Professional Documents
Culture Documents
Graduate School
2010–11
INSTRUMENTALISTS
and
CONDUCTORS
If you would like any material
from this document in larger print,
please contact the Registry
Programmes Team
e-mail:
registryprogrammes@rcm.ac.uk
2
Contents
Pattern of study 4
Unit descriptions 5
• Pathway Units 6
• MMus Units 9
Elective units 35
• Level M electives 36
• Level 3 electives 54
General Information 56
Who’s Who 61
3
Pattern of study for MMus in Advanced Performance, year two
one academic year of 10 months, total of 120 credits
MMus Unit (Level M) Pathway Unit Advanced Principal Study Elective Unit(s)
(Level M) Unit (Level M) (Level M and/or 3)
Level M
Lecture Presentation Orchestral Performance Principal Study 1 Major Second Study
30 Credits (Orchestral Pathway) (39 hrs/yr) (21 hrs/yr)
30 credits 80 credits 40 credits
OR Minor Second Study
Historical Performance Principal Study 2 (14 hrs/yr)
30 credits
Critical Project (Historical Performance (33.5 hrs/yr) Related Study
30 Credits Pathway) 70 credits (7 hrs/yr)
30 credits 20 credits
Principal Study 3 Concerto Competition *
Accompaniment (28 hrs/yr) 10 credits
(Accompanist Pathway) 60 credits Conducting
30 credits 20 credits
Principal Study 4 Contemporary Music in Action
(21 hrs/yr) 10 credits
(Solo/Ensemble Pathway 40 credits Continuo Accompaniment
10 credits
candidates do not take a Duo Performance
Pathway Core Unit). 20 credits
Experimental Music
10 or 20 credits
Historical Performance *
10 or 20 credits
Keyboard Improvisation
20 credits
Music, Culture Contemporary Media
10 or 20 credits
Professional Portfolio: Professional
skills
10 credits
Professional Portfolio: Studio
Experience
10 credits
Professional Portfolio: New Media
10 credits
Recital Accompaniment *
10 credits
Repertoire Project
10 credits
Sources of Performance History
10 credits
4
UNIT DESCRIPTIONS
This handbook contains unit descriptions for those that make up the second year of the MMus in
Advanced Performance. These are deliberately broad in their description of content. The information
that they contain is supplemented, where appropriate, by syllabuses that enable the detail of the unit
content and, for 1-to-1 practical units, the examination requirements (repertoire, etc) to be varied from
year to year within the parameters defined by the unit description.
PATHWAY UNITS
These units are specially designed to provide opportunities for advanced study, usually in a small group
situation, of repertoire or performance situations particularly associated with a given instrument or
genre. They complement the 1-to-1 Principal Study that all students undertake, covering ground directly
relevant to the Principal Study but in ways that are felt to be more effective. Students are free to take the
same Pathway unit in Year 2 as they did in Year 1. Note carefully when choosing your units that the
pathways have different credit weightings:
In general terms, students taking a Pathway Unit are likely to take one of the lower credit-weighted
Principal Study Units. In particular, a student taking both an MMus Unit and a Pathway Unit will need
then to select Principal Study 3 (60 credits) to make up their remaining credits.
If a student does not choose any Pathway Unit, this effectively means that they are designated as being
on the Solo/Ensemble Pathway. This flexible pathway students to create their own timetable utilising
the many and varied performance opportunities the RCM provides.
Because of the intensive nature of the training in the Orchestral Pathway Unit and the need to provide
sufficient orchestral opportunities for all students on this pathway, entry by string, wind and brass
instrumentalists is strictly controlled. Every effort will be made to accommodate such students wishing
to take this pathway but it may be necessary from time to time to limit numbers. Under these
circumstances, a student accepted onto the programme is free to choose the Solo/Ensemble pathway
option.
As Pathway Units are assessed through examinations of a practical nature, the assessment criteria for
these are to be found in Practical Examinations Procedure at the Royal College of Music 2010-11, available
from the Registry.
5
PATHWAY UNIT: ORCHESTRAL PERFORMANCE
Unit Leader: Stephen Johns
Level Credit Rating Delivery Unit code
M 30 Seminars, College ensemble and M3B01
orchestral activity including
sectionals, performance platforms,
concerts
Summary of unit
The core content of this unit is provided through repertoire seminars, usually in small groups, where
orchestral repertoire is explored and the necessary interaction between and within orchestral sections
discussed and practised. In addition to this, students are expected to draw upon the more general
activities organised by Performance Management to develop their experience and understanding of
orchestral performance. In a given year, these might include the following, or equivalent, provision:
• Sectional coaching sessions and orchestral rehearsals
• Side-by-side, sit-in or outreach experiences with professional musicians
• College orchestral concerts
Method of assessment
• Continuous assessment of rehearsal, ensemble and concert activities, as detailed in the Unit
Syllabus. 30 credits
6
PATHWAY UNIT: HISTORICAL PERFORMANCE
Unit Leader: Ashley Solomon
• enhanced your skill and confidence as an ensemble performer of early music, especially the
Baroque repertoire
• studied this repertoire in some breadth and depth, including discussion of sources, editions and
performance treatises
• developed your rehearsal skills and ability to work quickly and professionally, directed or
undirected, with performing colleagues.
Summary of unit
• Classes where repertoire is explored and the necessary interaction between instruments,
including the role of continuo, discussed and practised
• Preparation of ensemble projects
• Side-by-side experiences with visiting professional musicians
• RCM Baroque Orchestra concerts
Method of assessment
• Assessed participation in two performance projects during year10 credits per project
• A 1,400–1,600 word written project or spoken presentation on a historical performance practice
topic. The choice of topic is to be approved by the unit leader. 10 credits
7
PATHWAY UNIT: ACCOMPANIMENT
Unit Leader: John Blakely
Summary of unit
• Repertoire classes, in small groups, where vocal and instrumental repertoire is explored and the
necessary interaction between piano and voice or melody instrument discussed and practised
• Preparation of themed projects
• Participation in Song Classes
Method of assessment
8
MMUS UNIT: CRITICAL PROJECT
Unit Leaders: Ingrid Pearson and Timothy Salter
Summary of unit
Method of assessment
• Completion of a 5,000–7,500 word Critical Project on a specialist topic which has been agreed by
an MMus panel in the Autumn term.
• A viva voce on the Project, if called.
9
MMUS UNIT: LECTURE PRESENTATION
Unit Leaders: Ingrid Pearson and Timothy Salter
Summary of unit
Method of assessment
• Completion of a Lecture Presentation (25 minutes, plus 5 minutes for open questions from Panel
and audience) on a specialist topic which has been agreed by an MMus panel in the Autumn
term.
10
PRINCIPAL STUDY UNITS
The four different types of Principal Study unit are ranged in descending order of credit value. In each
case, the amount of weekly provision decreases, as does the length of the examination you are expected
to take.
11
ADVANCED PRINCIPAL STUDY 1
Unit Leader: Head of Faculty
Summary of unit
• 1-to-1 guidance tailored to individual needs – this may reflect some final finishing work on
technical aspects but is more likely to focus upon the exploration of new repertoire and
preparation for specific performances
• participation in faculty classes, masterclasses, College chamber concerts and other concerts of
similar standard outside the College
• performance as appropriate in duos, chamber ensembles and orchestras
• independent practice to support all these activities
• continued exploration of Principal Study repertoire, not only in performance but also through
self-directed listening – at concerts and to recordings
Method of assessment
12
ADVANCED PRINCIPAL STUDY 2
Unit Leader: Head of Faculty
Summary of unit
• 1-to-1 guidance tailored to individual needs – this may reflect some final finishing work on
technical aspects but is more likely to focus upon the exploration of new repertoire and
preparation for specific performances
• participation in faculty classes, masterclasses, College chamber concerts and other concerts of
similar standard outside the College
• performance as appropriate in duos, chamber ensembles and orchestras
• independent practice to support all these activities
• continued exploration of Principal Study repertoire, not only in performance but also through
self-directed listening – at concerts and to recordings
Method of assessment
13
ADVANCED PRINCIPAL STUDY 3
Unit Leader: Head of Faculty
• enhanced your performing skills, broadened your knowledge of repertoire, improved your
interpretational abilities
• enriched your understanding of musical structure and style and of the ways in which these
impinge upon the formation of a performance
• acquired maturity and an individual voice as a performer
• deepened your awareness of the current state of the profession and developed your contacts
with your future professional colleagues
• brought all of these qualities to the level of full professional readiness
• demonstrated the ability to act in complex, unpredictable and/or specialised contexts
• demonstrated the ability to adapt acquired skills indecently and develop new ones for new
situations.
Summary of unit
• 1-to-1 guidance tailored to individual needs – this may reflect some final finishing work on
technical aspects but is more likely to focus upon the exploration of new repertoire and
preparation for specific performances
• participation in faculty classes, masterclasses, College chamber concerts and other concerts of
similar standard outside the College
• performance as appropriate in duos, chamber ensembles and orchestras
• independent practice to support all these activities
• continued exploration of Principal Study repertoire, not only in performance but also through
self-directed listening – at concerts and to recordings
Method of assessment
14
ADVANCED PRINCIPAL STUDY 4
Unit Leader: Head of Faculty
• enhanced your performing skills, broadened your knowledge of repertoire, honed your
interpretational abilities
• enriched your understanding of musical structure and style and of the ways in which these
impinge upon the formation of a performance
• acquired maturity and an individual voice as a performer
• deepened your awareness of the current state of the profession and developed your contacts
with your future professional colleagues
• brought all of these qualities to the level of full professional readiness
• demonstrated the ability to act in complex, unpredictable and/or specialised contexts
• demonstrated the ability to adapt acquired skills indecently and develop new ones for new
situations.
Summary of unit
• 1-to-1 guidance tailored to individual needs – this may reflect some final finishing work on
technical aspects but is more likely to focus upon the exploration of new repertoire and
preparation for specific performances
• participation in faculty classes, masterclasses, College chamber concerts and other concerts of
similar standard outside the College
• performance as appropriate in duos, chamber ensembles and orchestras
• independent practice to support all these activities
• continued exploration of Principal Study repertoire, not only in performance but also through
self-directed listening – at concerts and to recordings
Method of assessment
15
PRINCIPAL STUDY SYLLABUSES
Below are the details of Principal Study practical examination requirements for the 2010/2011 academic
year, for these instruments, in alphabetical order: bassoon; cello; clarinet; flute; French horn; guitar; harp;
harpsichord; oboe; piano accompaniment; piano; recorder; tenor trombone; viola and violin.
You will find the following information for each type of practical examination:
Examination lengths
The issue of examination length is critical for you, for your examiners and for the smooth running of the
examinations process. You must show that you have prepared sufficient material but any over-running
will put pressure on your examiners and inconvenience any students being examined after you.
There are two types of examinations and each should be treated differently in terms of timing. The first
type is an actual examination, usually conducted in one of the teaching rooms in College, where the
examiners will tell you at each stage what they want you to perform; the second is an assessed recital,
usually given in one of the College’s performance spaces, where you must plan a programme and
perform it under concert conditions.
You must be available for the entire period in which your examination may be scheduled. The
examination periods are as follows: Spring exams: 30 March to 8 April 2011, BMus written exams: 16 to
20 May 2011, Chamber/Duo exams: 18 to20 May 2011, Summer exams: 25 May to 13 June 2011.
Examinations
You should prepare an amount of music corresponding to the time indicated in the syllabus. However,
the time indicated is also the length of the examination. Obviously, it would be impossible to get
through, say, 30 minutes actual music in a 30-minute exam. You should therefore be ready for the fact
that your examiners may select at the beginning of the exam those elements from your complete
programme which they wish to hear you perform or, alternatively, may stop you at suitable points in
mid-movement in some or all of your pieces, in order to complete the exam within the time stated.
Recitals
The Principal Study Repertoire Recital, or Final Recital, is the form of Principal Study examination used in
all postgraduate assessments. It is to be viewed as a concert, performed in full and without the
examiners directing proceedings or telling you what to perform and when. You should therefore plan
your programme so that it will fit comfortably within the stated time range (please note the use of time
ranges, rather than just a maximum length). Your timings should allow for reasonable gaps between
movements and pieces, for any stage adjustments that may be required and, where permitted, for any
interval built into the recital. The examiners will time your recital carefully from the first note of the first
piece to the final dying away of the last note of the last piece. If your complete performance, measured
in this way, is shorter than the minimum time or longer than the maximum, they will apply a penalty to
the mark they award you (details of this are given in the booklet, Practical Examination Procedures at the
Royal College of Music 2010-11, referred to below).
16
Provision of Music in Recital Examinations
Your panel requires a complete copy of each work that you perform. A complete copy means the music
for your instrument and any other instrument(s) involved. The music provided should be in the same
edition that you are using, unless you have consulted a range of editions (for one or more works) as part
of your preparations. If this is the case, we advise you to include, with your music, a short note to this
effect so that your panel understands your approach.
Photocopies
The use of photocopies of works in copyright is illegal unless prior permission has been obtained from
the publisher. It is your responsibility to obtain these, if necessary, though if you are in doubt about the
copyright status of the works you are performing, the RCM Library will be able to advise you. If you are
making a request to the Library for an extra copy of your music to be acquired, please bear in mind that
you need to provide ample notification time (a minimum of four weeks) and that, while in the vast
majority of cases the Library is able to meet this request, it cannot always guarantee to do so.
Penalties will be applied if you do not produce complete scores for all the works that you perform. For
further details about penalties in relation to the provision of complete scores, please see the Practical
Examination Procedures at the Royal College of Music 2010-11.
17
BASSOON
Principal Study 1, 2, 3 or 4
50-60, 42-50, 33-40 or 25-30
Recital Examination
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study
type taken. The programme should be planned to offer contrast and to illustrate the range of the
instrument’s and the player’s capabilities
The programming should be original and illuminating, offering some fresh insight into the nature of
the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study
• Including one or more new works, perhaps written for the student
• Planning the programme around the systematic exploration of a particular area of the
repertoire
The programme should not include any work previously offered by the student in a Year 1 recital.
You are encouraged to play one piece or movement from memory.
18
CELLO
Principal Study 1, 2, 3 or 4
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
The performance of a well-balanced programme, chosen by the student. The chosen programme
should fulfil the following criteria:
• Presenting a high level of technical challenge and offering clear scope for applying the musical
imagination and for making significant interpretational decisions, whilst allowing, where
appropriate, for lighter material to produce a well-balanced overall sequence;
• Demonstrating a range of styles, genres or musical periods, but presenting these within a
coherent overall scheme;
• Including at least one item - usually an entire work but, exceptionally, a movement or
movements from a larger work - which would be regarded as among the more substantial,
both in terms of size and style, in the instrument’s repertoire;
• Calculated so as to fill comfortably but not exceed the overall time limit for the recital,
including pauses between works.
No more than one fifth of the programme may consist of material previously offered for assessment at the
Royal College of Music.
At least 15 minutes of the recital must normally be performed from memory, though a
programme that comprises sonata or chamber works may be exempt provided prior written
authorisation is given by the Head of Strings. It is then the candidate’s responsibility to ensure that
such written authorisation is presented to the panel of the day of the examination.
Up to one third of the programme may feature the student playing with an ensemble, providing
that his or her contribution is at least equal in prominence to those of the other performers.
The recital will be conducted under conditions resembling as closely as possible those of a public
performance. The student’s appearance and command of presentational matters should reflect this, and
will be taken into account by the examiners.
19
CLARINET
Principal Study 1, 2, 3 or 4
50-60, 42-50, 33-40 or 25-30
Recital Examination
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study
type taken. The programme should be planned to offer contrast and to illustrate the range of the
instrument’s and the player’s capabilities.
The programming should be original and illuminating, offering some fresh insight into the nature
of the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study
• Including one or more new works, perhaps written for the student
• Planning the programme around the systematic exploration of a particular area of the
repertoire
The programme should not include any work previously offered by the student in a Year 1 recital.
You are encouraged to play one piece or movement from memory.
20
FLUTE
Principal Study 1, 2, 3 or 4
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study
type taken. The programme should be planned to offer contrast and to illustrate the range of the
instrument’s and the player’s capabilities.
The programming should be original and illuminating, offering some fresh insight into the nature
of the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study
• Including one or more new works, perhaps written for the student
The programme should not include any work previously offered by the student in a Year 1 recital.
You are encouraged to play one piece or movement from memory.
21
FRENCH HORN
Most orchestral excerpts listed within this document are obtainable from the following sources:
Where the excerpt is not found in these books the student is encouraged, under the guidance of the
professor, to study the work from the full score or from orchestral material. All students are expected to
have read and be familiar with the contents of the following:
as well as current editions of Brass Bulletin, The Historic Brass Society Journal and Horn Call Journal
22
FRENCH HORN cont.
Principal Study 1, 2, 3 or 4
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study type
taken. An interval of up to10 minutes may be taken for a 50-60 minute recital, and up to 5 minutes for a
42-50 or 33-40 minute recital. No break should be incorporated into 25-30 minute recitals.
The programme should be planned to offer contrast and to illustrate the range of the instrument’s and
player’s capabilities.
The programme should be original and illuminating, offering fresh insight into the nature of the
instrument and its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study.
• Including one or more new works, perhaps written for the student.
• Planning the programme around the systematic exploration of a particular area of the
repertoire.
Students are encouraged to play one piece or movement from memory. The programme should
not include any work previously offered by the student in a Year 1 recital.
23
GUITAR
MMus Year 2 Postgraduate Level M Advanced Performance students should also incorporate at least 3
of the generic and stylistic forms into their final recital programme but must not repeat those chosen in
Year 1. Two of these must be taken from those highlighted in bold which were not chosen in Year 1.
Principal Study 1, 2, 3 or 4
Repertoire Recital 50-60, 42-50, 33-40 or 25-30 mins
The performance of a well-balanced programme, chosen by the student in accordance with the
repertoire guidelines above. The chosen programme should fulfil the following criteria:
• Presenting a high level of technical challenge and offering clear scope for applying the musical
imagination and for making significant interpretational decisions, whilst allowing, where
appropriate, for lighter material to produce a well-balanced overall sequence;
• Demonstrating a range of styles, genres or musical periods, but presenting these within a
coherent overall scheme;
• Including at least one item - usually an entire work but, exceptionally, a movement or
movements from a larger work - which would be regarded as among the more substantial,
both in terms of size and style, in the instrument’s repertoire.
• Calculated so as to fill comfortably but not exceed the overall time limit for the recital,
including pauses between works.
No more than one fifth of the programme may consist of material previously offered for
assessment at the Royal College of Music. At least 15 minutes of the recital must be performed
from memory. Full memorisation will be credited. Up to one third of the programme may feature
the student playing with an ensemble, providing that his or her contribution is at least equal in
prominence to those of the other performers. The recital will be conducted under conditions
resembling as closely as possible those of a public performance. The student’s appearance and
command of presentational matters should reflect this, and will be taken into account by the
examiners.
24
HARP
Principal Study 1, 2, 3 or 4
Repertoire Recital 50-60, 42-50, 33-40 or 25-30 mins
The performance of a well-balanced programme, chosen by the student. The chosen programme should
fulfil the following criteria:
• Presenting a high level of technical challenge and offering clear scope for applying the musical
imagination and for making significant interpretational decisions, whilst allowing, where
appropriate, for lighter material to produce a well-balanced overall sequence;
• Demonstrating a range of styles, genres or musical periods, but presenting these within a coherent
overall scheme;
• Including at least one item - usually an entire work but, exceptionally, a movement or movements
from a larger work - which would be regarded as among the more substantial, both in terms of size
and style, in the instrument’s repertoire;
• Calculated so as to fill comfortably but not exceed the overall time limit for the recital, including
pauses between works.
No more than one fifth of the programme may consist of material previously offered for assessment at the
Royal College of Music. At least 15 minutes the recital must be performed from memory
Up to one third of the programme (two thirds for performers on the Historical Performance Pathway) may
feature the student playing with an ensemble, providing that his or her contribution is at least equal in
prominence to those of the other performers.
The recital will be conducted under conditions resembling as closely as possible those of a public
performance. The student’s appearance and command of presentational matters should reflect this, and
will be taken into account by the examiners.
25
HARPSICHORD
General Bibliography
C. Lawson and R. Stowell, The Historical Performance of Music: An Introduction (Cambridge, 1999)
C.P.E. Bach, Versuch über die wahre Art das Clavier zu spielen (Berlin 1752/62) [English trans., W.J.
Mitchell, Essay on the True Art of Playing Keyboard Instruments (London 2/1951)]
J.S. Bach: Precepts and Principles … for Playing a Thorough Bass, or Accompanying, in Four Parts …1738
from The New Bach Reader edited by Arthur Mendel, Christoph Wolff & Hans T. David
J.H. D'Anglebert, Principes de l'Accompaniment, (Paris, 1689) [English trans., K. Gilbert, Pieces de Clavecin
(Paris, 1975)]
J. Christensen, 18th Century Continuo Playing: a Historical Guide to the Basics (Kassel, 2002)
D. Ledbetter, Continuo Playing According to Handel (London, 1990)
N. Pasquali, Thorough-Bass Made Easy (London 1763, R/1974)
P. Williams, Figured bass Accompaniment (Edinburgh, 1970)
Fingering
Contemporary fingerings are also present in certain pieces by the English Virginalists: these are available
in volumes of Musica Britannica.
26
HARPSICHORD cont.
Principal Study 1, 2, 3 or 4
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study
type taken. The programme should be planned to offer contrast and to illustrate the range of the
instrument’s and the player’s capabilities
The programming should be original and illuminating, offering some fresh insight into the nature
of the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study
• Including repertoire about which recent research has provided fresh insights and approaches
to performance
• Planning the programme around the systematic exploration of a particular area of the
repertoire
At least half of the total duration of the recital must be solo works: the remainder may comprise
all or excerpts from a solo concerto, a cantata, duo material or chamber music.
The programme should not include any work previously offered by the student in a Year 1 recital.
27
OBOE
Principal Study 1, 2 3 or 4
50-60, 42-50, 33-40 or 25-30
Recital Examination
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study
type taken. The programme should be planned to offer contrast and to illustrate the range of the
instrument’s and the player’s capabilities.
The programming should be original and illuminating, offering some fresh insight into the nature of
the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study
• Including one or more new works, perhaps written for the student
• Planning the programme around the systematic exploration of a particular area of the
repertoire
The programme should not include any work previously offered by the student in a Year 1 recital.
You are encouraged to play one piece or movement from memory.
28
PIANO ACCOMPANIMENT
Principal Study 2, 3 or 4
42-50, 33-40 or 25-30
Repertoire Recital
mins
A recital, timed to run for 42-50, 33-40 or 25-30 minutes, according to the Principal Study type
taken. The programme should be planned to offer contrast and to illustrate the range of the
player’s capabilities. A short break may be included in the total time allowed. The programme
must contain some vocal repertoire, the remainder may be vocal or instrumental duo repertoire.
Repertoire with two or more other instruments is not permitted.
The programming should be original and illuminating, offering some fresh insight into the nature
of the accompanist’s repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study
• Including one or more new works, perhaps written for the student
• Planning the programme around the systematic exploration of a particular area of the
repertoire
The programme should not include any work previously offered by the student in a Year 1 recital.
29
PIANO
Principal Study 1, 2, 3 or 4
50 -60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study
type taken. The programme should be planned to offer contrast and to illustrate the range of the
instrument’s and the player’s capabilities.
The programming should be original and illuminating, offering some fresh insight into the nature
of the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study
• Including one or more new works, perhaps written for the student
• Planning the programme around the systematic exploration of a particular area of the
repertoire
All solo performances should be from memory unless specific permission has been given by the
Head of Keyboard to use the score. At least half of the total duration of the recital must be solo
works for piano: the remainder can be instrumental or vocal duo material or chamber music. A
break of up to and including 5 minutes can be taken but must be included in the overall time
allowed for the recital.
The programme should not include any work previously offered by the student in a Year 1 recital,
without the permission of the Head of Keyboard.
30
RECORDER
Principal Study 1, 2, 3 or 4
A recital, timed to run for 50 - 60, 42 – 50, 33 - 40 or 25-30 minutes, according to the Principal
Study type taken. The programme should be planned to offer contrast and to illustrate the range
of the instrument’s and the player’s capabilities. Up to 11 minutes can be as principal performer
in an ensemble.
The programming should be original and illuminating, offering some fresh insight into the nature
of the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study.
• Including one or more new works, perhaps written for the student.
• Planning the programme around the systematic exploration of a particular area of the
repertoire.
The programme should not include any work previously offered by the student in a Year 1 recital.
You are encouraged to play one piece or movement from memory.
31
TENOR TROMBONE
Principal Study 1, 2, 3 or 4
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study
type taken. An interval of up to10 minutes may be taken for a 50-60 minute recital, and up to 5
minutes for a 42-50 or 33-40 minute recital. No break should be incorporated into 25-30 minute
recitals.
The programme should be planned to offer contrast and to illustrate the range of the instrument’s and
player’s capabilities.
The programme should be original and illuminating, offering fresh insight into the nature of the instrument
and its repertoire. How this is achieved is the student’s responsibility but it might entail one or more of the
following approaches:
• Including little-known repertoire of which the student has made a particular study.
• Including one or more new works, perhaps written for the student.
• Planning the programme around the systematic exploration of a particular area of the
repertoire.
Students are encouraged to play one piece or movement from memory. The programme should
not include any work previously offered by the student in a Year 1 recital.
32
VIOLA
Principal Study 1, 2, 3 or 4
The performance of a well-balanced programme, chosen by the student. The chosen programme
should fulfil the following criteria:
• Presenting a high level of technical challenge and offering clear scope for applying the musical
imagination and for making significant interpretational decisions, whilst allowing, where
appropriate, for lighter material to produce a well-balanced overall sequence;
• Demonstrating a range of styles, genres or musical periods, but presenting these within a
coherent overall scheme;
• Including at least one item - usually an entire work but, exceptionally, a movement or
movements from a larger work - which would be regarded as among the more substantial,
both in terms of size and style, in the instrument’s repertoire;
• Calculated so as to fill comfortably but not exceed the overall time limit for the recital,
including pauses between works.
No more than one fifth of the programme may consist of material previously offered for assessment at the
Royal College of Music.
At least 15 minutes of the recital must normally be performed from memory, though a
programme that comprises sonata or chamber works may be exempt provided prior written
authorisation is given by the Head of Strings. It is then the candidate’s responsibility to ensure that
such written authorisation is presented to the panel of the day of the examination.
Up to one third of the programme may feature the student playing with an ensemble, providing
that his or her contribution is at least equal in prominence to those of the other performers.
The recital will be conducted under conditions resembling as closely as possible those of a public
performance. The student’s appearance and command of presentational matters should reflect this, and
will be taken into account by the examiners.
33
VIOLIN
Principal Study 1, 2, 3 or 4
Repertoire Recital 50-60, 42-50, 33-40 or 25-30 mins
The performance of a well-balanced programme, chosen by the student. The chosen programme
should fulfil the following criteria:
• Presenting a high level of technical challenge and offering clear scope for applying the musical
imagination and for making significant interpretational decisions, whilst allowing, where
appropriate, for lighter material to produce a well-balanced overall sequence;
• Demonstrating a range of styles, genres or musical periods, but presenting these within a
coherent overall scheme;
• Including at least one item - usually an entire work but, exceptionally, a movement or
movements from a larger work - which would be regarded as among the more substantial,
both in terms of size and style, in the instrument’s repertoire. Works originally scored for
violin and orchestra are acceptable;
• Calculated so as to fill comfortably but not exceed the overall time limit for the recital,
including pauses between works.
No more than one fifth of the programme may consist of material previously offered for
assessment at the Royal College of Music.
At least 15 minutes of the recital must normally be performed from memory, though a
programme that comprises sonata or chamber works may be exempt provided prior written
authorization is given by the Head of Strings. It is then the candidate’s responsibility to ensure that
such written authorisation is presented to the panel of the day of the examination.
Up to one third of the programme may feature the student playing with an ensemble, providing
that his or her contribution is at least equal in prominence to those of the other performers.
The recital will be conducted under conditions resembling as closely as possible those of a public
performance. The student’s appearance and command of presentational matters should reflect this, and
will be taken into account by the examiners.
34
ELECTIVE UNITS
Students who have credits available after making their Core and Principal Study choices can choose
from a range of further units on offer. The electives available this year are as follows:
Level M
Conducting, 20 credits
Level 3
35
MAJOR SECOND STUDY
Unit Leader: Head of Faculty
• enhanced your performing skills on a second instrument relevant to your Principal Study,
mastered its distinctive technical demands and acquired fluency in transferring between
instruments
• broadened your knowledge of repertoire of this instrument
• gained performing experience on this instrument
• developed contacts with your future professional colleagues.
Summary of unit
• 1-to-1 guidance tailored to individual needs – this is likely to focus upon those technical aspects
which are distinctive to the instrument but will also be concerned with the exploration of new
repertoire and preparation for specific performances
• performance as appropriate in duos, chamber ensembles and orchestras
• independent practice to support all these activities
• continued exploration of the instrument’s repertoire, not only in performance but also through
self-directed listening – at concerts and to recordings
Method of assessment
If Major Second Study is taken for the first time in Year Two, then the examination format in
the Year One unit description is followed, which includes a Technical Examination.
36
MINOR SECOND STUDY
Unit Leader: Head of Faculty
NB: Students intending to take Minor Second Study must first consult the appropriate Head of
Faculty
• enhanced your performing skills on a second instrument relevant to your Principal Study, largely
mastered its distinctive technical demands and acquired fluency in transferring between
instruments
• broadened your knowledge of repertoire of this instrument
• gained performing experience on this instrument
• developed contacts with your future professional colleagues.
Summary of unit
• 1-to-1 guidance tailored to individual needs – this is likely to focus upon those technical aspects
which are distinctive to the instrument but will also be concerned with the exploration of new
repertoire and preparation for specific performances
• performance as appropriate in duos, chamber ensembles and orchestras
• independent practice to support all these activities
• continued exploration of the instrument’s repertoire, not only in performance but also through
self-directed listening – at concerts and to recordings
Method of assessment
NB: If Minor Second Study is taken for the first time in Year Two, then the examination format
in the Year One unit description is followed, which includes a Technical Examination. In this
case, the Repertoire Examination is only 15 minutes long.
37
RELATED STUDY
Unit Leader: Head of Faculty
NB: Students intending to take Related Study must first consult the appropriate Head of Faculty
• enhanced your performing skills on a second instrument relevant to your Principal Study,
learning its distinctive technical demands and gaining some fluency in transferring between
instruments
• broadened your knowledge of repertoire of this instrument
• gained performing experience on this instrument
• developed contacts with your future professional colleagues.
Summary of unit
• 1-to-1 guidance tailored to individual needs – this is likely to focus upon those technical aspects
which are distinctive to the instrument but will also be concerned with the exploration of new
repertoire and preparation for the examination
• performance as appropriate in duos, chamber ensembles and orchestras
• independent practice to support all these activities
• continued independent exploration of the instrument’s repertoire
Method of assessment
38
CONCERTO COMPETITION
Unit Leader: Head of Faculty
Unit objectives
Unit content
The coaching for this unit is intended to complement and augment preparation undertaken as part of
the Principal Study lesson. This may be given by the Principal Study professor or by a different professor.
Content will focus upon the special performing qualities required of concerto soloist.
Method of assessment
• the performance of a Concerto during the Faculty-stage round of the Concerto Trials, 100%
This may be undertaken in the Autumn, Spring or Summer Terms, although the Spring Term is
recommended.
39
CONDUCTING
Unit Leader: Peter Stark
Unit objectives
Unit content
Method of assessment
• rehearsal and concert performance by College ensemble of 10-15 minutes duration, 60%
• observed ensemble rehearsal of a short section of a set prepared work (approx 5 minutes)
followed by viva voce examination, 40%
40
CONTEMPORARY MUSIC IN ACTION
Unit Leaders: Timothy Salter and Jean-Philippe Calvin
Unit objectives
Unit content
Collaboration between solo or ensemble performers and composers, with initial introductions
facilitated by unit leaders. Your work as performer or composer will be monitored, but you will also
work independently with your composer(s) or performer(s). Activities will comprise:
Method of assessment
• a short written account of at least 1000 words reporting on the collaborative process, 30%
• performance(s), live in concert and recorded (on CD) of the works that are the products of your
collaboration, totalling a minimum of five minutes. For composers your work is assessed by
score-reading supported by performance, 70%
41
CONTINUO ACCOMPANIMENT
(bassoon, cello, double bass, harpsichord, lute, organ, theorbo, viola da gamba)
Unit Leader: Ashley Solomon
Unit objectives
• develop the ability to play a continuo realisation from a realised continuo part as a starting point, in a
stylistic informed manner appropriate to the national style and period of the work performed;
• practise figured bass reading using historical source material;
• show the ability to complement the performance of a soloist colleague, adopting a prominence
appropriate to the nature of the repertoire
Unit content
Method of assessment
42
DUO PERFORMANCE
Unit Leader for Duo Performance: John Blakely
NB Both members of the Duo must elect to take this option since the coaching provision is in
addition to Principal Study entitlements. There should be no duplication of repertoire between
the Duo Performance unit and the Principal Study recital examination in the year in which both
units are taken.
Learning outcomes
• demonstrate a high level of rapport with your duo partner, enabling work towards the
creation of unified, well-balanced performances in which the personal convictions and
views of the two partners are successfully blended
• perform, to a high standard, significant examples from the repertoire and be aware of the
overall extent and character of this repertoire, the contexts in which it has developed and
any issues regarding performance practice, historical or contemporary
• demonstrate strong inter-personal skills and the organizational and entrepreneurial
initiative required to secure external engagements and develop the duo’s professional
profile
Unit content
• selection, under the guidance of the duo tutor, of appropriate repertoire for detailed
preparation at this level
• coaching on issues of duo playing – balance, intonation, ensemble, interaction, rehearsal
protocols – as prompted by the repertoire covered
• exploration of wider repertoire: study of scores and some brief play-through exercises
• supervised preparation of 30 minutes’ music to concert standard
Method of assessment
• Performance of a Duo Recital, usually held in May, during the Summer Term.
43
EXPERIMENTAL MUSIC
Unit Leader: Matthew Shlomowitz
Unit objectives
• refine skills as a solo and ensemble performer in contemporary music that encompasses
theatrical, multimedia and collaborative dimensions
• develop an understanding of historical, practical and aesthetic issues relating to contemporary
music composition and practice
Unit content
This course combines practice and theory. Students will study and perform several works that relate to
these themes. Better to understand why such work is being created, students will read texts by
practitioners and theorists from the fields of dance, music and drama addressing practical and aesthetic
concepts.
Method of assessment
10 credits:
• 1000-word summary of one set reading, 40%
• Preparation and performance of short solo and ensemble pieces, 60%
20 credits:
• Two 1000-word summaries of set readings, 40%
• Preparation and performance of short solo and ensemble pieces, 60%
44
HISTORICAL PERFORMANCE
Unit Leader: Ashley Solomon
Unit objectives
• enhance your skill and confidence as an ensemble performer of early music, especially Baroque
repertoire
• study this repertoire in some breadth and depth, including discussion of sources, editions and
performance treatises
• develop your rehearsal skills and ability to work quickly and professionally, directed or
undirected, with performing colleagues
Unit content
Method of assessment
10 credits:
• Assessed participation in either one performance project during year, 100%
20 credits:
• Assessed participation in two performance projects during year, 50% each
45
KEYBOARD IMPROVISATION
Unit Leader: David Graham
Unit objectives
Unit content
• guidance tailored to individual needs – this is likely to focus upon those technical and
theoretical aspects which are distinctive to this activity but will also be concerned with the
exploration of the ways this skill and can be used in a wide variety of musical situations and how
it can be used for educational purposes
• performance as appropriate
• independent practice to support all these activities
• continued exploration of this skill , not only in performance but also through self-directed
listening to both live and recorded music
Method of assessment
46
MUSIC, CULTURE & CONTEMPORARY MEDIA
Unit Leader: David Burnand
Unit objectives
• develop the skills and methods necessary to promote a more informed awareness and
appreciation of Western Art music, using contemporary media;
• develop techniques in audio and video podcasting, microphone and camera use;
• display an awareness of copyright and intellectual property issues
Unit content
The course will begin with group discussions of these media and their potential to communicate ideas
about performance and composition. Students will then be introduced to the techniques of audio and
video podcasting, as well as presentation skills with microphones and cameras, in order to develop
programmes based on individual musical interests. Copyright issues will also be considered, where
necessary. Some podcasts may be broadcast on the RCM website.
Method of assessment
10 credits:
• Designing a 9-10 minute audio podcast for uploading to YouTube, Vimeo, iPhone and/or
embedding in a web page, 100%
20 credits:
• Designing a 9-10 minute audio podcast for uploading to YouTube, Vimeo, iPhone and/or
embedding in a web page, 50%
• Designing a 5-6 minute video podcast for uploading to YouTube, Vimeo, iPhone and/or
embedding in a web page, 50%
47
PROFESSIONAL PORTFOLIO: PROFESSIONAL SKILLS
Unit Leader: David Bahanovich
Delivery
9 hours of lectures supported by 6 hours of group seminars, plus an hour’s individual tutorial support
Unit objectives
• enhance your understanding of the structures, management and financing of the professional
world of music
• identify ways in which your own career can be enhanced by entrepreneurial skills
• plan strategies for your own career management in a Personal Development Plan (PDP)
• reflect upon and document short-, medium- and long-term career strategies
Unit content
Lectures including following topics: Introduction to the situation and status of Western Art music in
the twenty-first century; promotional material, public relations and marketing; changing patterns in
the recording industry; internet and digital opportunities; professional decision making; Introduction
to business plans and an entrepreneur’s toolbox
Seminars for planning and writing the PDP, supported by an individual tutorial.
Method of assessment
48
PROFESSIONAL PORTFOLIO: STUDIO EXPERIENCE
Unit Leader: Timothy Salter
Unit objectives
• gain some first-hand recording experience in the roles both of performer and producer
• acquire an insight into the requirements and pressures of these roles and an understanding of
the ways in which they interact
• produce a tangible outcome in the form of a high-quality audio recording of your own
performance
Unit content
Method of assessment
The assessment is based on a mark agreed between the unit leader and the studio producer who is the
sound engineer at the recording sessions. It reflects your attainment as a recording artist as evidenced by
the CD that is the product of this unit as well as your performance during the session, as a producer and
an editor in your post-session work.
49
PROFESSIONAL PORTFOLIO: NEW MEDIA
Unit Leader: David Rees
Delivery
3 x 2 hr classes introducing practical ways of using emerging digital technology followed by 4 hours
‘drop-in’ workshops
Unit objectives
• become aware of the possibilities for career enhancement offered by emerging digital
technology
• make use of this technology in a way tailored to your own portfolio of skills and career
objectives
• learn to assess the effectiveness of digital tools and how their impact might be improved in
future
Unit content
• Assistance with establishing how using online technology might enhance your work and career
objectives
• Reviewing different strategies for engaging people online
• Guidance through the planning and development of a personalised set of digital tools.
• Learning to assess and strengthen the effectiveness of your work using analytics tools.
Method of assessment
• Written proposal and plan for deployment, c. 1500 words, including where appropriate,
illustrative material, 30%
• Portfolio of resources and report on their impact c. 1500 words, including where appropriate,
illustrative material, 70%
50
RECITAL ACCOMPANIMENT
Unit Leader: John Blakely
Unit objectives
Unit content
Coaching which complements and augments preparation undertaken as part of the Principal Study
lesson. It may be given by your own Accompaniment professor, by the soloist’s Principal Study professor
or by another professor. Content focuses upon the special performing qualities required of the pianist in
duo and chamber situations.
Method of assessment
51
REPERTOIRE PROJECT
Unit Leader: Ingrid Pearson
Unit objectives
• map the history of one musical composition in detail and, in the process, gained knowledge and
confidence in researching the background to musical works in general
• enrich your understanding of the relationship between the identity of a work and any one of its
published editions or recorded performances
• develop the ability to make interpretational judgements based on this knowledge and
understanding
• experience the impact of this approach upon your preparation of a performance of the work in
question
Unit content
Method of assessment
52
SOURCES OF PERFORMANCE HISTORY
Unit Leader: Paul Banks
Unit objectives
• gain an overview of the collections in the RCM Centre for Performance History (CPH)
• display a mastery of a complex and specialised area of knowledge and skill
• employ advanced skills to conduct research
• develop awareness of best practice in handling rare documents and/or objects
• gain insights into the ways in which documents and artefacts can enhance our understanding of
performance history
• attain a high degree of fluency in written expression
Unit content
This unit offers an introduction to aspects of the history of music performance from 1700, and to some
of the unique items in the CPH (the Museum of Instruments and the Portraits and Performance History
Collection) that provide evidence of that history. Lectures cover four broad areas: organology,
iconography, concert programmes and sound recordings. This will be followed by a specialised project in
a chosen area. Both theoretical and practical issues surrounding the interpretation of such objects and
documents are explored, and you will have opportunities to use them in your own work. Students
develop written presentational skills, and gain experience in self-directed individual research working
with rare historical documents or objects.
Method of assessment
This might take the form of a study of one of the instruments or paintings in the CPH collections
and its significance for performance history, an essay drawing on evidence from the programmes
collection at the CPH collections, or a study of one or more historic recordings.
53
ALEXANDER TECHNIQUE
Unit Leader for Alexander Technique: Peter Buckoke
Learning outcomes
Unit content
Method of assessment
• Collaborative research project (with one/two other students in the group) selection of a topic
and exploration of issues relating to this including formulation of questionnaire for circulation
among RCM student body. Individual written report produced as final outcome (2,000 words
excluding appendices), due in January, 50%
• 2,000-word reflective report: critical evaluation of the effects of having followed the course, due
in Summer term, 50%
For full details see the Alexander Technique syllabus, available on MUSE.
54
CHAMBER MUSIC
Area Leader for Ensemble Activities: Elisabeth Cook
(Head of Undergraduate Programmes)
Learning outcomes
• perform with a high level of rapport with your ensemble, creating a unified, well-blended
and balanced performance in which subtle nuances of ensemble playing are evident
• perform significant works from the repertoire for your chosen ensemble
• draw on a robust knowledge of the overall extent and character of this repertoire
• demonstrate good inter-personal skills and the beginnings of the organisational and
entrepreneurial initiative required to secure external engagements
Unit content
• selection, under the guidance of the coaching tutor, of appropriate repertoire for detailed
work at this level
• coaching on issues of chamber playing – balance, intonation, ensemble, interaction,
rehearsal protocols – as prompted by the repertoire covered
• exploration of wider repertoire: study of scores and some extended play-through exercises
• supervised preparation of c30 minutes’ music to concert standard
• all of the above are to be supplemented by a schedule of regular and committed rehearsal
subscribed to by all members of the group.
Method of assessment
For full details, see the Chamber Music syllabus, available on MUSE.
55
GENERAL INFORMATION
Vital and comprehensive details about most facets of College life are found on MUSE, the College’s
web portal, including:
• Absences
• Additional Studies
• Changing Professor or Mode of Study
• Competitions
• Course Documents & Forms
• Deferring Examinations
• Fees and Funding
• General Information for Students
• Information Communications Technology (ICT)
• International Exchanges
• Interrupting Studies or Leaving
• Opening Hours
• Performance Management Department
• Planning & Review Week
• Practical Examination Procedures
• Principal Study Syllabuses
• Procedures for Submission and Assessment of Postgraduate Written Work
• RCM Students’ Association
• Registration
• References
• Registry
• Regulations for Students
• Room booking procedures
• Studios
• Submission of assignments
• Travel and Student Oyster Card
• Virtual Learning Environment (vle)
All students are required to activate their College email account at the start of the academic year.
This is the primary means of communication between you and the College.
56
Appointments with Graduate School staff
Dr. Amanda Glauert, Director of Programmes & Research (Room G11) and Dr. Ingrid Pearson, Deputy
Head of Graduate School (Room 117) welcome regular contact with students. You can sign-up for a
time to see Ingrid on the noticeboard outside her office door, Room 117, on the first floor of the
Blomfield Building. Ingrid can be contacted at iepearson@rcm.ac.uk and tel. 020-7591 4364. Persons
wishing to see Amanda should arrange this with her assistant, Rebecca Mair, in Secretariat,
rmair@rcm.ac.uk tel. 020-7591 4312.
A feature of the centre is interaction between composers and performers. Many postgraduate
students present work developed through the CMM. For further information, contact Professor
David Burnand dburnand@rcm.ac.uk
57
Grove Forum
Staff and students at the College are involved in a wide range of research activity. Grove Forums are held
on most Thursdays during term from 5:15pm, and offer an opportunity for all members of the College
to hear the fruits of research by colleagues and by a wide range of guest speakers. The format of the
meetings is flexible – including concerts, lecture-recitals, discussions and scholarly papers – and the
atmosphere is informal and friendly. Proposals for presentations from post graduates are welcomed, and
can be emailed to grove@rcm.ac.uk
Library
The Library is open from 9am to 7pm from Monday to Thursday, and from 9am to 5:30pm on Friday.
and offers a comprehensive service for advice, lending, reference, listening and research. One of the
world’s major collections, it offers a comprehensive service for advice, lending, reference and listening.
A wide range of reference material (dictionaries, encyclopaedias, catalogues, bibliographies, collected
editions and journals) is maintained, and an increasing number of works can be consulted on CD-
ROM or via the internet. There is a reading room for 40, a listening room for 20 and an IT room with
11 computers (additional computer access is provided in a multimedia room with Sibelius score-
writing facilities, one floor above). Audio-visual facilities include CDs, LPs, cassettes, tapes, DAT, mini-
disc, videos and DVDs. Postgraduates are strongly encouraged to make use of the excellent general
humanities library in neighbouring Imperial College for wider, interdisciplinary reading, and to join
the public music libraries in Kensington and Westminster. New postgraduates should attend a library
induction session during their first weeks at College. This vast resource will open many doors for you
and may well lead to life-changing experiences!
Noticeboards
The College has a range of noticeboards on which important information is posted. It is essential that
you locate those relevant to you and that you consult these on a regular basis.
Faculty Noticeboards
Keyboard Registry corridor (side opposite Registry)
Strings Registry corridor (side opposite Registry)
Brass Walkway between Blomfield and South buildings
Woodwind Walkway between Blomfield and South buildings
Vocal Top of stairs leading to library
Composition Top of stairs leading to library
Historical Performance Top of stairs leading to library
Percussion Percussion Suite
Other Noticeboards
Chamber Music Registry corridor (side opposite Registry)
Competitions Registry corridor (Registry side)
Orchestral Registry corridor (Opposite side), also in Orchestral office
corridor
Alexander Technique Blomfield building 2nd floor corridor
External Engagements Blomfield building 2nd floor corridor
Students’ Association South end of walkway between Blomfield and South buildings
58
Questions and Problems
As a general rule, you can follow these lines of enquiry in order to find solutions to queries or
problems that arise:
If you have a personal matter you wish to discuss, you should speak first to the Counsellor.
If your complaint is about a general programme matter and involves several students, you may wish
to take it first to the Students' Association to request that they take forward the complaint.
If the complaint is about the conduct of a member of staff, you should address it to the Registry
Manager, Elly Taylor, etaylor@rcm.ac.uk
Advice on College regulations and procedures may also be obtained from Rebecca Mair, in
Secretariat.
If you wish to appeal an examination decision refer to the procedure for a Review of a Decision by a
Board of Examiners in the College General Regulations for Students, available on the website.
If your complaint is about a serious disciplinary matter refer to the Student Code of Conduct in the
College General Regulations for Students.
The steps outlined above should be used for any problem or complaint you have. See also the steps
in the College's Complaints Procedure for students, in the College General Regulations for Students.
If you wish to use any of these procedures, you are asked to contact the Registry Manager.
Pigeonholes
All students have a pigeonhole situated half-way down the stairs leading to the Library. It is essential
that student check their pigeonhole daily whenever they are in College.
59
Woodhouse Professional Development Centre
The Woodhouse Professional Development Centre is on the second floor of the 1895 building.
It provides support and guidance to all RCM students and recent graduates, in preparation for a
lifelong career in music. This unique facility was established in 1999 and continues to thrive.
The Woodhouse team provide a range of performance opportunities, including education and
outreach work, and supports musicians through these experiences, encouraging them to develop the
initiative, flexibility and imagination required to thrive in an ever-changing profession. New
postgraduates are strongly advised to visit the Centre during their first few weeks in College.
The Department is open from 9.30am to 5.30pm (closing at 2pm on Wednesdays) and the following
resources are available:
60
WHO’S WHO
Graduate School
Amanda Glauert, MA, PhD, ARCM, HonARAM Director of Programmes & Research
Ingrid Pearson, BMusHons, PhD, DipEd, LTCL, LMusA Deputy Head of Graduate School
Faculty Heads
Nigel Black, FRCM Head of Brass
Aaron Williamon, BA, BSc, PhD, HonRCM Centre for Performance Science
61