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PG Jazz Handbook 2015–2016

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Contents

INTRODUCTION 3 Jazz Department Contacts 4

Jazz Department Teaching Staff 4

GENERAL INFORMATION 6 Attendance 6

Term Dates 2015-2016 7

Leave of Absence Procedure 7

Tutorial System 8

Departmental Feedback 8

Communication: Email, ASIMUT and Air 9

LRAM Teaching Diploma 9

Instrument Loans 9

External Bookings Service 10

Student Support 10

ASSESSMENT 12 Submission of Coursework 12

Year-End Deadline for submission of written work: 12

Special Circumstances Procedure 13

POSTGRADUATE PROGRAMME SYLLABUS 14

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INTRODUCTION The Jazz Department offers intensive jazz education within a focussed and supportive learning environment. The programmes are designed to give students a balance of “core” musical skills alongside contemporary approaches to improvisation, so that students can experience deep musical learning and develop into creative, versatile and employable musicians. The jazz programmes are taught by an outstanding faculty of jazz musicians and educators of international repute, representing the breadth of contemporary jazz practice. This year we welcome two new visiting artists, our new Visiting Professor is pianist Larry Goldings, and in January we will welcome Dave Liebman as our International Jazz Artist in Residence. To further enhance the students experience there is a series of high profile masterclasses and projects with visiting world famous artists. A diverse and rigorous programme of study is provided at undergraduate and postgraduate level. The focus on learning and exploring Repertoire and Improvisation in the first two years, provides both a common ground for later work and gives students the opportunity to explore a range of different approaches to practicing improvisation. The aim, from the beginning is to enable the student to become a self-motivated and autonomous learner as soon as possible, and especially to establish an awareness of their own creative practice and musical identity. All elements of the course are intended to promote this aim so that students can develop their full potential as creative individual artists and sustain their practice throughout their career. Original composition is regarded as very important in the development of the whole musician and is a key component within the contemporary scene. The importance of jazz composition is reflected in the programme, and given an equal priority with improvisation as a unifying artistic concept. We feel it is important to focus on the practical application of composition and, over the years, there has been an extraordinary amount of exciting new music written and performed in the composition “playdays” that has formed part of graduates debut albums and projects. Aural and Transcription skills and rhythmic development, through the Rhythmic Skills course, also broaden the students’ musical horizons and skill base. There are regular small and large ensemble projects throughout the course with an exciting array of visiting jazz artists. Details of other important areas of the course at each stage of study are included within the handbook. It is important that students establish good working relationships with Principal Study professors, who are crucial to the learning process and will form some of the first contacts students have with the London jazz scene. Postgraduate students are integral to and form a valuable section of the student cohort, and as well as participating in all aspects of the course, they also undertake a professional development portfolio which prepares them directly for their own musical pathways. Many ongoing and successful projects have begun in this way. Increasingly as a working jazz musician the demands to be your own business manager and promoter, as well as composer/arranger and player, mean the skills of time-management and planning are vital. Through regular discussions and professional development seminars students receive knowledgeable support and practical preparation for their musical lives. The Jazz Department strives to be a musical community that actually mirrors the way the working jazz scene operates. It is hoped that long musical relationships can be established and nurtured that will lead on to successful careers through improvisation, composition, collaborative projects and the support of one another, in a microcosm of the professional scene. Please ensure that you read this handbook carefully to familiarize yourself with the requirements and deadlines for your programme of study. It is your equal responsibility, with the teachers within the department, to ensure that all the elements of your programme are completed at the right times. You must engage fully with the tutorial system and keep in regular contact with your tutor over your progress, any successes or concerns, as well as practicalities such as Leave of Absence. The better you know your programme, the easier you will find it to get on with, and enjoy, your musical life at the Academy!

Nick Smart | Head of Jazz Programmes

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Contacts (Please save telephone numbers in your phone)

Nick Smart Hon RAM BABM (Hons), LGSM, PGDip Head of Jazz Programmes Tel: 020 7873 7438 | Room 209 | Email: n.smart@ram.ac.uk Neil Heyde Head of Postgraduate Programmes Email: n.heyde@ram.ac.uk Harry Blake Jazz Programme Tutor Tel: 020 7873 7358 | Room 278 | Email: h.blake@ram.ac.uk Emily Mould MMus, BA (Hons) Jazz Department Administrator Tel: 020 7873 7379 | Room 513 | Email: e.mould@ram.ac.uk Emily Rutherford Jazz Intern Room 513 | Email: e.rutherford@ram.ac.uk / jazz@ram.ac.uk Jazz Department Office – Room 513 | jazz@ram.ac.uk

Jazz Department Teaching Staff Head of Jazz Programmes Nick Smart Hon RAM BABM (Hons), LGSM, PGDip International Jazz Artist in Residence Dave Liebman Visiting Professor of Jazz Larry Goldings Composition & Arranging Pete Churchill Aural & Transcription Tom Cawley ARAM Rhythmic Skills Barak Schmool MA, GRSM, LRAM History Keith Nichols GGSM, Hon ARAM Alyn Shipton PhD Martin Speake LTCL, FTCL Jazz Supporting Studies Nikki Iles Hon ARAM Repertoire/Improvisation Pete Churchill

Saxophone Martin Speake Stan Sulzmann FRAM Iain Ballamy Julian Siegel Andy Panayi James Allsop Trumpet Nick Smart Mike Lovatt Trombone Gordon Campbell Mark Bassey Voice Nia Lynn Pete Churchill Norma Winstone Piano Tom Cawley Nikki Iles Gwilym Simcock Liam Noble

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Martin Speake Nick Smart Tom Cawley

Guitar John Parricelli Mike Walker Mike Outram

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General Information

Attendance The Academy's expectation is that you will punctually attend 100% of the required timetabled classes and rehearsals (including, where appropriate, English Language classes).A class profile component is built into the assessment of the majority of jazz courses and this allows professors to reward students for preparation, class participation and levels of progress not measurable through other means of assessment. Registers are taken at each class and your attendance record could affect your class profile mark. Punctuality If you are delayed substantially (i.e. by more than half an hour) by public transport, it is usually possible to obtain a form which exonerates you from lateness. Absence Any regular timetable clashes must be brought to the attention of the Head of Jazz and Department Administrator immediately. General Practice for all Big Band and Ensembles Activity: As a student at the Academy you will be required to participate in the Big Band and various ensemble projects organised by the Jazz Department and the Concerts Office. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not be tolerated. Attendance will be recorded and will be reflected in each student’s end-of-year principal study mark through the following penalty mark system. A black mark will be issued each time a student is late or absent without leave from a session. Postgraduate students – penalty mark system: 1st penalty mark: reduction of Synthetic Skills component of Professional Development Activity mark by up to 10 marks, or capped as an average with the pass mark; 2nd and 3rd penalty mark: further reduction of Synthetic Skills component of Professional Development Activity mark by up to 10 additional marks per penalty. The maximum penalty for 3 penalty marks is a reduction of the Synthetic Skills component of Professional Development Activity mark by 30 marks. Special Circumstances Committee may uphold a penalty mark, waive it, or apply a reduced penalty in the event of an application by the student. Penalty marks that are not appealed by the student via an application to Special Circumstances Committee will automatically have the maximum 10 mark reduction applied. Students should only appeal the imposition of a penalty mark in the event of extenuating circumstances in relation to their lateness or absence. Penalty marks imposed after the relevant Examination Board has met to ratify the marks for students’ Principal Study components for that academic year will automatically be carried over into the following academic year, unless they have been waived by Special Circumstances Committee. Illness If you are unwell you must call the office on (020 7873 7379) before 09.30 so that your absence can be marked in the class registers. If calling in after this time, class teachers will not be informed as to the reason for absence. Sickness will be marked in the registers after the class. A doctor’s certificate will be required by your Tutor if you miss a rehearsal due to illness. If you are late due to problems on London Transport, you will still be issued with a penalty mark. However, in extenuating circumstances, this can be appealed with your Tutor within two weeks. You may be required to produce official documentation verifying transport delays and this can be obtained from station staff.

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It is the student’s responsibility to inform 1-1 professors that lessons will be missed due to illness. Again, this should be done in good time before the lesson.

Term Dates 2015-2016 Autumn Term Enrolment Week: 7th September 2015 – 11th September 2015 Term: Monday 14 September 2015 – Friday 27 November 2015 (Intensive Projects Week: Monday 19th October – Friday 23rd October 2015) Spring Term Term: Monday 4th January 2016 – Friday 18th March 2016 (Intensive Projects Week: Monday 8th February – Friday 12th February 2016) Summer Term Term: Monday 18th April 2016– Friday 10rd July 2016

(Exam Period: Monday 23rd May 2016 – Friday 9th June 2016) Academic classes are suspended for one week during the autumn and spring terms, but rehearsals and other performance-related activities may take place during this time and will be regarded as mandatory.

Leave of Absence Procedure You will need to apply for Leave of Absence if you are going to take any time away from the Academy during the term, regardless of whether or not you will miss any Academy activities (academic classes, rehearsals) which are part of your schedule of study. Leave of Absence will only be allowed in exceptional circumstances and can be applied for by filling out a Leave of Absence form (available on AIR and from the General Office). Some guidance on completing a Leave of absence form:

• You must apply for Leave of Absence and obtain all relevant signatures as far in advance as possible.

• It is your responsibility to check the dates of your assessments and to collect these signatures.

• Your Tutor will notify you via email once the process is complete. • You may not go on leave until you have received this notification from your Tutor. • If it is subsequently found that you have missed a timetabled assessment for which the date

had been published in advance, but that you have not declared on this form, then you will be automatically referred (failed) in the relevant component.

• You must inform your Principal Study teacher before signing this form and collecting the signatures.

• In the case of emergencies or last minute external opportunities, go straight to your Tutor who will advise you accordingly.

In addition to filling out a Leave of Absence form, you should inform other relevant lecturer(s) or professor(s) that you have been granted Leave of Absence from a particular class, lesson, rehearsal, or performance. Any regular timetable clashes must be brought to the attention of your Tutor immediately. If you are ill and will miss a class or activity, you should contact the relevant module leader, professor, coach or director. Visit your doctor in order to obtain a medical certificate. When you return to the Academy you should report to your Tutor as soon as possible.

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Academic classes are suspended for one week each term, but your presence will still be required for performance-based activities. Any Leave of Absence requests for this time must be applied for in the usual way. Please note that the summer term does not end until 10 July 2016. You will therefore be expected to be available to attend any end of year tutorial interviews or to collect any correspondence that is left in your pigeon hole up until this date. The Academy will not be responsible for any information which a student fails to receive in the event that they left the Academy early without making appropriate arrangements.

Tutorial System 1. The Tutorial System has been established to guide and assist you in all areas of the PG

programme, both academic and pastoral. Your Programme Tutor is available to discuss a wide range of issues such as module options, timetabling, progress and workload.

2. With a general responsibility for both academic and pastoral welfare, the Tutors monitor your

overall progress and therefore act as effective and important representational links between you, your Principal-Study teacher, your Head of Study and the Deputy-Principal.

3. Tutors are available to see you during Tutorial surgeries. These times are advertised on Air and

the programme notice boards (1st floor of the main building). Undergraduate and postgraduate students in Year 1 will see their Tutor at scheduled meeting times at the start of the year and again after the Progression Board in June. Students in Years 2 & 3 will attend scheduled meetings with their Tutor after the Progression Board. Appointments will be advertised on the BMus notice board and on Air.

4. Tutors represent their tutees on the annual Progression and Examination Boards, and write

references. It is therefore vital you go to the Tutorial Interviews and provide information on what you are doing when requested. You are encouraged to pass on as much information as possible to your Tutor concerning your overall profile both inside and outside the institution (concert programmes, reviews, awards etc.).

5. Summer Term dates (term finishes on 2nd July 2014) must be observed and taken into account

when booking flights and agreeing to external engagements. Leave of Absence is necessary for the full length of term time and students must be available for orchestral, vocal and other departmental projects and interviews even after the end of the exam period.

The Postgraduate Tutor for Jazz is Harry Blake: h.blake@ram.ac.uk Room 278.

Departmental Feedback The Academy’s Senior Managers, PG Programme Team, and those delivering the programme will always welcome informal feedback from you on any aspect of the programme and your studies. Student Union members and 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. To help monitor and improve the delivery of the programmes, PG students are asked to complete Module Feedback Forms at the conclusion of all modules. Module Feedback Forms are submitted anonymously and are collated by the Academic Secretariat. Individual lecturers/teachers and Senior Management are then sent a statistical break-down of the feedback, alongside a digest of students’ comments and a summary report is made available to students via AIR.

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During each year of the programme, all students will be given the opportunity to complete a Programme Survey and an Institutional Survey. You are asked to be open, honest and constructive in your evaluation and comments. This feedback will directly inform the Annual Monitoring Report for the BMus and PG Programmes. This Report is formally considered by the Academic Board and a summary is presented annually to the Academy’s Board of Governors. It is a vital component in the Academy’s mechanism for developing the quality of our students’ experience and planning for the effective future delivery of the programme.

Communication: Email, ASIMUT and Air You should always use your Academy email address when doing Academy business, not a private email address. Please make sure that you check you Academy email regularly as this is the Academy’s primary way of contacting you. 1. Type https://air.ram.ac.uk (notice the ‘s’ after http). You will then need your username and

password. 3. Make sure that you regularly clear the deleted emails out of your ‘Deleted Emails’ folder – they

will use memory until you have done this. 4. If you have a problem, ring IT Helpdesk on 020 7873 7366 or send an email to

ithelpdesk@ram.ac.uk from another email account. 5. It is also essential that you check your Academy email account on a daily basis (including

during vacation time). AIR The web address is https://air.ram.ac.uk/. The jazz department pages can be found under “Faculties” (via the drop down menu from the main AIR logo). ASIMUT All departmental classes, projects and concerts are scheduled into your ASIMUT account and details can be accessed via the internal Academy Intranet Resource (AIR). Please consult this on a regular basis. The web address is https://air.ram.ac.uk/. The jazz department pages can be found under “Faculties” (via the drop down menu from the main AIR logo). It is also essential that you check your Academy email account on a daily basis (including during vacation time). You must check your ASIMUT account daily for details of your academic and departmental classes and activities.

LRAM Teaching Diploma 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 students. Further details can be found on the LRAM pages on Air (under Programmes of Study).

Instrument Loans The Royal Academy of Music owns a considerable number of instruments, the loan of which is administered by the Wind, Brass and Percussion Administrator. In order to borrow these, students must present a £50 cash deposit, which will be returned in full at the end of the academic year, assuming you’ve abided by the rules of the contract. Students must fill out an instrument loan form and submit this at least one week in advance of when you need the instrument. The hire charges are as follows, £3/week, £20/term or £50/year to be paid at the commencement of the loan

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period. This charge is put towards the maintenance and insurance of the instruments. Please be aware that the Academy insurance policy covers all instruments that it owns against accidental damage and theft but not against negligence on the part of the student. Students wishing to take Academy-owned instruments oversees must have written permission from the relevant Head of Department, either Brass or Woodwind. You will find a full list of regulations on the instrument loan form. Jazz Department equipment (e.g. amps, keyboards and PA system) are not allowed to be removed from the building by a student. In an exceptional circumstance, students may apply to the Jazz Administrator for permission that may be granted for a specific event.

External Bookings Service The Academy offers a booking service through which students are offered performance opportunities. These include lunchtime and evening recitals at festivals and established concert venues, vocal and concerto solo work for various UK music societies, and entertainment for private and corporate events. These bookings provide valuable performance experience, as well as the chance to earn some money. Ensembles and soloists must be approved by a Head of Department or professor before commencing work through the Department. This service is intended to help students gain experience and make contacts for the future. Students are expected to fulfil engagements in a professional manner and coaching will be provided where appropriate. For further information about external engagements, contact Rachel Thomas, External Bookings Manager in the Concerts Department at the Academy.

Student Support Alexander Technique The Alexander technique teaches us how to get rid of harmful tension in our body. It is a simple and practical method for improving ease and freedom of movement, balance, support and coordination. The technique teaches the use of the appropriate amount of effort for a particular activity, giving you more energy for all your activities. For more information contact Paul Moore, p.moore@ram.ac.uk

Counselling The counsellor provides a free, strictly confidential service to all students for emotional support for any problems both large and small. She also helps with general welfare and performance related health. The counsellor co-ordinates support for Academy students and can advise on where the most appropriate help can be accessed. Contact can be made via e-mail: d.singer@ram.ac.uk, calling ext. 303 or leaving a note in the box marked ‘Counsellor’s Post’ outside Room G87 or in the General Office. Disability/Dyslexia We offer a range of support for students who have disabilities and specific learning difficulties, so that all students can participate fully in the life of the Academy. The Disability Advisor co-ordinates access arrangements, usually through the Personal Learning Plan scheme which may include extra time in exams, note takers, and one to one tuition with the Additional Support tutor. The Additional Support tutor, who is a specialist in music and specific learning difficulties, offers sessions which focus upon developing strategies for study such as organisational skills including practice, essay planning, reading strategies as well as music learning strategies.

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The term ‘disability’ covers a wide range of conditions and impairments. These include specific learning difficulties (e.g. dyslexia), social/communication impairments, sensory impairments, mobility impairments, certain ongoing medical conditions, and long term mental health conditions. Further details about disability support are available on http://www.ram.ac.uk/disabilities or by request from the Disability Advisor. If you would like to discuss any issues relating to a disability please contact the Disability Advisor (email disability@ram.ac.uk) and, once enrolled, your Programme Tutor. Please contact us as early as possible so that appropriate support can be agreed and coordinated. We will meet with you individually. Information disclosed to the Academy by students is treated in confidence

Medical Services Paddington Green Health Centre offers appropriate information advice, and treatment, and/ or referral, on medical matters including performance related injury as appropriate. http://www.paddingtongreenhc.nhs.uk/ or call 020 7887 1600 or #6121 (free from Academy phone) for an appointment 8.15-13.00 & 14.30-18.30. NHS Direct 0845 4647 provides 24 hour telephone information on health queries.

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Assessment

Submission of Coursework Details of all deadlines are published on AIR. Coursework falls into two categories: 1) Playday (C&A and parts of Rhythmic Skills) 2) Non-Playday (parts of Rhythmic Skills) Playday Submissions Playdays are practical examinations where the students own work is performed within the normal class setting. Playdays are compulsory and absences are treated in line with any other examination within the Academy. Medical (or other) proof must be handed to your Tutor on return if a Playday is missed. For ALL Playdays: • Submit one copy of the score (which should be printed and taped-up) and all parts to the Registry on the Monday before the Playday between 11am and 3pm. This is the deadline and work not received by this time will be subject to the usual deductions. • Scores must be in concert pitch • Scores must always include the full rhythm section part(s) in addition to the front-line instruments used, even when there are only one or two front-line instruments Non-Playday Submissions All non-Playday work must be submitted to the Registry by 3pm on the day of the deadline set. All written work must be typed and a photocopy should be made for your own records.

Year-End Deadline for submission of written work: 17.00, Tuesday 17 May 2015 (to Room 104) Deductions for late work All coursework not submitted by a stated deadline shall be subject to an immediate deduction of 10 percentage points, and a further deduction of 10 percentage points for every two working days which elapse before the submission of the work. Working days include any day when the Academy staff are in the building, but do not include weekends or public holidays. This penalty only affects the component(s) which have been submitted late (i.e. not necessarily the whole module). Where such a component constitutes a major part of the assessment of a module, the relevant Tutor shall adjudicate on any request for an extension of the deadline. Such a request must subsequently be ratified by the Chair of the relevant Examination Board. Requests for the extension of a deadline can only be considered where a student is affected by illness or by adverse personal circumstances, such as the death of a near relative. In all cases, requests for extension must be referred directly to the relevant Tutor.

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Special Circumstances Procedure The Special Circumstances Committee considers applications from students in accordance with the Special Circumstances Regulations, for the following reasons: • extenuating circumstances which may have affected student performance in assessments • extensions to deadlines for the submission of work for assessment • the deferral of assessments • appeals against penalty marks where the reasons were beyond your control. You must submit a completed application form no later than 10 working days from the imposition of a penalty mark; 10 working days before the published deadline for submission of academic work, or 10 working days before the published date of an assessment†. Please note that retrospective extensions and waiving of lateness penalties will not be permitted except in very serious cases and where you have provided evidence to explain why you were unable to submit within the required timeframe. 1. Applications must be signed by you and your Tutor and be accompanied by supporting evidence

before it is submitted to the Academic Secretary. If the form is missing either signature, it will be returned to your pigeon hole.

2. If your form requires medical evidence to be provided, you will be given a deadline to provide this. If you do not meet this deadline without good reason then your application will be dismissed.

3. If you are citing a medical issue, you must provide relevant evidence from a medical practitioner which confirms the relevant timescales and a formal diagnosis. A letter which merely states that you visited the practice will not be accepted.

4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday afternoon) and, when deemed appropriate, information from the student’s Tutor, the Concerts Department or any other Academy department shall be sought prior to the meeting.

5. SCC will either accept or reject the application and agree any particulars in relation to extensions or penalties as appropriate. When applications are rejected, a full explanation will be given.

6. Students will normally be informed of the outcome within two working days of the meeting by the Chair of the Committee via Academy email* and their Tutor and other relevant members of staff (i.e. Module Leaders) copied in.

7. The case outcomes are circulated, normally within 2 working days of the meeting, to representatives from the Registry so that a note of the outcome can be placed on the student file.

8. Students have the right of appeal against decisions of the Special Circumstances Committee; via the Academic Appeals Procedure (see the Regulations).

* All correspondence documenting the outcome of applications will be copied to the relevant Registry staff, relevant Tutor and any Module Leaders/other administrative staff concerned. †If you are making an application for a deferral of an assessment due to unforeseen circumstances such as illness on the day of the assessment, you must provide an application with supporting medical evidence within five working days of the assessment taking place. Please see the guidelines on AIR for further information on making applications.

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Postgraduate Programme Syllabus Postgraduate students will have a more mature outlook on where their music is taking them. The fundamentals of technique, rhythm and harmony will be addressed through the Repertoire course and principal study lessons and any issues resolved early. In other areas of study it is expected that an individual and self reflective approach will be adopted to pursue one’s own creative goals. The Professional Portfolio (and Concert Project for MMus) should demonstrate a postgraduate approach to your own learning and a clear sense of how you will be entering the profession upon graduation. Advice and support will be given through professional development seminars and discussions with the Head of Department and principal study professors. Full commitment to, and engagement with, Academy performances is expected and participation in all ensemble projects should be at a sophisticated and scholarly level – with strong ability to communicate a shared vision. Self-management should be uncompromisingly secure and reliable professionalism habitual.

PRINCIPAL STUDY Please note that final recitals are held in an external venue and open to the public. End of year Recitals (i.e non final) are held internally and are open to fellow Academy students, not the public.

Final Recital (for final-year and one-year students) 45 minute performance in the summer term. Students are required to consult with the Head of Department regarding the programme of works to be performed and instrumentation. Your choice of repertoire can have an impact on the mark awarded for the Final Recital. Although it is important you do not set yourself challenges beyond your reach, you should also recognize that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. The programme choice is your responsibility, but it should be discussed with your Principal Study teacher and you may also wish to discuss it with your Head of Study.

End of Year Performance (for continuing students) 30 minute performance in the summer term. The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and ending immediately after the final note of the final piece. The Panel chair will make a private note of the start and end times and will tell the panel how long the recital lasted only after a raw mark has been agreed by the panel. The panel will apply a mandatory penalty, where applicable, according to the rubric set out below. Candidates should aim to deliver a recital lasting 30 minutes. Duration of the recital (ideal 30 minutes) Penalty applied More than 32 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 31.01 to 32.00 9 marks 30.01 to 31.00 8 marks 29.01 to 30.00 7 marks 28.01 to 29.00 6 marks 27.01 to 28.00 5 marks 26.01 to 27.00 4 marks

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25.01 to 26.00 3 marks 25 minutes to 35 minutes inclusive NO PENALTY 34.00 to 34.59 3 marks 33.00 to 33.59 4 marks 32.00 to 32.59 5 marks 31.00 to 31.59 6 marks 30.00 to 30.59 7 marks 29.00 to 29.59 8 marks 28.00 to 28.59 9 marks Less than 28 minutes 10 marks

Octet - Composition & Arranging Workshop (120 minutes x 20 weeks) This course represents a core element of Postgraduate courses. At a weekly workshop, you will be required to write and develop a portfolio of pieces written for Octet. Stylistically the choice is free but must be approved by the course tutor. In the final term of your final year you will be required to present your work in a concert to an audience. Here you must observe professional requirements and perform to the level expected in such an environment attended by the general public. This is the faculty equivalent of the concerto examination which is followed in other Postgraduate frameworks. Postgraduate students must attend undergraduate Composition and Arranging classes at the appropriate level to supplement their study, this is because there is not time within the PG octet to cover all this teaching material independently from the UG C&A classes. Those who attend the 4th year C&A can elect to write a big- band piece instead of one if the four required octet pieces. PROFESSIONAL PORTFOLIO PATHWAY RHYTHMIC SKILLS 120 minutes x 20 weeks Barak Schmool Module summary Postgraduates are taught alongside undergraduates but are expected to take more of a leadership role and demonstrate a comprehensive level of understanding (as will be tested specifically in the viva). This course provides the basic rhythm skills drawn from strong traditions of rhythmic music around the world. It aims to secure the student with good learning practice from Indian music and the music of the African diaspora, including observation skills, listen/repeat skills, relaxed and balanced time-keeping, vocalisation of rhythms, independence of hands and voice, rhythmic conversation and interaction. In this course students will apply the various approaches studied to the learning and playing of jazz and improvised music. Students will attend the Introduction course for the hour followed by the practical Rhythmic Skills Workshop session to further reinforce the information in context. Teaching areas: Time keeping, rhythmic aural skills, vocalisation of rhythms, independence of hands and voice, rhythmic conversation and interaction. The course aims to complement BMus studies in Composition, Ensemble work, and History.

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Assesment Type of assessment Weighting (%) Project 1 Instrumental rhythm (5-10 minutes): Learn to groove on one

time-keeping instrument in one style. Playday: 27/11/15 25

Project 2 Polyrhythmic song (5-10 minutes): Demonstration of rhythmic independence maintaining pulse (feet), clave (hands) and singing simultaneously. Playday: 5/02/16

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Project 3 Transcription in prescribed rhythmic style (that will be studied during the year) delivered on paper and also performed in a Playday. Attention will be given to how to improvise within the created structure. Playday: 18/04/16

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Class profile 15 Learning Outcomes A1, A2, A3, A4, A5, B1, B2, B3, B4, B6, C1, C2, C4, C5, C6 Bibliography Guilfoyle, Ronan – Creative Rhythmic Concepts for Jazz Improvisation Mauleon, Rebecca – The Salsa Guidebook for Piano and Ensemble Gerad, Charley and Sheller, Marty – Salsa, the Rhythm of Latin Music Locke, David - Drum Gahu: An Introduction to African Music RHYTHMIC SKILLS WORKSHOP: The Rhythmic Skills workshop is shared between students on both Rhythm Skills modules to further reinforce and contextualise the information studied in those modules. This workshop gives an opportunity to gain detailed experience in a practical setting that places in context the commonly occurring rhythmic challenges in contemporary performance. By exploring real examples that are expected of improvising musicians, students are able to apply the topics learned through the module in practice. These areas include topics such as; metric modulation, odd and additive meters, divisions of 3 and 5. The workshop will look at performance case studies to demonstrate how the theory behind grooves is realised in practice, and examples will be used from North Indian classical music, Salsa, polymelodic music (ie, central africa), sabar (senegal) and other afropop. ADVANCED RHYTHMIC SKILLS 120 minutes x 20 weeks Barak Schmool Module summary Postgraduates are taught alongside undergraduates but are expected to take more of a leadership role and demonstrate a comprehensive level of understanding (as will be tested specifically in the viva). This is the advanced application of improvising in more complex rhythmic situations and the composition of polyrhythmic music. The course aims to further students knowledge of non-western principals of rhythm already learned in the Introduction to Rhythmic Skills module taken in the previous year, and has an additional major performance component in the form of a Concert Project. This module counts as one of your electives.

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Assessment Type of assessment Weighting (%) Project 1 Demonstration of rhythmic independence (Advanced)

Playday: 27/11/15 15

Project 2 Groove writing project: 3-4 part looped instrumental polyrhythm, to be notated and taught to the ensemble by the student. Playday: 5/02/16

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Project 3 Composition in fixed rhythmic structure, (e.g. clave) minimum 32 bars fully-notated rhythm section. Assessment Playday: 18/04/16

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Concert Participation in a rhythmic skills concert project: TBC in class

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Class profile 15 Learning Outcomes A1, A2, A3, A4, A5, B1, B2, B3, B4, B5, B6, B7, C1, C2, C4, C5, C6 Bibliography Guilfoyle, Ronan – Creative Rhythmic Concepts for Jazz Improvisation Mauleon, Rebecca – The Salsa Guidebook for Piano and Ensemble Gerad, Charley and Sheller, Marty – Salsa, the Rhythm of Latin Music Locke, David - Drum Gahu: An Introduction to African Music RHYTHMIC SKILLS WORKSHOP: The Rhythmic Skills workshop is shared between students on both Rhythmic Skills modules to further reinforce and contextualise the information studied in those modules. This workshop gives an opportunity to gain detailed experience in a practical setting that places in context the commonly occurring rhythmic challenges in contemporary performance. By exploring real examples that are expected of improvising musicians, students are able to apply the topics learned through the module in practice. These areas include topics such as; metric modulation, odd and additive meters, divisions of 3 and 5. The workshop will look at performance case studies to demonstrate how the theory behind grooves is realised in practice, and examples will be used from North Indian classical music, Salsa, polymelodic music (ie, central africa), sabar (senegal) and other afropop.

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PROFESSIONAL DEVELOPMENT ACTIVITY – JAZZ ‘Professional Development’ is at the core of your Academy experience and we expect it will form the backbone of your Professional Portfolio. Apart from your individual practice and work with your teacher, it is likely to account for most of the time you spend working at the Academy. 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 Development Profile mark. There are five key areas, which each department handles differently according to professional preparation requirements. Jazz students only have four of these specified as the (fifth) collaborative skill is so embedded into all Jazz department activity it is not necessary to assess it separately. Skills 1 - Technical REQUIREMENTS (including

minimum required to pass) Feedback mark (Y/N)

Written report (Y/N)

Two-year students (1st year)

Successful completion of the 1st year “Repertoire and improvisation” module.

Y Y

Two-year students (2nd year)

Successful completion of the 2nd year “Repertoire and Improvisation” module.

Y Y

One-year students

Successful completion of the 1st and 2nd year “Repertoire and Improvisation” module.

Y Y

Skills 2 – Ensembles (synthetic)

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

Two-year students (1st year)

Participation in scheduled Ensembles, and Big Band where applicable

Y Y

Two-year students (2nd year)

Participation in scheduled Ensembles, and Big Band where applicable

Y Y

One-year students

Participation in scheduled Ensembles, and Big Band where applicable.

Y Y

External Perspectives (Masterclasses/Workshops/Seminars etc.)

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

Two-year students (1st year)

Attendance and participation at all masterclasses, seminars and workshops. Details provided on the PDA Self Declaration Form.

Pass/Fail only

N

Two-year students (2nd year)

Attendance and participation at all masterclasses, seminars and workshops. Details provided on the PDA Self Declaration Form.

Pass/Fail only

N

One-year students

Attendance and participation at all masterclasses, seminars and workshops. Details provided on the PDA Self Declaration Form.

Pass/Fail only

N

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Self-Generated Project REQUIREMENTS (including

minimum required to pass) Feedback mark (Y/N)

Written report (Y/N)

Two-year students (1st year)

Self-generated project submission of 15-20 min “rough” demo recording (i.e. zoom recorder quality) and 'mock' funding application equivalent to old Jazz Services Touring Scheme. Include all the required supporting materials for the application, as well as a personal CV and band biography for the project you're applying for.

Y Y

Two-year students (2nd year)

PG 2- Self-generated project submission of 20-25 min professional demo recording or DVD and 'mock' funding application for Arts Council National Tour support. Include all the required supporting materials for the application, as well as a press release (including project info, band biog, photo etc) and a letter/email to promoters.

Y Y

One-year students

One-year Masters students must complete the 1st year work (above) by the first day of term after Christmas, and the 2nd year work (above) by the main Academic deadline.

Y Y

PG Repertoire and Improvisation 1 & 2 (90 minutes x 20 weeks) Introduction: The PG Repertoire and Improvisation course runs throughout the 1st and 2nd years. (N.B. students undertaking a one-year course will either do both levels simultaneously or just the 1st year course - this will be decided in consultation with the Head of Jazz.) The first half of each year covers a list of standard jazz compositions often played in the professional environment or that are useful examples of specific harmonic devices commonly found in the jazz canon. The second half of the year focuses on different improvisational approaches using the learned repertoire as the basis of study. Postgraduates are often taught alongside undergraduates to facilitate a wider sharing of ideas and approaches, they are expected to take more of a leadership role and demonstrate a comprehensive level of understanding. Aims: This module will help students to develop a working knowledge of repertoire very commonly used within professional contexts as well as further exploration of the repertoire through various improvising and practice approaches. Repertoire will often be taught by ear and will highlight common harmonic devices (cadences, substitutions, progressions etc) that once recognisable will enable the memorisation of new tunes more easily. Through experiencing a variety of improvisational tasks and processes students will develop greater control and deeper conviction over the decisions and choices they make as improvising musicians. Assessment: There will be two playday assessments, one at the beginning of the spring term for repertoire and the other in the summer term for improvisation. PG Repertoire 1&2 playday – 23/11/15 (in class time) (40%) PG Improvisation 1&2 playday – 25/04/16 (in class time) (40%) Class Profile mark (20%)

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PG Repertoire and Improvisation 1: PG Repertoire 1 PLAYDAY: Students will be expected to have learned the 20 specified standards over the first term. What constitutes a 'learned' standard will be the ability to play the melody and improvise over the chord progression from memory. Solos should display a strong awareness of the major harmonic events within the piece, describing the modulations and cadential movement as required. Song List: 1.Softly As In A Morning Sunrise 2.Autumn Leaves * 3.All The Things You Are 4.Yesterdays 5.Body and Soul 6.What Is This Thing Called Love 7.Youve Changed 8.Pennies from Heaven 9.Laura 10.Loverman 11.If I were a Bell 12.Weaver of Dreams 13.Stella By Starlight 14.It Could Happen To You 15.You Don't Know What Love Is 16.Cherokee 17.Have You Met Miss Jones 18.Sweet Georgia Brown 19.Rhythm Changes form +* 20.Blues form +* NB* Blues, Rhythm Changes and Autumn Leaves (solos only) can be called in any key at the playday. NB+ Blues and Rhythm Changes will require melodies and variations of the progression as taught throughout the first term. Assessment for Singers: Singers may choose suitable keys in consultation with their module leader and where appropriate, provide leadsheets for ensemble members. The student must exhibit the ability to sing the tune accurately with good time and to sing a second chorus that displays an assured approach to improvise a new melody or an embellishment of the existing one whilst manipulating the text. Rhythmic displacement, initiating double time feel (on ballads) and the ability to sing 'in the pocket' will be assessed. Assessment for Drummers: Drummers will also be expected to be able to play the actual melody on the kit as well as improvise with a thorough awareness of the form and the harmonic events; marking cadential points or melodic peaks etc. Drummers may also be asked to sing the melody whilst they accompany themselves from the kit. PG Improvisation 1 PLAYDAY: The improvisation part of the course is focused on experiencing a variety of approaches for developing and practicing improvising, a syllabus giving examples of the types of activities will be handed to students. These will often be based around applying specific restrictions such as chord-tone only solos, targeting certain harmonic ideas on every relevant chord or transposing melodic material through the changes. Other specific techniques will be the anticipation of cadences by implying additional changes that aren’t necessarily in the “lead sheet” chord sequence. There will

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also be work undertaken on developing strong independent time feel; unaccompanied solos with the metronome on 2 & 4 (or just beat 4) will be assessed. For the Improvisation playday a variety of these approaches that will have been experienced over the Spring term will be assessed and in keeping with it being an improvisation course it will be the process of making music within these restrictions that will be assessed, rather than the purely accurate fulfillment of the tasks. For instance, in assessing chord tone solos one would expect a creative and fluent solo that uses only chord tones rather than just running up and down the arpeggios. PG REPERTOIRE AND IMPROVISATION 2 PG Repertoire 2 PLAYDAY: Students will be expected to have learned the 10 specified contemporary standards over the first term. What constitutes a 'learned' contemporary standard will be the ability to play the melody and improvise over the chord progression from memory. Solos should display a strong awareness of the major harmonic events within the piece, describing the modulations and cadential movement as required. Song List: 1.ESP 2.Confirmation 3.Comrade Conrad 4.Very Early 5.Giant Steps 6.Moments Notice 7.Dolphin Dance 8.’Round Midnight 9.Prelude to a Kiss 10.Everybodys Song But My Own - Assessment for Singers and Drummers: same as PG Rep/Improv 1 PG Improvisation 2 PLAYDAY: The improvisation part of the course is focused on experiencing a variety of approaches for developing and practicing improvising, a syllabus giving examples of the types of activities will be handed to students. These will often be based around applying specific constraints such as chord-tone only solos, targeting certain harmonic ideas on every relevant chord or transposing melodic material through the changes. Other specific techniques will be the anticipation of cadences by implying additional changes that aren’t necessarily in the “lead sheet” chord sequence. There will also be work undertaken on developing strong independent time feel; unaccompanied solos with the metronome on various syncopated placements and solos in specified rhythmic denominations will be assessed. For the Improvisation playday a variety of these approaches that will have been experienced over the Spring term will be assessed and in keeping with it being an improvisation course it will be the process of making music within these restrictions that will be assessed, rather than the purely accurate fulfillment of the tasks. For instance, in assessing chord tone solos one would expect a creative and fluent solo that uses only chord tones rather than just running up and down the arpeggios. 4) Big Band All students must participate in all allocated Big Band projects. Please see page 6 for further information. 5) Composition Workshop

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Professorial Report on the year’s work For further details on the Postgraduate programmes, please see the Postgraduate handbook.