of these components contribute to your final degree result; however, a Professional Skills Profile mark will be recorded on your transcript

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Year Two


Final Examination Part One 16. 6̇ Principal Study lessons / classes / ensembles etc. as determined by your department


Project Preparation Seminars and workshops (see section 9)


Final Examination Part Two 33. 3̇

Portfolio 20

Project Work submission 30

Year-two departmental Professional Skills (this does not contribute to your degree result, but a profile mark will be recorded on your transcript)

5.6 MMUS (1 year)


Final Examination Part One 16. 6̇ Principal Study lessons / classes / ensembles etc. as determined by your department


Project Preparation Seminars and workshops (see section 9)


Final Examination Part Two 33. 3̇

Portfolio 20

Project Work submission 30

Departmental Professional Skills (this does not contribute to your degree result, but a profile mark will be recorded on your transcript)

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6.

Your Principal Study is the primary focus of your work at the Academy. The requirements differ from department to department so the information below concerns only the overall structure of the component.

MA Principal Study accounts for 75% of the degree

MMus Principal Study accounts for 50% of the degree

PG Cert and Prof.Dip Principal Study accounts for 100% of the degree

Principal Study is divided into two parts, assessed in different ways (apart from the exceptions listed below):

6.1 Final Examinations

1. Part One (a concerto exam in many departments) 1/3 of Principal Study Mark 2. Part Two (usually a Final Recital) 2/3 of Principal Study Mark

There are two exceptions:

1. For Musical Theatre, the final Principal Study mark is divided equally between the two components.

2. For Composition, the portfolio mark counts for the entire Principal Study mark

6.2 Professional Skills

Professional Skills is at the core of your Academy experience. It is formatively assessed (thus does not directly contribute to your degree result, which is determined by final assessments only), but you must pass in order to gain the necessary credits for the degree. Your transcript will record a single Professional Skills Profile mark.

There are five key development areas, which each department handles differently according to professional preparation requirements. Full details of what is expected of you can be found in your departmental handbook. Relevant Assessment Criteria can be found in the Examination Procedures Handbook on AIR.

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7.

(Compulsory elements of the Portfolio)

7.1 What is Artist Development?

Artist Development is an integral part of your studies at the Academy. It refers to the ways in which you develop yourself as an artist - both creatively and practically - identifying and honing the skills that will support you throughout your career.

Your department (Strings, Vocal etc.) is responsible for the Professional Skills component, which focuses specifically on developing your craft. Artist Development (AD) complements this and is run centrally (across departments). The focus here is mostly on you as the artist. Artist Development includes training in building resilience (including physical and mental health), practical skills, ranging from communication with others to business planning and tax, and sessions that engage with individual artistic identity and creativity. You also have access to individual guidance and career development coaching sessions from the Lecturers in Artist Development. Details of these sessions are announced at the start of terms.

Every postgraduate student on the PGCert, MA and MMus has to take a Pathway in the first year (or single year). Unlike the one-off Artist Development Events, which are scheduled at various points in the year, the pathway allows you to follow a particular area of interest over a longer period. AD and the Pathway are formally assessed in your portfolio.

7.2 What is on offer?

AD sessions and Pathways run throughout autumn and spring terms. These enable you to experience and learn from the great variety of performers, composers and researchers at the Academy.

You can choose from a wide range of topics, including: creative learning and socially-engaged music practice; concert preparation workshops; contemporary music workshops for performers; exploring historical recordings and landmark performances; enhanced performance techniques; creating your own projects; engaging with your musical heritage; and effective collaborations.

Details of all term-time sessions are available from September on AIR. You are free to choose whatever takes your interest; be sure to consult your Tutor if you need advice.

1. An introduction to AD runs in the first two weeks of term in September (see section

7.5 for more details)

2. Afternoon focused on performance enhancement on 12 November

3. Dedicated Artist Development Days for Postgraduate students on 7 and 8 January

(See section 7.6 or AIR for more details)

Full details of all AD sessions are on AIR. These are regularly updated so do keep checking the Artist development pages.

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7.3 What is compulsory?

You document your own engagement with Artist Development in the Portfolio (section 8), which is formally assessed at the end of your studies (it comprises 25% of the MA/PGCert degree profile and 20% of the MMus). You will need to fill in an AD form (available on AIR) to submit with your portfolio, stating which AD sessions you attended during the year and also to include any written work completed as part of a Pathway.

MA (2-year programme)

Year 1 AD Introduction (September)

One Pathway (with assessment)

A minimum of 4 AD events

o typically these will be AD sessions

o this can include sessions during the AD Days in January

o this requirement can also be met by taking a second pathway (without assessment)

Year 2 A minimum of 4 AD events


o this can include sessions during the AD Introduction (September)

o this can include sessions during the AD Days (January)

o this requirement can also be met by taking another Pathway (without assessment)

MA (1-year programme)

AD Introduction (September)

One Pathway (with assessment)



o this can include sessions during the AD Days in January


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MMus (2-year programme)

Year 1 AD Introduction (September)

MMus Dedicated Pathway (section 7.8)



o this can include sessions during the PDE Days in January;


Year 2 MMus Project Development classes



o this can include sessions during the PDE Introduction (September)

o this can include sessions during the PDE Days (January)


MMus (1-year programme)

AD Introduction (September)

MMus Dedicated Pathway and Project Development classes to be followed in full



o this can include sessions during the PDE Days in January;


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7.4 What can I do in addition to the compulsory requirements?

You are welcome to attend as many of the AD events during the year as you want. You can also attend additional Pathways: please consult your Tutor before doing so. Note that if you sign up for a second or third Pathway, you will be required to follow it in its entirety.

7.5 Introduction Seminars for Portfolio and AD

Compulsory for all first-year and one-year PG Cert, MA and MMus students

These seminars introduce the Portfolio and Artist Development and give an introduction to recording at the Academy along with advice on how to prepare to record.

Monday 16 September, 2-4pm

Monday 23 September, 2-4pm

7.6 Artist Development Days

Monday 7 and Tuesday 8 January 2020

Full details are announced during the autumn term, will be available on AIR, and will be emailed to all students. A range of experts, many of them Academy alumni, will join us for lectures and seminars on topics including:

Making professional connections in and beyond the Academy

Articulating who you are as an artist

Tax and self-employment

Enhancing your musical potential

7.7 Pathway Registration

A playlist with trailers of each pathway is available here: Pathway Trailers (YouTube playlist)

All first-year and one-year students must select a minimum of one pathway from the available options below, unless you are on the MMus programme or have a department-specific pathway (see section 7.8).

Written descriptors of each pathway are found at the end of this handbook (section 17).

The deadline for signing up for pathways is 5pm, Monday 23 September 2019. Signing up takes place on Blackboard (www.ram.blackboard.com) and instructions are sent to students in September.

Some pathways with limited space and/or a selection process have separate application processes and or an earlier application deadline.

https://www.youtube.com/playlist?list=PLFdtTVpro-mCFFlMlUOpZa9KMjrxm_T4V

http://www.ram.blackboard.com/

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7.8 Dedicated Pathways

Students in the following Departments are automatically assigned to dedicated Pathways (see table below). Some of these courses are an integral part of your Academy programme. You are encouraged to choose an additional pathway if you wish please discuss this with your Tutor.

Choral Conducting

Choral Pedagogy (run by the department)

Composition Contemporary Music Workshop

Historical Performance

HIP classes (run by the department). Two-year students take these classes in both years.

Jazz Rhythmic Skills (run by the department)

Organ Organology (run by the department)

Piano Accompaniment

Song Class as allocated by the department for at least one semester per year. Students are assessed on their contribution and performance in classes by the professor taking the class using three criteria: standard of playing, preparation (individual and with singer), and punctuality/attendance.

Voice

Song Class singers may choose one of their departmental Song Classes to analyse and write-up as a pathway. Preparatory opera students may choose to opera scenes to write-up. These write ups are only submitted within the Portfolio.

Specialist MMus Pathways are taken in addition to any department-specific pathway:

MMus Performers take Creative Programming and Research, but may opt to take Contemporary Music Workshop in consultation with their Tutor and pathway leaders.

MMus Composers take Contemporary Music Workshop

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8.

Co-ordinator, Neil Heyde

8.1 Introduction

The Portfolio is a tool for you to manage and communicate your development as an artist and your career planning. You will use it to provide an overview of all of your work in Principal Study, Professional Skills and Artist Development. It is also the means by which all of the work you have done during your studies including external work can directly impact your final result.

At the core will be a collection of materials compiled during your studies, including a list of the activities and events in which you have been involved and a range of professional documents. We provide guidelines below, but the details of what you should include, and what you choose to write about, will need to be discussed in detail with your supervisor. It is critical that the Portfolio is tailored to your specific and individual requirements. As a whole, the portfolio should communicate your individual artistic profile and reflect on your ongoing development as a musician.

As a postgraduate student we expect that you will take significant responsibility for the direction of your studies in consultation with your Principal Study teacher, Head of Study and Tutor/supervisor. Your Department sets specific Principal Study and Professional Skills requirements that must be completed in order to graduate (covered in the Departmental Handbooks). The Portfolio, on the other hand, provides a more open framework in which we encourage you to concentrate on the work that is most important to your individual development and to track your independent learning, which is an essential component of a masters-level degree.

8.2 What do I have to submit?

You need to include materials in each of the five areas indicated below.

You will be scheduled a number of compulsory supervision meetings over the course of the year and should use these to ask for advice about how to make the portfolio work best for you. You can also request additional time with your Tutor/supervisor if you need it. If there are any components outlined below that you feel are inappropriate for your individual profile please discuss alternative strategies with your Tutor/supervisor. If at the

has gone wrong! The communication of your development as an artist is just as important as the management of your career preparation.

1) Log Book

Provide a full picture of your musical activity during your studies: this is the only place within your programme of study where we see (and give credit for) all of your work. Your assessors need this information to understand your reflective writing (see no.2, below). Building this list will help you assess and manage the way you are spending your time.

This list of your activities during your enrolment as a postgraduate student can include internal and external activities, which may be public (such as concerts, masterclasses, projects, etc.) and more private types of development (such as lessons, practice, etc.). It is

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up to you to devise a format that presents the range of your activities as clearly and effectively as possible.

Most students divide the log into a series of categories to make it easier to see the range of work undertaken and some find it useful to include brief commentaries on individual sessions that point to the issues picked up in the reflective writing (see below). Discuss this with your supervisor.

The following categories are suggested to provide a starting point:

individual lessons

chamber music

work with other students

coached work

internal Academy projects

external engagements

We suggest that you keep an ongoing diary with full details of everything you do and then edit it for submission. Your entries should include the date, type of event, details of the repertoire covered, and the key people involved; brief reflective comments can also be useful.

2) Reflective Writing

Using the Log Book as source material, summarise the key developments (artistic and practical) over your postgraduate study and respond to the issues emerging from your work. Outline your future plans, and how they relate to these issues. Possible approaches could include the discussion of short, medium, and long-term strategies. If you are a second-year student, discuss the ways in which you have (or have not) followed through plans from the end of the first year.

This will normally end with some detailed discussion of practical plans for the period immediately following completion of the course.

(Guide length: 1500-2500 words.)

3) Professional Documents

Provide a selection of professional documents that you think you need or have actually used. These could include, for example:

CVs (r sum s): 1 or 2 pages, tailored for specific types of work

Biographies (various lengths) for use in: programmes; CD booklets; websites etc.

Lists: sample programmes, repertoire lists, or lists of compositions, etc.

Applications: for funding; for work; for further study; business plan; project proposal(s)

Correspondence: with concert promoter; artistic director; producer; venue; school; educational authority; music centre; other partners etc.

Promotional materials: fliers; posters; programmes

Audience engagement: programme notes; blog article; transcript of interview; article/essay

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Any other type of professional document

Minimum: 5 items

4) Web presence

Provide selected links to online material that is about you in a professional context (as appropriate and relevant to your portfolio). Material for which you have editorial control (directly, or by personal contact) is particularly interesting. Examples could include:

Websites: personal website; ensemble website; festival or event website

Social media: Facebook Page (not profile); Twitter

Professional profiles: LinkedIn; About.me; Academia.edu

Streaming sites: YouTube; SoundCloud; Vimeo; LastFM

Music sales sites: iTunes; Amazon; CD Baby

Any other website

If you do not currently have a web presence that you control, write about why you have made this choice and/or outline your plans for a future web presence, explaining what it is you would like to communicate, and how you will communicate it.

Minimum: one link. (Guide length for explanatory text: 250 words)

5) Pathway and Artist Development Events

Please complete the form provided (on Blackboard) to indicate which Artist Development Events you attended and to summarise the outcomes from the Pathway you took. Any written work completed for your pathway must also be included here.

Minimum: 1 Pathway and 4 Artist Development Events (which may be covered by a second pathway). See section 7 for full details.

ASSESSMENT

The Portfolio is assessed holistically. We will refer to the generic written work assessment criteria (Examination Procedures Handbook) in relation to the following areas:

Professional integrity (the extent to which the included items reflect your achievements, aspirations, musical ideals and development needs)

Clarity of communication and presentation

Initiative and creativity (as appropriate) in response to professional and artist development issues

Quality of perception

The range and quality of the activities themselves

We expect you to demonstrate why you have undertaken certain activities, and how they have been useful (or why you hope they will become useful) to your professional and artistic development. As your assessors will often not have direct experience of much of your creative work, the presentation of what you have done (and its ongoing relevance) is an essential part of the work itself. A critical part of the assessment lies in gauging the

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development of the relationship between the professional and personal aspects of your profile. Credit will be given for creative responses to the exercise.

We acknowledge that students on a one-year programme, or with visas that do not permit paid external work not managed by Academy External Bookings, will have more limited opportunities for external projects: this is directly taken into account when assessing portfolios. external work opportunities speak to Lauren Woods in Room 108, or email [email protected] or see more info available on AIR.

8.3 Portfolio Supervision Classes and Tutorials

You will be scheduled up to four supervision meetings with your Tutor and/or supervisor in a combination of groups and one-to-one sessions. Your Tutor will normally take full responsibility for your supervision, but in some departments supervision is also delivered by the staff listed below. In the event of an irresolvable clash, please arrange a swap with another student and inform your Tutor/supervisor.

Portfolio Supervision Additional Portfolio Supervision

Chris Montague Jazz Roderick Chadwick Piano

Peter Sheppard Skærved Upper Strings Jessica Walker Vocal Studies

Neil Heyde Lower Strings

8.4 One-Year/Two-Year submission requirements

Students on a two-year programme are required to submit an End-of-year Portfolio at the end of their first year (in May) which covers all of the above sections. The End-of-year Portfolio is a progression requirement and is formatively assessed (pass/fail only).

Second-year students are expected to build upon and update existing material in ways that closely reflect your development during the final year. Your final submission should cover both years of study (including your logbook); you can draw directly from your End-of-Year portfolio, or include new materials that respond to both years of study. You are not required to take a Pathway in the second year, but you are required to attend a minimum of four Artist Development Events and you should follow up any issues raised in the previous year. You must include the pathway work from your first year in the final submission.

Students on a one-year programme complete all of the requirements in a single year. When assessing Portfolios completed in this time frame we make allowance for the intensity of the fixed programme requirements and the relative lack of time for additional projects.

Written work submitted for Departmental Professional Skills assessments is not a compulsory requirement for the Portfolio but we recommend including it in the Portfolio if you feel it reveals important aspects of your development.


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8.5 Portfolio Submission FAQs

How many files do I need to submit? One for each section of the Portfolio.

Which file types can I submit? PDF or Word Document. If you are using pages/docs or another word-processing program, please save as a PDF.

How do I submit other media (photo, audio, video)?

Photo: Insert the photo into Word (or similar).

Audio/video: Upload to a streaming platform (e.g. YouTube or Soundcloud) and provide an active hyperlink (unlisted or private links are appropriate for material you do not want to make publicly available).

Which fonts are acceptable? Only use standard fonts such as Arial or Times New Roman. If you need to use an unusual font, save your document as a PDF/A file (under PDF options).

How do I merge multiple PDF files into one file (e.g. professional documents)?

This website allows you to combine PDFs for free: https://combinepdf.com/

Can I upload large files (>10mb)? Yes, but please wait after clicking submit, as depending on your internet upload speed, this may take seconds, or even a few minutes.

successfully? You will get a confirmation email.

Please contact the Registry or your Tutor if you have any other queries.

8.6 Instructions for submitting

Uploading Documents

have to select all of your files in one go. If you select an incorrect file by mistake click the

Naming Conventions

When we mark your portfolio we will need to know what each file is. The recommended format is: your full name, followed by the description of the file. For example: Henry Purcell LOGBOOK, or Henry Purcell PROFESSIONAL DOCUMENTS.) If you have not already

https://combinepdf.com/

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name and replace it. You need to provide a single file for each of the sections of the Portfolio listed below.

Section 1: Log Book Section 2: Reflective Writing Section 3: Professional Documents Section 4: Web Presence Section 5: AD Events and Pathway Work (Musical Theatre students are exempt from this section) For section 5 you must complete this form (also attached to this assignment).

Feedback

Marks and feedback on portfolios will be available after the Exam Board, where marks are ratified.

https://air.ram.ac.uk/FileUpload/Download/d5d04f62-6eca-4842-8ac1-6cac19323cc3?quality=High&forceSave=True

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9.

(MMus Year 2 and MMus One-Year)

Course Team: Neil Heyde, Sarah Callis, David Gorton, Amy Blier-Carruthers, Roderick Chadwick, Briony Cox-Williams, Daniel-Ben Pienaar, Peter Sheppard Skærved

9.1 Introduction

The MMus Project requires you to design and develop a research project that responds to a particular aspect of your artistic concerns. The method by which you deliver the research is very flexible according to the nature and implications of the questions you ask: for example you might deliver a live concert, and/or develop a portfolio of recordings, films, compositions, editions or mixed media. In each case this will be accompanied by a written commentary. Alternatively you may wish to present your research as a piece of stand-alone writing.

The mix and balance of concert/portfolio/writing is up to you, although all projects must include 5,000 10,000 words in order to contextualise and explore the research process, with the option to extend up to 15,000 words where the central research outcome is expressed in writing. Concerts are usually expected to be c.50 90 minutes, and portfolios of equivalent weight, depending on the nature of the materials presented. Finding the right mode of presentation, and the relationship and balance between the different components, is an important part of the research process itself. In finding this balance, you should keep in mind which component of your submission will provide the focal point for your research outcomes. You are alyour materials, choosing the most appropriate media to communicate your work. You will be assigned a supervisor to help in shaping your project.

9.2 Assessment Criteria

Your project will be judged according to the following criteria:

The demonstrated integrity of your artistic and practical motivations

The power with which you communicate your ideas through composition, performance and/or writing

The depth of your insight (artistic, critical and/or conceptual)

The clarity and authority with which you identify and respond to the creative context in which you are working

The inventiveness of your approach to investigation (both contextual and practical)

The creativity and aptness with which you present your ideas

The projects are all assessed holistically (with one final mark) according to the criteria listed above, as well as with reference to the postgraduate descriptors for academic, performance and compositional work.

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9.3 Developing the project

Students give a presentation about their projects in April/May, and submit a project proposal outlining the constituent elements of the project, including any plans for concert events. Those presenting concert events are expected to take creative control of all aspects of the concert, including publicity and practical arrangements, time and venue of the event, stage management and stewarding.

Two assessors will attend all live events; therefore, sufficient advance notice is essential.

For events happening in June/July, full details of the date, time and place must be submitted by email to Sarah Callis ([email protected]) as soon as possible, and no later than three weeks before the performance date.

Composers may work with material from their composition portfolio, although it must be clearly framed within a research context. Performers must seek permission to repeat works from other exams, providing a clear rationale for the repetition.

If your project involves work with other people (interviews, workshops, etc.) you may need to complete an Ethics Approval Form. Please discuss the specific issues your project raises with your supervisor. The relevant forms can be found on AIR.

9.4 Presenting the project

Submitted materials should demonstrate:

Convincing standards of presentation in terms of accuracy, layout, clarity of written style and quality of recorded/filmed materials

Consistently and clearly presented Bibliography/Discography. We recommend the Chicago Manual of Style, available in the library. Quick reference guide: http://www.chicagomanualofstyle.org

Clear acknowledgement of quoted material using the Chicago referencing system.

Careful adherence to the word limit

You should include an abstract, placed at the opening of the project, developed from the project proposal you submit in May (see section 7.6).

Your project must be submitted electronically to Blackboard by 15.00, Thursday 1 October 2020. Guidance on submissions (formats etc.) is available on Blackboard.

9.5 Course Details

Year 1 Performers - Creative Programming and Research Pathway Composers - Contemporary Music Workshop

Year 2 All - Project Preparation Seminars, Fridays 09.30-12.00, Room 107

During Year 2, performers and composers work together in a series of weekly sessions which combine research skills seminars, workshops, group tutorials and one-to-one supervisions. These sessions introduce students to general principles of research


http://www.chicagomanualofstyle.org/

27

methodology, as well as to the specific challenges of practice-driven research, and they

enquiry is their own projects, which are identified during the Autumn Term and pursued throughout the year. Individual supervision is arranged in consultation with the team, and students sign up to present in at least one performance/composition workshop during the year.

One-year students

One-

10.

Credits are awarded for 'work done' and there is no relation between credits and final assessment percentages. The breakdown of the final award is given in percentages.

MA Credits Breakdown MMus Credits Breakdown

180 credits

Principal Study

Individual lessons and studies

80 credits

Professional Skills

60 credits

220 credits

Principal Study

Individual lessons and studies

80 credits

Professional Skills

60 credits

Portfolio

40 credits

Portfolio

40 credits

Project

40 credits

PG Certificate Students follow the MA programme without the Portfolio and therefore receive 140 credits.

The MA is normally a two-year course, but where appropriate it can also be taken in one year (10 months). An assessment of suitability for a one- or two-year programme will be made at audition according to the applicant's standard on entry, educational needs, and funding position. This can be reviewed during the first term of study.

Students on two-year programmes receive credits in the second year only. The first year is thus non-credit bearing if a student successfully progresses into year two. If a student does not progress into year two they are awarded credits (which can potentially be transferred to another institution) according to the activities undertaken. For students on the two-year course, progression is dependent on an End-of-Year Performance examination or equivalent (pass/fail), a Professional Skills Profile (pass/fail) and an End-of-Year Portfolio (pass/fail). The final Portfolio will be marked at the end of the course.

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10.1 Component Areas

1. Principal Study

2. Portfolio

3. Project (MMus only)

Credit Value 140 credits (80 Individual, 60 Professional Skills)

Summary Assessment Final performance 75% MA, 50% MMus

Summative Assessment For Performers:

Final Examination Part One: ⅓ of mark

Final Examination Part Two (usually a Final Recital): ⅔ of mark

(50/50 for Musical Theatre students)

For Composers:

Composition Portfolio

100% of mark

For both Performers and Composers:

Professional Skills: Formative Assessment as required and Reported on by Heads of Department

Teaching Delivery 1:1 lessons

Faculty classes and ensembles

Credit Value 40 credits

Summative Assessment 25% MA, 20% MMus

Format of Assessment Assessment of portfolio presentation including commentaries (Holistic Assessment)

Teaching Delivery Introductory lectures (weeks 1 & 2)

Individual Supervision

Pathway and Artist Development Events

Credit Value 40 credits

Summative Assessment 30%

Format of Assessment MMus Project submission (may include a live concert element)

Teaching Delivery

Project Development Seminars (including research skills training) Project Development Workshops Individual Supervision

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11.

11.1 Introduction

The Professional Diploma is a one-year programme for students who wish to develop a specific area of specialism such as chamber music, historical performance, compositional specialisms (e.g. specific media) or as preparation for opera studies.

The training consists of Principal Study lessons as the core element and Professional Skills agreed between the student, Head of Department and Tutor at the beginning of the year. These activities are drawn from the same pool as for the MA/MMus students, but are selected according to the aims of the individual student. Activities range from performance classes and masterclasses, or consultations with visiting professors, to ensemble and directed ensemble coaching, lectures and skills-based seminars. Postgraduate Pathways are also open to Professional Diploma students, space permitting see page 33 onwards for details.

Students who have already studied on the MA or MMus at the Academy will follow a different programme of Professional Skills from those taken during their previous study.

11.2 Credit Structure and Assessment

The Professional Diploma comprises 120 credits, as follows:

Final Assessment 60 credits

Professional Skills 60 credits

Feedback marks will be awarded for both components at the end of the programme, with written reports provided for the Final Assessment and for some Professional Skills items during the year. The Final Assessment is subject to the same criteria as other Level 7 (Masters level) recitals/portfolios and may take the same format (see department handbooks for details including timing requirements), or an alternative that has been proposed by the student and approved by Postgraduate Programmes Board.

11.3 Key Dates

Week of 16 September Individual meetings between students, their Head of Department and Tutor to discuss Professional Skills.

Friday 13 March, 17.00 Deadline for Final Assessment proposal form* to be submitted to Oliver Till [email protected]

Thursday 14 May, 15:00

Deadline for Professional Skills to be completed

Deadline for submission of the Professional Skills Student Self-Declaration Form*

18 May 5 June Performance Examinations (if adopting recital format)

*Do take advantage of the Professional Diploma


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12.

Students are reminded that academic malpractice is a serious offence and will be dealt with severely, as outlined in the Regulations 2017-18 (Examination Regulations).

All students receive academic convention and scholarly practice during their first year of study. You should consult with your Tutor if you do not understand what is expected of you in terms of these areas as soon as possible and in any case before you are required to take any kind of assessment. Guidelines are also available on AIR on the definitions of Academic Malpractice and how it should be avoided.

You are reminded that all work submitted as part of the requirements for any examination of the Academy must be expressed in your own words and incorporate your own ideas and judgements. PLAGIARISM is the inclusion of statements - thoughts or words usually from

- in your own written work without any indication that the statements are a quotation. It is possible for plagiarism to occur in examination scripts but particular care should be taken in coursework and essays and reports written in your own time. Direct quotations from the published or unpublished work of others must always be identified as such by being placed inside quotation marks, and a full reference to their source must be provided in the proper form. Failure to provide a source or to put quotation marks around material that is directly copied from somewhere else gives the appearance that the comments are your own. Remember that a series of short quotations from several different sources, if not clearly identified as such, constitutes plagiarism just as much as does a single unacknowledged long quotation from a single source. Similarly, the direct copying of your own original writings qualifies as plagiarism if the fact that the work has been or is to be presented elsewhere is not clearly stated. You should also note that even paraphrasing - - can be plagiarism if you do not acknowledge the origin in your text or include the work paraphrased in your bibliography. Plagiarism is a serious examination offence. Failure to observe the requirements indicated above may lead to an allegation of cheating, and can result in disciplinary action being taken. Penalties can include awarding zero marks for work in which plagiarism has been detected and non-assessment of other work related to the achievement of your degree.

You should note that Academic Malpractice is not only limited to plagiarism. It is also academic malpractice to submit the same piece of work for more than one module or the same performance programme for more than one Principal Study component. You should also not enlist the help of other people in the completion of individual essays/assignments as this could be considered as collusion. For further details of all of the offences which constitute academic malpractice, please see the Academic Malpractice Regulations on AIR or check with your Tutor.

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13.

13.1 Feedback (to the Academy)

Student Union members and specific postgraduate student representatives are part of Academy committees and students are encouraged to use their representatives and let them know of any matters of concern that you wish to be raised at these committees. All Academy students are given the opportunity to complete two online surveys each year: one for programme-specific feedback and another on institution-wide provision.

Why should I fill in the annual PG programme survey?

Your feedback helps us to improve the programme so that it better suits your needs. Your

opportunity to fix things.

How will my feedback be used

All feedback is anonymous, so you can be really frank! Pathway leaders, tutors and heads of department are interested to see how the programme is being received, and use the information to plan their teaching.

A better programme for everyone! Your comments could also help future students decide which pathways to take, for example.

13.2

Graduation may seem a long way away, but we hope that beyond your studies here you will still feel part of the Academy as a member of our alumni community. To get in touch, email [email protected].

For your immediate steps before and after graduation, be sure you connect with the Artist Development team: there is a range of opportunities from one-to-one advice to the Start-Up Visa open to non-UK/EU students, and more. For more details contact our Artist Development team: Gwendolyn Tietze [email protected] or Jessica Walker [email protected].

13.3 Graduation for MMus

If you are registered on the MMus course, providing you have completed and passed all the required course modules, you will be awarded your degree at the November Postgraduate Exam Board. Shortly after this Exam Board the pass list confirming your degree will be placed on the Registry Notice Board. You will also receive an email to your RAM and personal email address confirming your award. In this email you will be asked to confirm an address that your certificate will be sent to. Your degree certificate is issued by the University of London and will be posted to you at the address you provided approximately 8 weeks after the deadline to confirm your address. If you do not confirm an address your certificate will be given to you at Graduation. If you do not attend Graduation your certificate will be returned to the University of London.

You will be able to receive a transcript of your results the day after the Exam Board. Your transcript will note your modules marks and degree awarded. Your transcript is also a universally accepted proof of qualification. Details of how to request your transcript will be included in your degree notification email.




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13.4 Tier 4 Student Work Placements

Students studying at the Academy on a Tier 4 (General) student visa are restricted in their ability to undertake external performance work, as they are prevented from:

1. Undertaking work as an entertainer

2. Being self-employed

However, students on a Tier 4 visa are allowed to undertake any external performance work (paid or unpaid) or other work placement, providing it is arranged through the Academy and is an assessed part of the course.

If a student on a Tier 4 visa does undertake any external performance work (paid or unpaid) or other work placement they must follow the following guidance in order to comply with their visa regulations:

All placements and external performances

1. All Tier 4 students wishing to undertake a work placement that is not part of core academy activity, including any paid or unpaid performance work, must submit a request using Tier 4 Placement Application Form on AIR.

2. A permitted work placement is considered to be any professionally relevant work (paid or unpaid) that is assessed as part of a credit-bearing module. For the vast majority of students such activity will be assessed as part of their Professional Development Activity requirements or Professional Skills (PG) (via the Portfolio, Log Book or Viva Voce).

3. Placements which take place June) should contribute towards Professional Development Activity (UG) or Professional Skills (PG) for the following academic year, in the case of continuing students. In the case of graduating students, placements which take place after the

ratified) will not be approved.

Note: Core academy activity is any project that takes place within the Academy and its associated buildings, or any project initiated by Academy administrators that is

masterclasses, Royal Academy Opera projects, Open Academy projects.

External performances

1. For any paid performance work organised either by the student themselves or through External Bookings, students must complete a Tier 4 Placement Application Form on AIR and submit For any unpaid performance work students must complete Tier 4 Placement Application Form and submit it to their Dnotice.

2. The student will be notified by email if their placement has been approved or declined and sent a PDF copy of the form, which they must include in their Portfolio or Log Book at Undergraduate Level. The student should only accept the placement once an approval email has been received. Without this they cannot legally undertake the placement.

https://air.ram.ac.uk/redirect/6f5befef-c5a4-49a2-a022-112884252f84





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3. If the placement is paid, the Academy will contact the promoter and invoice them rmance, payment will be made through the

be subject to other administrative fee deductions.

Outreach work placements

1. Outreach work that involves any element of performance must be considered a

already forms a part of an assessed Open Academy pathway module.

2. For any outreach work organised either by the student themselves or through Open Academy, students must complete a Tier 4 Placement Application Form on AIR and submit it to the Open Academy Administrator. For paid work they should give 3

3. The student will be notified by email if their placement has been approved or declined and sent a PDF copy of the form, which they must include in their Portfolio or Log Book at Undergraduate Level. The student should only accept the placement once an approval email has been received. Without this they cannot legally undertake the placement.

4. If the placement is paid, the Academy will contact the promoter and invoice them cement, payment will be made through the

be subject to other administrative fee deductions.

Please remember that students on a Tier 4 visa must not work in a self-employed capacity, including as an instrumental teacher. They also must not exceed more than 20 hours work per week, however this can be in addition to any time spent on a permitted work placement.

For more information please refer to the Tier 4 Student Work Placement Policy and speak to staff in the Registry or External Bookings. The Tier 4 Work Placement Application Form should be completed digitally on AIR. If these processes are not followed, it could

consequences for their place at the Academy and their right to remain in the UK. If the Academy has reason to believe a student has broken the terms of their visa we are obliged by law to report that student to the UK Border Agency.


https://air.ram.ac.uk/redirect/6fb8c718-946f-48bf-ad99-460032061848



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14.

Portfolio submissions, written Pathway assessments, and MMus projects are all submitted on Blackboard (www.ram.blackboard.com). Students must consult the relevant page/s on Blackboard for guidance about file formats, style guides, and any other requirements. User guides for Blackboard will be made available from the Registry.

Students will be informed by their pathway leader or tutor if any work is to be submitted to Registry in paper format instead of via Blackboard.

Deadlines are listed in section 4 of this Handbook. It is your responsibility to know which deadline applies to your work, and to submit your work on time. All work submitted after deadlines will be considered late, and subject to the penalties indicated in the Regulations.

The Registry is open for submissions from 09:00 to 15:00: the final deadline for your work to be submitted is 15.00 on the indicated day. All work submitted after this time will be subject to the penalties indicated in the Regulations. The Registry will not accept paper submissions for work that is required to be submitted via Blackboard. Paper submissions will need to be submitted with a cover sheet which you will need to download from AIR as these are not available in Registry. You will be issued with a receipt, for you to keep.

When submitting your work via Blackboard you will receive a confirmation email that your work has been submitted. It is vital that you allow enough time to prepare your work for submission before the 15:00 deadline, including printing time (if relevant) and uploading time (if relevant). Regardless of how long you have been queuing, if your work has not been accepted by the Registry by the appointed time then it will be considered late and will be penalised accordingly. Any work submitted or received on Blackboard after the 15:00 deadline will be considered late and will be penalised accordingly.

15.

understanding about music by investigating the dynamics of musical creativity from multiple perspectives. A vital part of this environment is the series of regular workshops and research events listed in the Diary of Events. These act as points of reflection for staff and students, and for visitors interested in exploring musical creativity.

All research events are open to students and members of the public: they are useful in providing ideas and material for the Portfolio for MA and MMus students, and in providing models of project work for MMus and MPhil/PhD students.

16.

The Licentiate of the Royal Academy of Music (LRAM) teaching diploma provides a comprehensive, practically-based introduction to the principles of teaching and is available to all registered students. Further details are available in the LRAM Handbook (here on AIR).

http://www.ram.blackboard.com/

http://www.ram.ac.uk/whats-on

https://air.ram.ac.uk/app/common/download.asp?method=open&otuid=401&uid=13022

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17.

17.1 ANALYSIS AND AESTHETICS (Alex Hills)

Mondays 16.30-18.00, Aybrook Street 105

This pathway will explore both technical aspects of music analysis and wider aesthetic and musicological topics, with a particular focus on bringing these areas together.

The repertoire covered is flexible depending on the interests of the participants but in the past has ranged from Dufay and Josquin to Alvin Lucier and Helmut Lachenmann, via Bach and Beethoven. Classes will be a mixture of seminars directed by the pathway leader, student-led presentations and guest lectures, with individual tutorials later in the year in preparation for the submission of work.

Assessment will normally be through a piece of written work of c.2500 words, but equivalent submissions in other media graphic, music-notational, audio-visual are also strongly encouraged where appropriate.

17.2 APPROACHING THE GREAT LUTHIERS (George Zacharias)

Tuesdays 09.45-11.15, Room 150 (Term 2 only)

This pathway aims to address two fundamental questions for postgraduate string players: performance style, and how can

one realistically acquire it?

The first part of the pathway offers a comprehensive exploration of the work of major luthiers. Sessions focus on leading period Italian makers as well as representatives of the French Mirecourt, the Germanic and the English schools. Students are given the invaluable

-famous instrumental collection, thus allowing them to draw their own conclusions on the suitability of the instruments for their personal performance styles.

The second part offers an in-depth approach to current conditions in the fine-instrument market. Emphasis will be placed on open market conditions, available financing options, investment strategies and user agreements. This unbiased approach - not constituting legal advice - is tailored to the students' individual professional planning.

Assessment

A 2000(+) word essay on the candidate's ideal instrument choice, based on the luthier-specific sonic and physiognomic idioms explored, including a specifically adapted long term strategy of acquiring it as the sole user or (co)-owner.

Spaces on this pathway are limited, and priority will be given to one-year students.

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17.3 ATTENTIVE LISTENING (Roderick Chadwick)

Thursdays 09.30-11.00, Aybrook Street 207

A pathway designed to hone listening skills across a wide variety of styles and genres. For 90 minutes each week an eclectic selection of music is studied, with class discussions focussing upon analytical issues or matters of interpretation, and investigating the

studied.

The main aim of the pathway is broadening participants' stylistic and sonic awareness. From a professional development perspective, it can be seen as preparation for anything from a career in criticism to leading group music-making activities. Above all, it is a place

Assessment

1. Written assignment (60%): A response to a piece of music or performance studied in class. Students are encouraged to be creative with the format of their response, which could incorporate prose, graphic elements, a listening diary or imaginary interview, or use alternative media.

2. Presentation (40%): A 30-

the year. Credit will be given for bringing original and stimulating subject matter.

17.4 AUDIO RECORDING TECHNIQUES (Andrew Lang)

Wednesday 6, Thursday 7 November, 18.00-21.00, (Term 2 TBA)

Audio Recording Techniques (ART) is designed for people who would like to gain knowledge of the technical process of recording, including some post-production techniques for enhancing the recording once it has been made. Students will use the skills learned during the sessions to make their own recordings, and may then bring those recordings back to play to the group for further discussion. The pathway will combine teaching and workshop sessions.

The following subject areas will be covered:

Microphone types and placement

Stereo mic techniques

Sample rates and bit resolution

Editing

Post-production tools such as EQ and artificial reverberation

Assessment will comprise one recording of five to ten minutes in length, together with a written descriptive commentary of 500 to 1000 words discussing the recording and how it was made.

Registration requirement: Interested students should submit a written proposal of about 200 words explaining their previous experience, professional development needs and if possible a project proposal outline to Oliver Till [email protected] by noon Monday 23 September 2019.


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17.5 BEYOND THE SCORE: COMMUNICATING WITH AUDIENCES (Gerard McBurney)

Initial session: Monday 21 October, 14.00-16.00, David Josefowitz Recital Hall

Selected Mondays, 13.30-15.30 Term 1: November 4, 11 Term 2: February 24, March 2

Between 2005 and 2016, Gerard McBurney and the Chicago Symphony Orchestra created a series of 30 live experimental multi-dimensional explorations of major works of the Western repertoire, under the title: 'Beyond the Score'. Using full orchestra or chamber musicians, lighting, projections and animations, live-feed cameras, actors, dancers, folk-musicians and even shadow-puppeteers, these shows were created to be played live in concert-halls, but also filmed for web-streaming in which form they have unexpectedly reached the strangest places.

In an initial 3-hour presentation using original scripts, drafts, images and filmed materials we will explore the Chicago project, its hopes and strategies for bringing change to the

concert and live artistic experience, and the many aesthetic, psychological and technical challenges that have been thrown up from show to show. In short: how these pieces were created, what worked and what didn't.

This will be followed by a sequence of workshops in a more protected and private space, to explore and critique the various approaches evolved over the whole 11 years, and begin to develop new lines of attack which take into account the swiftly changing concert and technological possibilities and expectations of the present moment. These workshops will culminate in a series of student-led exploratory presentations, opening up the way to completely new approaches.

Assessment

Students will prepare a 15-minute presentation which will form the basis of assessment.

17.6 COMPOSITION PATHWAY (David Gorton)

Supervision by arrangement

The Composition pathway is available for performance students who have prior experience of instrumental and/or vocal composition at degree level (or equivalent). The pathway is limited to a small number of students and the selection process will consider the professional development needs of applicants alongside prior experience.

Students receiving second-study composition lessons are not eligible to take the pathway.

The pathway provides a series of one-to-one composition lessons across the year (up to 5 hours), which may be augmented with group sessions or participation in Contemporary Music Workshop. Students will work on a composition project of the scope and style of their choice in agreement with the pathway leader.

Assessment will be through submission of a single composition or group of compositions, normally of around ten minutes total combined duration.

EARLIER REGISTRATION DEADLINE: Those interested must submit a score (and recording if available) of a representative composition, and a brief statement of professional development needs to Oliver Till [email protected] by noon, Monday 23 September 2019.


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17.7 CONCERT WORKSHOP (Roderick Chadwick)

Mondays 9.30-11.00

Concert Workshop is a pathway for gaining performing experience in a cross-departmental context. It focusses on stagecraft in the broadest sense (the art of communication) and examines historical and contemporary notions of concert-giving. Students are encouraged to perform as much as possible, usually in an informal, discussion-based environment, but with the opportunity for assessed performances throughout the year. These may also be used as part of your Professional Skills profile.

Assessment

Each participant will give at least one performance during the year consisting of either previously untried repertoire or an instrumental combination that is new to them. The final mark for the pathway will be based on:

The performance itself, including any material that accompanies it (written, spoken or otherwise)

A 500-word (minimum) written appraisal of their own performance

A 500-word (minimum) commentary on issues raised in a session other than the one in which they perform.

17.8 CONTEMPORARY MUSIC WORKSHOP (David Gorton)

Mondays, 14.00-15.30, Room 107 and break-out rooms

First class on Monday 30 September

Contemporary Music Workshop is open to all MA and MMus performance students. It is the dedicated pathway for MA and MMus composition students. It is also an elective for BMus students.

The pathway brings together composers and performers in a collaborative environment in which musical ideas can be exchanged and developed, and the processes of collaboration explored. The classes include practical workshops where students develop their ideas, and seminars in which case studies in collaborative practice are examined.

Each student participates in collaborative projects with at least one other student, developing musical materials that can take any form. Students participate in formal group presentations that include details of the collaborative processes and performances of the completed musical materials. In addition, each individual student submits a detailed written account of their own contribution to the projects (guide length 2000 words), along with notation of the developed musical materials.

The work is assessed holistically from the evidence of the written account, set within the context of the presentation, taking into account the following: the level of creativity, initiative, and/or musicality brought to the projects; the level of critical awareness of the creative processes at work in the projects.

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17.9 CREATIVE COLLABORATION: DEVELOPING YOUR IDENTITY AS A PROFESSIONAL ARTIST (Jessica Walker)

Mondays 15.00-16.30

First class on Monday 30 September

Term 2: 13 Jan - 23 Mar

Since 2010 opera singer / writer Jessica Walker has been creating and performing work across the genres of new music and theatre, in collaboration with composers, instrumentalists and directors. Her pieces have been commissioned and performed by organisations including Opera North, The Royal Exchange Theatre, St Magnus Festival, and 59E59 Theatre New York. Diversifying into new work has transformed her knowledge and understanding of the ways in which a classically-trained performer might expand their professional artistry.

This pathway explores not only how interdisciplinary collaboration can help to develop a wider range of creative skills, but also how it can facilitate a greater embodiment of individual artistic identity, leading, in turn, to enhanced career possibilities.

Mentored by Jessica, over 12 sessions, students (composers, instrumentalists and singers are all welcome) will work together on short pieces they create themselves, from inception through to performance and evaluation. The sessions will take the form of workshops, with an optional final public presentation.

Assessment

100% written critical reflection

17.10 CREATIVE PROGRAMMING AND RESEARCH (Neil Heyde and Briony Cox-Williams)

Tuesdays 9.30-11.00, Room 107 MMus students ONLY

This course critically examines different aspects of concert practice, exploring strategies for responding to sources (including recordings) and wider issues around programming, including audiences, venues and concert functions. The principal aim is to help you to develop a discipline-specific and individual approach to project development by exploring subject areas that have traditionally been part of musicology from a performance-centric perspective. Through considering issues such as the role of the concert-giver, as well as looking at historical and contemporary models of concert practice, we will encourage you to explore ways of engaging with both established and new audiences. There will be sessions led by the teachers, as well as several based on whole-class discussion.

Students produce 2 short written assignments during the year (due November and February) and present a 20-minute lecture-recital at the beginning of the summer term. Deadlines are communicated by the pathway leaders.

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17.11 ENHANCED PERFORMANCE TECHNIQUES (Sophie Langdon)

Tuesdays or Thursdays, 16.30-18.00 and 18.00-19.30, Aybrook Street 108

New this year 3 concurrent full length courses (see below) and 5 modules of 2 to 4 weeks duration (see Artist Development page on AIR). The modules will be available both from October, and in the Spring (new sign-up in January)

Open to PG students of all disciplines, this pathway enables performers to deliver with greater freedom and confidence, through enhanced preparation techniques.

You may come to this course to get help with performance anxiety or stage fright even the greatest artists can suffer from this and have the need to develop strategies.

You may come because you are already comfortable on stage, but looking for greater performing spontaneity, or ways to reduce everyday stress. Even the best trained instrumentalists are likely to experience injury during their musical careers it is possible to prepare to help prevent injury. Understanding your mind and body are key.

Full length course, October to March - 18 sessions, each 1.5 hours or 1 hour (varied).

Course content: meditation, yoga (no previous experience required) stretching and breathing, visualisation techniques, and psychological strategies. The techniques also enhance everyday life skills, reducing general stress and increasing capacity to handle difficult and challenging situations. The work also contributes to avoiding future injury. Also included: Performance Classes, work on spoken introductions, Video Workshop. You will need to arrive with a 5 minute piece ready to play, solo or accompanied. Most participants report a significant increase in their capacity to cope with everyday stresses, and find EPT a good support for both Academy life, and their future careers.

Assessment will be by a written summary of your experience over the course (500 words) and by feedback from the pathway leader.

17.12 HISTORICALLY INFORMED PERFORMANCE CLASSES

HP students ONLY This Pathway comprises ten classes (HIP classes) spread over the Autumn and Spring terms, covering a wide range of key topics and current research in historically informed performance. The first class introduces basic questions of performance and interpretation using historical (and other) tools. Other classes (taken by Academy and visiting specialists) include: HIP in education, period specific Performance Practice (eg. Renaissance, CPE Bach, 19th-Century techniques), an introduction to tuning and temperaments, divisions, ornaments and ornamentation, historically-informed improvisation. Assessment: Journal of 1000 words

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17.13 HISTORICAL PERFORMANCE PATHWAY

Lessons by arrangement

This Pathway will give you the opportunity to explore historically informed performance on period instruments. The tuition will consist of eight hours of one to one lessons (or occasional group study) with a specialist professor from the HP department. The lessons will enable you to make informed choices about stylistic playing and to develop a strong technique on your chosen instrument. You will be required to attend and to participate in at least two additional classes each term in the HP department from the many on offer. A full HP timetable will be available at the start of each term to enable careful planning. Some students will be invited to play in high-profile Academy ensemble projects on period instruments.

Bibliography

Primary Sources:

Francesco Geminiani, The Art of Playing the Violin (1751) (OUP)

Johann Joachim Quantz Versuch einer Anweisung die Flöte traversiere zu spielen.

Berlin, 1752 [On Playing the Flute trans. Reilly (Faber & Faber 1966)]

C. P. E. Bach, Versuch über die wahre Art das Clavier zu spielen, Berlin 1753 [trans. Mitchell 1949, Eulenberg Books 1974]

Secondary Sources:

Le Huray, P, Authenticity in Performance: Eighteenth-Century Case Studies (CUP,

1990).

Cyr, M, Performing Baroque Music 789 CYR (Scolar Press, 1992).

Tarling, J, Baroque String Playing for ingenious learners (Corda Music, 2000)

Butt, J. Playing with History (CUP 2002)

Duffin, R. How Equal Temperament Ruined Harmony (& Why You Should Care) (Norton 2007)

Assessment

All students taking this pathway must submit a 500-word appraisal of your experience of the Pathway (also to be included in your Portfolio) and will receive a written report from their instrumental teacher based on their progress and engagement throughout the year.

Application requirement

An application form (available on AIR or in the intro pack) must be returned by 12.00 Tuesday 17 September 2018. All students applying must attend one of the following two classes in the Henry Wood Room:

Monday 16th September, 16.00-17.00 or Tuesday 17th September, 15.00-18.00

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17.14 ADVANCED HISTORICAL PERFORMANCE PATHWAY

This Pathway is open only to students who have taken HP Pathway in MA1 or MMus1

This Advanced Pathway will give you the opportunity to explore further historically informed performance on period instruments. The tuition will consist of eight hours of one to one lessons (or occasional group study) with a specialist professor from the HP department. The lessons will enable you to make informed choices about stylistic playing and to develop a strong technique on your chosen instrument. You will be required to attend and to participate in at least two additional classes each term in the HP department from the many on offer. A full HP timetable will be available at the start of each term to enable careful planning. Some students will be invited to play in high-profile Academy ensemble projects on period instruments. The Head of HP will meet the Pathway students each term to discuss your progress and development.

Bibliography

Please see the Historical Performance Pathway bibliography above.

Assessment

All students taking this pathway must submit a 500-word appraisal of your experience of the Pathway (also to be included in your Portfolio) and will receive a written report from their instrumental teacher based on their progress and engagement throughout the year.

Application requirement

An application form (available on AIR or in the intro pack) must be returned by 12.00 Tuesday 17 September 2018. All students applying must attend one of the following two classes in the Henry Wood Room:

Monday 16th September, 16.00-17.00 or Tuesday 17th September, 15.00-18.00

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17.15 (Daniel-Ben Pienaar and Neil Heyde)

Selected Thursdays 10.30-12.00

Term 1: October 3, 10, 17; November 7, 14, 21 Term 2: January 9, 16, 30; February 6, 27; March 5, 12

es as

Close listening to recordings (historical and contemporary) can reveal a surprising range of possibilities for the performer that are not captured or even suggested in musical scores. In this class we establish a framework for asking useful questions about these possibilities and gaining technical/expressive resources in the process.

A series of seminars is followed by practical workshops. Unusually, these practical sessions will involve exploring recordings of the music being workshopped, not as direct

Assessment

You will choose a piece or an area of repertoire and track the issues and approaches that come up in lessons, rehearsals, coachings, performance classes, masterclasses and the Interpreter's Workshop sessions. This will act as preparation for a workshop session in the Spring Term and you will submit a short report (guide length 1000 words) summarising the process for the standard pathway deadline. You will be encouraged to be playful as well as critical!

17.16 LEADERSHIP SKILLS FOR ARTISTS (Gwendolyn Tietze)

Thursdays 16.00-17.30 starting 26 September 2019 (Term 1 only)

This Pathway will assist you to equip yourself with key leadership skills for your professional life. It will be of particular interest to students wanting to run their own creative projects or ensembles, and to those collaborating across diverse languages and cultures.

In interactive workshops, you will explore: Who is a leader? How do you want to lead?; emotional intelligence; listening and questioning techniques; coaching approaches for self-preparation; nonviolent communication; facilitating collaborations; and pitching ideas and projects.

You will be asked to practice your leadership skills in between sessions and to keep a reflective journal.

Assessment

A piece of writing (1,500 words) reflecting on your development as a leader.

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17.17 OPEN ACADEMY PATHWAY (Julian West)

4 evening sessions: Wednesday 6-8pm

Term 1: October 2, 9

Term 2: January 15, 22

This pathway is designed for students with a keen interest in exploring how they can use their musicianship, skills and principal study to support creative learning and participation initiatives in schools and other community-based settings. Students will be offered opportunities to participate in project activity throughout the year and will identify and develop some of the leadership skills that will assist them in taking part in learning and participation work as part of programmes undertaken by orchestras, opera houses, festivals, venues etc.

Objectives

Students are offered practical, professionally relevant opportunities for the development of skills within this increasingly important field of work.

Students will receive mentoring from the Open Academy teaching staff.

Students are encouraged to keep a reflective journal over the course of the project(s) for their own use, which will inform their documentation of the pathway.

Assessment

Students will receive some written feedback from the workshop leaders they work with over the course of the year. No mark is attached to this.

Students will write reflectively about each of their experiences on the Pathway, submitting a short report of no more than 500 words. This can later be included within the main body of their Portfolio.

Registration requirement: Interested students must email [email protected] with a short statement that covers any previous experience they have in the field (although none is necessary), and what attracts them to the pathway.


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17.18 PERFORMING EXPERIMENTAL MUSIC (Alex Hills)

Selected Thursdays, 09.30-12.30, Room 107

Term 1: September 27; October 11, 25; November 8, 22

Term 2: January 10, 24; February 7, 14, 28; March 7, 28

This pathway provides an introduction to performing music in C20th and 21st experimental

music traditions. Works studied will include pieces for open instrumentations, in open

scores. The social aspects of the experimental music tradition, and its relationship to other

musical genres and art forms will also be cons

Alex Hills the pathway leader - and specialists from both within the Academy and the

larger experimental music community, and will involve both playing core works and a

discussion of aesthetic, cultural and performance issues raised by that work.

Assessment is in three parts: an informal concert at the end of the module, a review of a

concert including experimental repertoire (various appropriate events will be pointed out

throughout the year) and a proposal for a concert programme you have designed yourself,

with a detailed rationale for the choice of repertoire.

17.19 PERFORMING FRENCH MUSIC (Roy Howat)

Thursdays, 13.00-15.00, Room 107

This pathway is offered to instrumentalists, singers and conducting students, covering

Composers central to the seminars are Debussy, Fauré, Franck, Chabrier, Duparc and Ravel; others (Chausson or Poulenc, for example) can be brought in as apt.

The music will be studied from several points of view: analytical awareness and comprehension; editorial awareness (manuscript or source issues and critical editions); and

witness accounts and recordings by their colleagues. The aim is to foster and encourage idiomatic fluency and confidence in performance, based on undersidiom, notation and wishes.

Each genre song, instrumental or orchestral informs the others, so a core aspect of the pathway is gaining a sense of how song and instrumental idioms interact, or how much the

stincts inform (say) their piano writing, and vice versa. An idea of

The Art of French piano music: Debussy, Ravel, Fauré, Chabrier (London: Yale UP, 2009) and his various critical editions of music by Debussy, Fauré and Chabrier.

Assessment

2,500 words or equivalent, or a workshop presentation with 1.5 page write-up.

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17.20 PRACTICAL CONDUCTING PATHWAY (Dominic Grier)

Selected Fridays, 16.00-18.00, Room 151

Term 1: October 4, 11, 18; November 8, 22

Term 2: January 17; February 7, 21; March 6, 20, 27

This pathway aims to develop conducting skills that may be required in a number of professional contexts (such as directing from an instrument, conducting your own compositions, leading sectional rehearsals, coaching chamber music, or conducting ensembles in schools or higher education institutions). The main focus will therefore be refinement of basic conducting technique, alongside the development of effective methods of rehearsing and score preparation.

A small core repertoire will be studied as the basis of the pathway, and students may additionally bring repertoire of their own choice. Practical work during classes will be video recorded, and review of these recordings by means of written feedback from the pathway leader will form an integral element of the teaching. A maximum of 8 students will be accepted, and those taking conducting as a second study will not be eligible. Some experience of conducting (including previous study at undergraduate level), is desirable.

Assessment will take place on a continuous basis during the Spring Term and will take into account attainment in practical work alongside contributions to class discussions.

Registration requirement: Interested students must email [email protected] with a brief profile indicating their past experience; if able please also include links to video clips of your conducting.

17.21 SOUNDBOX (Peter Sheppard Skærved)

Selected Thursdays, 12.30-14.00, Museum Strings Gallery

Term 1: 26 September, 10 October 28 November (Term 2 TBA)

Soundbox is a series of talks, interviews, and workshops exploring the relationships between music and its related creative fields. The series takes place in the Academy Museum, and in a typical year, will include guest composers, makers, artists and craftspeople, as well as exploring particular thematic areas, linked to both historical and contemporary issues. Violinist Peter Sheppard Skærved has a unique profile of collaboration with galleries and museums ranging from the British Museum to Tate Modern. For students taking Soundbox as a pathway, he will lead four museum visits, which will also provide the opportunity to get 'behind the scenes' in a number of institutions.

Assessment by written commentaries and/or portfolio of materials, of 2,500 words or equivalent.


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17.22 STUDIO PERFORMANCE (Amy Blier-Carruthers)

Selected Thursdays, 10.00-11.30, Aybrook Street

Studio work, early January 2020

Performing for a recording is completely different to performing live. We spend thousands of hours preparing for the concert platform, but comparatively little time learning how to translate that performance for the recording studio. In this course you will learn to look critically at the concepts, issues, and processes relating to recording, and gain practical experience of performing and producing in a studio environment.

The introductory seminars address the aesthetics and history of recording, and the roles of the performer, producer, sound engineer and editor (including input from invited speakers). You will then attend a mock-up recording session and field trips in order to consider the different contexts for performance. Finally, you will go into the studio to make your own recording (including making your own editing choices), and will act as producer for one of your peers. By experiencing and questioning the act of studio performance, and by changing roles from performer to producer, you get a rare chance to experience the challenges and opportunities of recording from both sides of the control room glass.

Assessment

A final edited CD plus EITHER a reflective commentary (1,000-1,500 words) OR a reflective essay about the differences between live and recorded performance including your experience of both (2,500 words), AND ALSO a formative assessment of your role as performer and producer in the studio.

Registration requirement: Spaces are limited on this pathway. Students who wish to take this pathway must email [email protected] explaining why they want to do this pathway and why it would be useful. Places will be offered to students who look like they will be most dedicated and take most advantage of the course.
