Strings Handbook 2015–2016

2

Contents Introduction from the Head of Strings ................................................................................... 3

Quick Start Guide ................................................................................................................. 4

Strings Department Staff ...................................................................................................... 8

Leave of Absence Procedure ............................................................................................. 10

Special Circumstances Procedure ..................................................................................... 11

Concerts Department ......................................................................................................... 12

Student Recordings ............................................................................................................ 18 Undergraduate

Compulsory String Class Requirements ........................................................................... 19

Masterclass Guidelines ...................................................................................................... 20

Chamber Music Assessments ............................................................................................ 20

Violin, Viola, Cello Undergraduate Expectations and Requirements ................................. 21

Double Bass Undergraduate Expectations and Requirements .......................................... 31 Postgraduate

Postgraduate Expectations ................................................................................................ 40

Professional Development Activity ..................................................................................... 41

Compulsory String Class Requirements ............................................................................ 45

Masterclass Guidelines ...................................................................................................... 46

Violin, Viola, Cello Postgraduate Expectations and Requirements .................................... 47

Double Bass Postgraduate Expectations and Requirements ............................................. 55

3

INTRODUCTION FROM THE HEAD OF STRINGS This handbook contains all the information needed to understand the examination of individual performance and the Academy’s expectations of violin, viola, cello and double bass students at all levels of study. You must refer to this department handbook in conjunction with the Postgraduate Programme Handbook which details all of the relevant information on what you need to do in the completion of your MA/MMus/Professional Diploma/Advanced Diploma. The syllabus is reviewed regularly to reflect what is expected of emerging professional musicians. Alterations in detail may occur on a yearly basis, and minimal adjustments during the course of the academic year. The latter will be separately notified. Progress in solo study and chamber music (see separate chamber music handbook) is monitored throughout your studies. Both ongoing technical development and performance of a variety of repertoire is assessed in annual examinations. The regular, supportive and constructive tuition you receive from your Principal Study professor, together with your ability to work independently and self-regulate will contribute to successful results. Examinations are necessary to ensure students are engaging fully with the programme of study. They provide a series of aims and deadlines to help manage individual work, and balance it with the other performing and academic activities that will be part of your studentship. The marking protocols are designed to enable examiners to record both achievement and areas for development. It is recommended that you familiarise yourself with the wording in the marking guidelines so that you understand how your mark has been arrived at. Examinations are carefully timed so that priorities can be assigned appropriately at different periods in the year. The Academy’s desire to produce informed, rounded and versatile musicians means that students are expected to integrate chamber music and orchestral playing into their work, whatever their intended career destination. These areas of performance are assessed separately. It is recommended that you present material that accords closely with the syllabus. Any queries or uncertainty about the examination requirements at any stage of study should be addressed to your Principal Study professor or to the Head of Strings. All repertoire decisions for assessment and classes should be made in consultation with your Principal Study professor. Observation of deadline dates is essential. In your best interests, advance planning of programmes is strongly advised. There are many non-assessed opportunities available for both solo and chamber music performance – including Academy prizes – which are adjudicated by distinguished visitors. You should take full advantage of these chances for both public and internal performances. Please see the relevant section in this handbook (page 15) for information about these opportunities. Please see me or Emily Good if you need support. Confidential meetings on any sensitive matters can easily be arranged. You are not expected to struggle alone with difficulties you may encounter as a student. We want to ensure that you have a productive and enjoyable studentship. Others who can provide help and support include your instrumental teacher, your tutor, the Student Union, your chamber music coach, the two strings interns, Michael Foyle and Nadege Rochat, and current strings chamber music fellows: Joe Bronstein (viola in Aurora Trio), Julia Pusker (violin in Trio Mirage) Antonia Kesel and Cecilia Bignall (violin and cello in Jorgensen Trio). Jo Cole, Head of Strings

4

QUICK START GUIDE

DEPARTMENT CONTACTS Head of Strings j.cole@ram.ac.uk Ms Jo Cole FHEA, ARAM 020 7873 7395 Room 216 Administrator: Strings e.good@ram.ac.uk Miss Emily Good BMus(Hons), MMus, Hon ARAM 020 7873 7395 Room 513 PROGRAMME CONTACTS Neil Heyde, Head of Postgraduate Programmes Room G81 |Email: n.heyde@ram.ac.uk David Gorton, Senior Postgraduate Programme Tutor Tel: 020 78737481 |Room 178 |Email: d.gorton@ram.ac.uk KEY DATES Term Dates 2015-2016 Autumn Term 14.09.2015 – 27.11.2015 (Intensive Projects Week 19.10.15 – 23.10.15) Spring Term 04.01.16 – 18.03.16 (Intensive Projects Week 08.02.16 - 12.02.16) Summer Term 18.04.16 – 12.07.16 (Exams: 18.05.15 – 05.06.15) Strings and Piano Chamber Music Icebreaker Tuesday 15th September (6.30pm Henry Wood Room) Departmental Meeting (for students of all years) Wednesday 16th September

2015 (4.15pm, St Mark’s Church)

Strings Open Day for prospective students Wednesday 23rd September (1:1 lessons will be open to visitors) 2015 Chamber Music Speed Dating Thursday 24th September

2015 (evening – see separate notices)

BMus 1 Chamber Music eight week review Friday 6th November 2015 Orchestral Excerpts for screened spring orchestral auditions Monday 16th November 2015

5

available to download from AIR Deadline for submission of chosen works for either Concerto or Monday 23rd November 2015 Audition Repertoire option - Postgraduate final year students Spring Orchestral Auditions (screened) within the following period: Monday 4th January – Friday

15th January 2016 Undergraduate deadline for notification of Friday 29th January 2016 personnel and repertoire for spring term chamber music assessments BMus 2 Chamber Music review Mid February 2016 (date tba) Notification of orchestral solo(s) to be prepared for Audition Monday 15th February 2016 Repertoire option (Postgraduate final year students) Technical Testing Sunday 6th, Friday 11th

March, Sunday 13th March 2016 Undergraduate Chamber Music Assessments w/c 14th March 2016 Postgraduate Concerto/Repertoire Audition Exams w/c 14th March 2016 (works longer than 25 minutes will not be heard in their entirety. For those choosing to offer a concerto that exceeds the timing requirement, cuts in the score will be available from the Strings Department office seven days in advance of the examination). Deadline for submission of Undergraduate Chamber Music Profile Friday 18th March 2016 Deadline for submission of undergraduate final recital programmes Friday 13th May 2016 Deadline for submission of postgraduate final recital programmes Friday 13th May 2016 Deadline for submission of Postgraduate Professional Development Activity Form:

Monday 23rd May 2016 Summer Examination Period Monday 23rd May –

Friday 10th June 2016 Please note that orchestral excerpts for September 2016 orchestral auditions will be available approximately two weeks before the end of the summer term 2016 if you are a continuing student. CHECK LIST • Store the contact details of your principal study professor in your phone. • Store the contact details of your department administrator in your phone. • Check your Academy email account and ASIMUT every day, including during the Christmas,

Easter and summer vacations.

6

• Check your Performance Class and Excerpt Class date(s). • Check dates of visiting professors’ classes and masterclasses (available on Air and on the

Strings notice board) for the purposes of participation and attendance. • Check your orchestral commitments and store the Concert and Orchestra Manager’s contact

details in your phone (Liz Williams 020 7873 7326, e.williams@ram.ac.uk). • Check your annual chamber music requirements (see chamber music handbook) • Check and store the contact details of your ensemble and your coach(es) in your phone. • Check potential personal diary clashes and apply for Leave of Absence well in advance (see

procedure on page 10). • Check closing dates for internal and external competitions and prizes on AIR and notice

boards. • Find a pianist for your performance class(es), masterclasses and end of year/final recital if

necessary. NB Strings and Piano Icebreaker takes place on Tuesday 15th September 2015. There is a page on Air where you can advertise your requirements. See below ‘quick links’ on the homepage and follow the instructions.

• Check the Rolling Register of Opportunities on the Strings page on Air every day. This is to your advantage to make sure that you know of both internal and external opportunities. This also includes funding information which may be useful for students.

To guide you, here is a list of how to prioritise your activities: The following are performances that you are expected to undertake and when you will be assessed:

• End of Year/Final Recital (summer term)

• PG ONLY Concerto/Audition Repertoire Exam (spring term)

• Orchestral auditions (autumn and spring term)

• Technical Testing (spring term)

• Orchestral projects – continuous assessment

• UG ONLY Chamber Music UG assessments (last week of spring term). This also requires submission of a Chamber Music Profile (see UG chamber music handbook).

• PG Professional Development Activity according to requirements – see pages 35 -38

Participation in the following performance-related activities is non-negotiable – failure to attend will compromise progression or graduation:

• Principal Study lessons (see page 9)

• Your own Performance and Excerpt Class(es).

• Orchestral Auditions

7

• All orchestral commitment

• Chamber Music coaching (compulsory UG – strongly recommended PG)

Participation and/or attendance at the following performances is strongly advised and will reflect your engagement with the programmes of study:

• Masterclasses (both as a participant and to observe)

• Performance and Excerpt Class(es) attendance to observe

• Internal concerts, recitals, operas etc

• Academy prizes and competitions – which have external adjudicators and cash prizes

• Professional performances in London and elsewhere

Participation in the following is permitted as long as Academy commitments are completely unaffected and you must have the full support of your professor and the Head of Strings before accepting offers to participate. Leave of Absence must also be requested:

• External young persons’ orchestras (EUYO, Britten Pears Orchestra, Gustav Mahler Jugend Orchester, etc)

• Professional freelance work

• External competitions

• Solo performances

• Chamber Music performances

• External Masterclasses

• Summer/holiday courses

Please make sure you have the correct permission to work in the UK.

You are expected to attend all timetabled activities and academic classes. Unauthorised absences will affect smooth progression to the next stage of your programme of study, or Graduation.

8

STRINGS DEPARTMENT STAFF Head of Strings Jo Cole FHEA, ARAM Professor Emeritus of Strings Professor David Strange FRAM Violin Remus Azoitei MMus, ARAM Levon Chilingirian OBE DMus FRCM Diana Cummings FRAM Richard Deakin MMus, FRCO, FRAM Joshua Fisher Dip RCM ARCM Mayumi Fujikawa Hon ARAM Clio Gould AGSM, Hon RAM Rodney Friend MBE Erich Gruenberg OBE, Hon RAM, FGSM, FRCM Giovanni Guzzo Philippe Honoré, ARAM *Richard Ireland BA(Hons) PPRNCM So-Ock Kim, BMus (Hons) Hu Kun, Hon RAM Sophie Langdon ARAM Jack Liebeck, ARAM Mateja Marinkovic Hon ARAM Nicholas Miller ARAM György Pauk Hon RAM, Hon GSM (Ede Zathureczsky Professor of Violin) Maureen Smith Hon ARAM Tomotada Soh Hon ARAM Visiting Professors of Violin Daniel Hope DipRAM, FRAM Tasmin Little FGSM, Hon ARCM Maxim Vengerov Hon RAM Viola Roger Chase ARCM Yuko Inoue BA, PPRNCM, Hon ARAM *Garfield Jackson FRAM *Martin Outram MA, FRAM *James Sleigh ARCM, Hon ARAM *Jon Thorne Hon ARAM Visiting Professors of Viola Philip Dukes Hon ARAM Garth Knox Hartmut Rohde Hon RAM Su Zhen ARAM Cello Robert Cohen Hon RAM *Jo Cole FHEA, ARAM Lionel Handy FRAM Guy Johnston

9

*Josephine Knight FRAM (Alfredo Piatti Chair of Cello) Mats Lidström Hon ARAM Christoph Richter Felix Schmidt Hon ARAM *David Smith FRAM, FRSAMD Professor David Strange FRAM Visiting Professors of Cello Colin Carr Hon RAM Steven Doane Sung-Won Yang Double Bass Graham Mitchell ARAM Rodney Stewart FRAM Dominic Seldis FRAM Visiting Professors of Double Bass Matthew McDonald Strings Administrator Emily Good BMus(Hons), MMus, Hon ARAM Chamber Music Students have access to all members of the faculty for chamber music coaching but * indicates a professor with special responsibility in this important area. Chamber Musician in Residence 2015-2016 Levon Chilingirian OBE DMus FRCM Teaching Quartet in Association 2015-2016 The Doric Quartet

10

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. 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. By completing a Leave of Absence form, you are indicating that you fully accept that your 1:1 instrumental professor may not be able to make up missed lessons, caused by your restricted availability due to requested absence.

11

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.

12

CONCERTS DEPARTMENT Director of Artistic Planning Ms Nicola Mutton, Room G6 Tel: 020 7873 7375 n.mutton@ram.ac.uk

Responsible for the artistic planning of all Academy performance activity, including collaborations with festivals, outside concert series and professional orchestras and venues, as well as the overall management of the Concerts Department. Concert proposals should be submitted to the Director of Artistic Planning for consideration by Artistic Planning Group. Senior Concert & Orchestra Manager Ms Liz Williams, Room G7 Tel: 020 7873 7326 e.williams@ram.ac.uk Concert & Orchestra Manager Ms Rosie Larkins Room G7 Tel: 020 7873 7426 r.larkins@ram.ac.uk

Responsible for the running of all orchestral and ensemble projects, allocation of students to projects, production of all schedules and orchestral management of rehearsals and concerts. They are the point of contact for all schedule enquiries and leave of absence requests. Orchestral Librarian Mr Stuart Garden, Room G7 Tel: 020 7873 7414 s.garden@ram.ac.uk

Responsible for the Orchestral Library and provision of music for all Academy ensemble and orchestral projects. Also responsible for termly orchestral auditions. Concerts & Programmes Administrator Ms Kathleen Rule, Room G7 Tel: 020 7873 7327 k.rule@ram.ac.uk

Responsible for the provision of concert programmes, Performing Right Society declarations and working with the Director of Artistic Planning. Concerts & Prizes Administrator Ms Francesca Johnson, Room G8 Tel: 020 7873 7308 f.johnson@ram.ac.uk

Responsible for the programming and administration of all lunchtime and early evening student concerts and Academy prizes and competitions. External Bookings Manager Ms Lizzie Sambrook, Room G8 Tel: 020 7873 7304 externalbookings@ram.ac.uk

Responsible for the External Booking service, which exists to offer performance opportunities outside of the Academy to students. These opportunities include recitals, choral society concerts, concertos and background music for corporate and private events.

13

PERFORMANCE The Concerts Department The Academy’s busy performance schedule is run by the Concerts Department. Training at the Academy prepares students for an increasingly demanding and diverse professional life and encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary and media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the flow of repertoire for undergraduate and postgraduate students with the aim that all concerts, rehearsals, training sessions and sectionals are well-balanced over a student’s period of study at the Academy. Training is delivered through:

• Repertoire sessions for wind, brass and percussion students (all students). • Sectional training with section principals from the UK’s major orchestras. • Public performances through both ‘quick-learn’ projects (designed to reflect the demands of

the orchestral profession), and intensive projects. Projects this academic year will be conducted by distinguished visiting conductors and directors including Edward Gardner, Robin Ticciati, Marin Alsop, Murray Perahia, Nicholas Collon, Oliver Knussen. Trevor Pinnock, Sir Mark Elder, Jane Glover, Semyon Bychkov, and Yan Pascal Tortelier.

First-year string undergraduates take part in weekly String Orchestra rehearsals, as well as forming chamber ensembles for chamber music training. First-year wind, brass and percussion students participate in weekly Orchestral Repertoire classes (with second-year and third-year undergraduate students) in which staff and visiting specialists introduce staples of orchestral repertoire and work on orchestral techniques. Orchestral auditions (autumn and spring terms) are a means of deciding seating for all orchestras. This protocol is designed to set out clearly what is expected of students involved in giving concerts and taking part in other orchestral and chamber music projects at the Royal Academy of Music. Students are expected to read this document and refer to it as appropriate. The protocol has been designed to ensure that all students gain the maximum benefit from their involvement in ensemble activity and are fully trained to meet the demands of the profession. General Practice for Orchestral and Chamber Music Projects 1. Following orchestral auditions at the beginning of the Autumn term, Orchestral and Ensemble

schedules will be issued at the beginning of the second week of term for all students. Further orchestral auditions will take place in the first week of the spring term and project schedules will be issued in the second week of this term. All summer term schedules will be published by the final week of the spring term. The schedules will be posted on the orchestral noticeboards opposite the Band Room and on AIR. Students are expected to keep a regular check on the noticeboards for any last-minute logistical alterations. Details of rehearsals will be accurate at the time of going to print, but may be subject to alteration. Any schedule alterations will be notified by email or text message. Communication will only be done via Academy emails, so students must check this regularly. If a student has a mobile phone, voicemail is essential in order to be contactable in an emergency.

2. Students are expected to be seated and tuned at least five minutes before the time published on the schedule. 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/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued each time a student is late or absent without permission from a session. (see Regulation G5, Attendance at Scheduled Rehearsals and Performances)

14

Students must telephone the Concert and Orchestra Managers, Liz Williams on 020 7873 7326 (strings, wind & brass) or Rosie Larkins on 020 7873 7426 (percussion, harp, keyboard, guitar, accordion) as soon as possible before a session is due to begin to inform them of absence due to illness or if they are going to be late for a rehearsal. A note from the doctor will be required by the Concert and Orchestra Manager 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 may be appealed through the Special Circumstances Committee. For an appeal to be considered, students will be required to produce official documentation to substantiate the appeal.

3. One-to-one lessons, coaching sessions or classes must not be arranged during scheduled rehearsals. If another Academy commitment has been arranged before the publication of the orchestral or chamber music schedules, students must see the relevant Concert and Orchestra Manager within five working days of the date the schedule was produced to resolve the problem.

4. Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant Programme Tutor before agreeing to any outside work, even if at the time of engagement your diary appears clear. If release has not been granted, a student may be prevented from participating in the outside work. Whilst every effort will be made to accommodate outside engagements, this may not always be possible. You must not ask the conductor about missing any part of a rehearsal.

5. All music is kept in G7 and is generally available one month before the commencement of any given project. If parts are taken out for practice, the signing-out sheet must be completed. Folders are not to leave the office. Students are responsible for keeping their own music safe. Folders will be placed on stands in the rehearsal venue for the beginning of each session. Music left after sessions must be put in the folder, which should be closed for collection. The folders must remain on the stand after the rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is expensive and missing parts will be charged to the student responsible for them. Soft pencil only should be used to mark parts.

6. Students are expected not only to learn their allotted part before a project begins, but also to be familiar with the whole work. Recordings of all programmed works are usually available in the Academy library. Recordings are made of all Academy concerts and an archive copy is held in the library. Due to copyright laws, you are not permitted to make copies of these recordings.

7. Dress: Female students - please note that you are all required to have a long black dress or smart long black trousers and black top for Academy concerts. Shoulders and backs should be covered. Not sleeveless, not strapless, and with due consideration of professional appearance and sense of occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery should be in keeping with dress code. Male students – you will all be required to wear a dinner jacket (with a white shirt and black bow tie) or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes and black socks are also required. The Academy does not require men to have acquired a tail suit, but it is likely that professional orchestral engagements will need you to have this available, with white dress shirt and white bow tie.

8. For most Academy concerts, performers are allowed one free ticket, subject to availability. These can be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for external concerts.

15

Concert Requests

If you have a concert project in mind that you would like to put on at the Academy with fellow students (lunchtime, early evening or main evening concert), you can submit an application to the Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime Concert Series, which are our high-profile Diary of Events series, with a strong emphasis on chamber music. Proposals should show imaginative and balanced programming, which will be an important part of the consideration process. Concert application forms are available on AIR or from the Concerts & Prizes Administrator or Director of Artistic Planning. If any of the required information is not supplied then proposals will be returned for resubmission before the next proposal deadline. Termly deadlines for submissions are: Thursday 17th September 2015(for Spring/Summer Term concerts) Wednesday 3rd February 2016 (for Summer Term concerts) Wednesday 20th April 2016 (for Autumn Term 2016 concerts) Late submissions will not be considered.

The Artistic Planning Group will consider all concert requests and students will be notified of the result in writing. Please be aware that Academy-scheduled events will be given priority and their proximity to your preferred time period will have a bearing on whether or not they are accepted.

Please note that a rehearsal in the concert venue cannot be guaranteed on the day of your concert.

Other Informal Performance Opportunities Weekly Lunchtime and Early Evening Concerts take place to provide a platform for students to run repertoire and to gain performing experience. They will not be assessed and, although open to the public, they will only be advertised within the Academy. Students will need to apply to play in these concerts by filling out a yellow concert voucher and submitting it to the Concerts and Prizes Administrator. Concert slots will be allocated according to availability and applications can be submitted at any time. Each performer in a group will be notified of the date of their performance via their Academy email address or in discussion with the Concerts and Prizes Administrator and you will be required to confirm the group’s availability in writing. It is the responsibility of the ensemble to request large musical instruments (harpsichord/chamber organ etc) to ensure they are provided in the relevant venue and tuned to the correct specification. This must be done through the General Office as soon as the concert date is confirmed. Failure to provide these details in good time may result in the instrument being unavailable.

Vocal Faculty students are expected to supply their own copies of text and translations or a precis. Fifteen copies should be submitted to the Events Office (next to the Duke’s Hall) 24 hours before the concert.

Concert vouchers can be found in the General Office and on AIR and need to be completed and submitted to the Concerts and Prizes Administrator in Room G8. They must be fully completed, with the necessary signatures, otherwise they will not be considered.

Concert dates will be advertised on AIR and any free spaces will be highlighted. On the day of the concert all participants should report to the stage manager ten minutes before the start of the concert.

16

Failing to adhere to these conditions may result in disciplinary action.

17

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 External Bookings Manager. This service is intended to help students gain experience and make contacts for the future. Students are expected to fulfill engagements in a professional manner and coaching will be provided where appropriate. For further information about external engagements, contact Lizzie Sambrook, External Bookings Manager in the Concerts Department at the Academy. Academy Engagements, Including External Engagements – Right to work in the UK Before taking on any work engagement through the Academy, all students must present their passport or other evidence of the right to work in the UK. If you have not already done so at enrolment, you must present your documents to the relevant administrator, or the External Bookings Manager in the case of external engagements. Once documents have been checked and copied you will be permitted to work. International students studying at the Academy on Tier 4 visas can now perform unpaid and paid musical engagements provided it is organised through the official Academy channels. The placement must be considered to be part of the student’s professional development, and therefore logged as part of their professional portfolio, and all students must complete a Tier 4 Checklist for all performance-related work, signed off by their Head of Department. Three copies of this documentation must be taken – one for the Registry, one for the External Bookings Office and one for student portfolios. Tier 4 students are not permitted to undertake any work on a self-employed basis, and therefore any payment due must come through the Academy’s payroll, and is subject to deductions in respect to National Insurance and VAT. Students must also ensure that they do not exceed their 20 hours work allowance per week. The above regulation applies to all students who are coming to study at the Academy from countries outside the EEA (European Economic Area). In addition, Bulgarian and Romanian students will need to obtain an Accession Worker Card from the UK Border Agency (Application Form BR3) before they can take any paid work. This document must be presented to the Human Resources Department who will check the card and take a copy. If you do not have a passport or would like further information regarding what alternative documents you can bring, please contact the Human Resources Department on hr@ram.ac.uk. For more information about the employment conditions for Tier 4 students, please refer to the following link: http://www.ukba.homeoffice.gov.uk/studyingintheuk/adult-students/conditions/

18

STUDENT RECORDINGS You can access recordings or large scale public performances from the Library for educational purposes. The Academy cannot provide you with your own copies of these performances for copyright and resource reasons. Exceptions may be made in the case of performances with rarity value such as concertos but requests must be submitted to the Concerts Department at least one calendar month in advance of the performance. This will allow the Concerts Department time to consider any copyright clearance issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule and recording equipment. If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday lunchtime concerts), requests may be made by students to record it but in audio format. In order to request this you will need to ensure that all relevant consent forms and copyright clearance is completed at least one calendar month in advance of the performance. You are able to record yourselves on Academy premises (in practice rooms and concert venues) either using their own or loaned equipment (in this case you would retain the copyright on the recordings and accept all responsibility for any necessary copyright clearance required).

19

UNDERGRADUATE COMPULSORY STRING CLASS REQUIREMENTS BMus 1: one performance class per year BMus 2: one performance class per year BMus 3: one performance class and one excerpt class per year BMus 4: one performance classes and one excerpt class per year Students should refer to schedules on ASIMUT for class dates and allocations

These classes form part of your professional development, and are compulsory. They must be considered in the same light as professional commitments and given the same priority and importance. You are encouraged to invite fellow students to attend and you should support your fellow students.

Performance classes are an opportunity for you to try out repertoire in front of a small audience and with an objective tutor. Distinguished and influential visitors whose comments and teaching are relevant to all string players take performance classes. The emphasis is on performance style and presentation but may also be in the form of a small master class/open lesson, with the tutor involving other students in discussion about each performer.

Every violin, viola and cello student is assigned one 30-minute performance opportunity within (normally) a two-hour class, and must attend for the full period. Failure to attend is now a disciplinary issue and will affect smooth progression or graduation. If inadequate reason for non-attendance is given, an alternative arrangement IS UNLIKELY TO BE POSSIBLE. Please note that this will mean that you are required to repeat the year or progression will be conditional.

Double bass students have departmental arrangements to ensure their requirements are met.

Excerpt classes

All 3rd and 4th year violin, viola and cello students will have a compulsory assigned orchestral excerpt session. These are designed to improve awareness of the requirements of professional auditions and the appropriate presentation of excerpts. Experienced and prominent members of major professional orchestras will take the classes. They will offer guidance on standard orchestral excerpts, and there will be an opportunity to receive feedback on the presentation of this material in an audition setting. Material to prepare will be provided in advance of the classes, giving a reasonable preparation time, but the ability to prepare excerpts within a short timeframe should be developed. If you have to learn a particular excerpt or orchestral solo this is a welcome opportunity to study it. Please let us know if you would like to do this.

Double bass excerpts classes are mandatory for all years.

Additional opportunities

It is recommended that students whose audition mark in September suggests extra input is needed in this area attend as many excerpt classes as possible to observe and to pick up useful advice.

Additional optional performance classes may be arranged IF SUFFICIENT DEMAND IS MADE: Students must ask Jo Cole or Emily Good if they want extra performance feedback, and when there are enough requests, a performance opportunity will be fixed in consultation with appropriate professors.

It is noticeable how students who take advantage of observing classes have a better overall performance outcome.

20

Every effort will be made to avoid internal clashes but you must be responsible for flagging up any problems.

The schedule for these classes can be found on the Strings AIR page and in ASIMUT.

REQUESTS FOR CHANGES MUST BE MADE VIA JO COLE OR EMILY GOOD AND WILL ONLY BE CONSIDERED UNDER EXCEPTIONAL CIRCUMSTANCES.

UNDERGRADUATE MASTERCLASS GUIDELINES Masterclasses are a regular feature of Academy activities. They are a traditional learning environment where students can enhance their understanding of performance, develop insight into repertoire, and form an appreciation of the skills and techniques of advanced pedagogy through either participation or observation. Participation in masterclasses is not solely for the benefit of the student being taught. Significant advantage is derived from intelligent analysis of these open lessons. Attendance at masterclasses will be monitored, and feedback sought from students. Their level of perceptive scrutiny is essential to assess the value of masterclasses, given the finite resources available. Students are strongly advised to ensure they are fully informed of all of the masterclasses taking place – not just their own discipline – and to seize the opportunity to witness the work of international performers sharing their craft with student peers. Having a score of the material being explored, and taking personal reference notes is the best way to maximize this unique learning environment. Students should always approach their professors first about signing up for masterclass participation. Professors will be consulted about the suitability of students for this exposed tutorial environment. Participants in masterclasses are then nominated or advised to take part with specific conditions in mind. The level of preparation must be advanced in order to:

• adapt to suggestions • respond artistically to inspirational guidance • benefit fully from the experience • respond effectively in a masterclass environment

Desire to participate must be matched by the appropriate personality traits and temperament/attitude. These are privileged opportunities and poor attendance records or disciplinary issues may compromise consideration for participation.

BMUS CHAMBER MUSIC ASSESSMENTS Chamber Music skills will be assessed in the last week of the Spring Term. For full details and requirements, please see the Undergraduate Chamber Music Handbook.

21

VIOLIN, VIOLA, CELLO UNDERGRADUATE EXPECTATIONS AND REQUIREMENTS

UNDERGRADUATE VIOLIN VIOLA CELLO: YR

1 The first year of study is for many students a period of adjustment and orientation. Overseas students will become acclimatised to living and studying in the UK, those already familiar with the customs of the country will often be living independently away from home for the first time.

A working relationship with your Principal Study professor will become established and you will develop personal strategies to prepare thoroughly for your lessons, and to achieve the targets you set together to ensure that you do full justice to your capabilities in the first year assessments. It may be that some significant remedial technical work is undertaken during this year to resolve problems. The choice of repertoire required for presentation at the end of year recital allows for adjustments that may have been made to your playing, but you should aim for focused and fluent performing.

In addition to your individual instrumental work, you are expected to participate fully in the programme of study, which will include the disciplines of chamber music and orchestral skills as well as academic work. All aspects of performance are assessed in the course of the first year and you should demonstrate a solid foundation of ensemble skills. The first year students participate ONLY in the second round of orchestral auditions in January. During the autumn term, seating in the first year String Orchestra rotates to allow students to develop acquaintances and try different roles. The second term’s activities may include other orchestral projects and a range of alternative performance practices including Jazz and Baroque techniques.

A professional attitude is required from the beginning of your time at the Academy, to ensure vital protocols become habitual. Your performance class should be treated as a professional engagement and prepared accordingly. Take advantage of informal strings forums – advertised on the Strings Noticeboard – for extra performing experience.

Absolute prioritisation of Academy commitments must be demonstrated throughout your studentship. The ability to behave with initiative and the development effective self-management will contribute to a successful first year of study. Attendance at masterclasses and internal performances is strongly advised. An understanding of the performing season in London’s great concert venues is also recommended.

Principal Study: Solo Performance (45 credits) – all components carry a mandatory pass requirement End of Year Recital 100% Technical Testing Formatively Assessed [FA]* Performance Class [FA] * Formatively Assessed - Technical Testing must be passed as a pre-requisite for the End of Year Recital Professional Development Activity (25 credits) Orchestral Profile 25% Spring Term Orchestral Audition (screened) 25% Spring Term Chamber Music Assessment including Chamber Music Profile 50% All elements of Professional Development Activity must be passed to progress into Year 2

22

23

SPRING TERM – TECHNICAL TESTING Scales, Arpeggios etc

• Major, Melodic and Harmonic Minor Scales and Arpeggios Diminished and Dominant 7ths and Chromatic Scales in 8 keys of own choice in 3 octaves. A variety of bowings may be requested by the examiner: Separate, slurred, marcato & spiccato (up to four bows to a note). • One scale in 3rds, 6ths and Octaves in key of own choice, Major and Harmonic Minor – 2 octaves – separate bows and slurred; number of notes to a bow at professor’s discretion. Style of presentation and tempi at student’s professor’s discretion but should demonstrate security, fluency and accuracy. • One study demonstrating bowing agility/control.

SUMMER TERM – END OF YEAR RECITAL Repertoire for all assessments should be selected in full consultation with your professor. In assessments, the degree of challenge of pieces is taken into consideration, and works should be of a suitable level of demand for the stage of study. The complete undergraduate programme offers the scope to perform a variety of repertoire, and it is recommended that this opportunity should be used. Any concerns regarding suitability of repertoire should be discussed with the Head of Strings. Please note that no piece/movement may be presented for assessment more than once during the undergraduate programme. Two contrasting solo or accompanied works. Length of Examination: 20 minutes including all breaks between works. Advised maximum: 18 minutes OF ACTUAL PLAYING. Advised minimum 16 mins. Programmes that are below the minimum may be deemed to indicate insufficient preparation for the examination or lack of understanding of the level required. Performances that exceed the length of the examination will be halted to allow for schedules to be kept on track. Although timing penalties are not applied at this level, students should become familiar with adhering to timing requirements which are enforced later in the course. Memory is only strictly compulsory at level 3 and 4 for one study in techniques tests. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Provision of Music/Editions: Students of all years from all departments should provide one copy of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims.

24

UNDERGRADUATE VIOLIN VIOLA CELLO: YR

2

Second year students should feel comfortable in the conservatoire environment. At this stage in your studies, any technical issues which you needed to address on arrival should be resolved - or at least at an advanced stage of resolution. Some personality in interpretation is expected in your individual assessment. Your musical communication should be well-developed and you should perform carefully selected repertoire with accuracy, confidence and some flair. Your ability to overcome taxing technical challenges should be well-developed.

You will be involved in Academy orchestral performance projects and manage the continuing expectation of professional coping strategies with a heavier workload.

Your chamber music experience should become more intensive and focussed and you should demonstrate that you can maintain professional working relationships with your peers. In assessment, a clear collective interpretative sense is expected.

Opportunities to perform in masterclasses should be seized upon and attendance for the purpose of observation and is advised and will be monitored. Performance class preparation should be strategically managed to make full use of this opportunity to receive professorial feedback and play in front of your peers. You are expected to demonstrate support for your colleagues in attending their performances also. Extra informal ‘strings forums’ provide performance opportunities and are a source of supportive feedback.

Second year students will benefit from preserving an enquiring mind and full integration of an analytical and sophisticated approach to practice. As before, absolute prioritisation of Academy commitments must be demonstrated throughout your studentship.

Principal Study: Solo Performance (45 credits) - all components carry a mandatory pass requirement End of Year Recital 100% Spring Term Technical Testing FA* Performance Class/Masterclass Participation FA * Formatively Assessed - Technical Testing must be passed as a pre-requisite for the End of Year Recital Professional Development Activity (25 credits) Orchestral Audition (Week 1) 10% Orchestral Profile 25% Spring Term Orchestral Audition (screened) 15% Spring Term Chamber Music Assessment including Chamber Music Profile 50% All elements of Professional Development Activity must be passed to progress into Year 3

25

SPRING TERM – TECHNICAL TESTING Scales, Arpeggios etc

• Major, Melodic and Harmonic Minor Scales and Arpeggios Diminished and Dominant 7ths and Chromatic Scales in the 4 keys not played in year 1 examination - 3 octaves (minimum) • Scales in 3rds, 6ths and Octaves in 4 keys of own choice (no repetition of year 1 key) Major and Harmonic Minor – 2 octaves separate bows and slurred minimum 2 notes to a bow. Style of presentation and tempi at student’s professors’ discretion but should demonstrate security, fluency and accuracy. • A study, etude, caprice etc demonstrating secure technical control and of a suitable standard

for this level of study. SUMMER TERM – END OF YEAR RECITAL Repertoire for all assessments should be selected in full consultation with your professor. In assessments, the degree of challenge of pieces is taken into consideration, and works should be of a suitable level of demand for the stage of study. The complete undergraduate programme offers the scope to perform a variety of repertoire, and it is recommended that this opportunity should be used. Please note that no piece/movement may be presented for assessment more than once during the undergraduate programme. A complete Classical concerto with cadenzas. If concertos are c.20 minutes or under, a contrasting work of a later period – either accompanied or unaccompanied – should be offered. OR First or last movement of a Classical concerto plus a contrasting accompanied or unaccompanied work of a later period. Length of Examination: 30 minutes including all breaks between works. Advised maximum: 28 minutes OF ACTUAL PLAYING. Advised minimum 25 minutes Programmes that are under the minimum may be deemed to indicate insufficient preparation for the examination or lack of understanding of the standard required. Performances that exceed the length of the examination will be halted to allow for schedules to be kept on track. Although timing penalties are not applied at this level, students should become familiar with adhering to timing requirements which are enforced later in the course. Any concerns regarding suitability of repertoire should be discussed with the Head of Strings . Memory is only strictly compulsory at level 3 and 4 for one study in techniques tests. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Provision of Music/Editions: Students of all years from all departments should provide one copy of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims.

26

UNDERGRADUATE VIOLIN VIOLA CELLO:

YR 3 At this stage of study, students are expected to have the confidence to present a short public recital. Stylistically informed adaptations according to the demands of repertoire should be assured. The ability to plan and structure programmes is advisable and all performing opportunities should be undertaken - in consultation with your professor - within a designed structure of improvement through performing experience. A commitment to volunteering for both solo and chamber music masterclasses is requested and the uptake of performing opportunities in both internal and external concerts is encouraged. Your technique should be advanced and reliable. You should demonstrate that you can deploy it in multiple genres, and maintain a high standard of performance in solo, ensemble and orchestral work. Your sight-reading skills should be secure. Professional protocols should by now be embedded. You should be a responsible communicator and a supportive and enabling colleague to your student peers. The ability to self-analyse and correct, to self-critique constructively and to develop consistency in pressurised performance roles must be high-functioning. Your musical character should be emerging with authority. Principal Study: Solo Performance (45 credits) - all components carry a mandatory pass requirement End of Year Recital 100% Spring Term Technical Testing FA* Performance Class/Masterclass Participation FA * Formatively Assessed - Technical Testing must be passed as a pre-requisite for the End of Year Recital Professional Development Activity (25 credits) Orchestral Audition (Week 1) 10% Spring Term Orchestral Audition (screened) 15% Orchestral Profile 25% Spring Term Chamber Music Assessment including Chamber Music Profile 50% All elements of Professional Development Activity must be passed to progress into Year 4 SPRING TERM – TECHNICAL TESTING Scales, Arpeggios etc

• All Major, Melodic and Harmonic Minor Scales and Arpeggios Diminished and Dominant 7ths and Chromatic Scales Number of octaves at professor’s discretion – minimum 3. Separate and slurred examples will be required. • Scales in 3rds, 6ths and Octaves in 4 keys of own choice (no repetition of keys from previous years). Major and Harmonic Minor – 2 octaves separate bows and slurred minimum four notes to a bow. Style of presentation and tempi at professors’ discretion but should demonstrate security, fluency and accuracy. • One study/etude/caprice etc demonstrating advanced, reliable technical skill performed from memory.

27

SUMMER TERM – END OF YEAR RECITAL Repertoire for all assessments should be selected in full consultation with your professor. In assessments, the degree of challenge of pieces is taken into consideration, and works should be of a suitable level of demand for the stage of study. The complete undergraduate programme offers the scope to perform a variety of repertoire, and it is recommended that this opportunity should be used. Any concerns regarding suitability of repertoire should be discussed with the Head of Strings. Please note that no piece/movement may be presented for assessment more than once during the undergraduate programme. A complete Romantic or 20th Century Concerto –– or a solo work that is of a concerto character but normally accompanied by orchestra (e.g. Chausson Poeme, Hindemith Der Schwanendreher or Bloch Schelomo). If necessary additional contrasting repertoire suitable for the level of study should be offered to fill the timing requirement. OR A complete Classical, Romantic or 20th Century Sonata. If necessary additional contrasting repertoire suitable for the level of study should be offered to fill the timing requirement. OR A complete Bach Unaccompanied Suite/Partita/Sonata plus additional contemporary genre work(s) to fill timing requirement Length of Examination: 35 minutes including all breaks between works. Duration of the recital (ideal 35 minutes) Penalty applied More than 47 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 46.01 to 47.00 9 marks 45.01 to 46.00 8 marks 44.01 to 45.00 7 marks 43.01 to 44.00 6 marks 42.01 to 43.00 5 marks 41.01 to 42.00 4 marks 40.01 to 41.00 3 marks 30 minutes to 40 minutes inclusive NO PENALTY 29.00 to 29.59 3 marks 28.00 to 28.59 4 marks 27.00 to 27.59 5 marks 26.00 to 26.59 6 marks 25.00 to 25.59 7 marks 24.00 to 24.59 8 marks 23.00 to 23.59 9 marks Less than 23 minutes 10 marks Concertos/Sonatas that exceed the time limit should be cut in the tuttis/piano where possible; performances will either be stopped, or candidates will be told how much to play at the examination. Memory is only strictly compulsory at level 3 and 4 for one study in techniques tests. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation.

28

Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Provision of Music/Editions: Students of all years from all departments should provide one copy of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims. Although it is a useful and important skill, making a verbal introduction to end of year and final recitals is not permitted. This is due to the timing requirements of the examinations.

29

UNDERGRADUATE VIOLIN VIOLA CELLO: YR

4 Final Year students should ensure complete prioritisation of the important examinations that conclude Undergraduate study. Careful balance of commitment to Academy student responsibilities and the forging of necessary connections for the future following the imminent conclusion of the course is a challenge. Professorial and Head of Department advice should be sought to reconcile potential hazards. Playing should now be fluent, individual, stylistically informed and engaging in performance. Experience garnered during the preceding years of study should be demonstrably put to good use, and the student should have the components of a contributing artist evident and consistently present. Attendance at masterclasses should be regular and students should have well-developed and constructive critical faculties. Areas of particular interest may have emerged. Enthusiasm for specialism is endorsed, within the context of flexible, rounded performing capacity. Students should not limit or restrict their horizons. Full engagement with Academy performances is still expected and chamber music study should now 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 (60 credits) - all components carry a mandatory pass requirement Final Recital 100% Spring Term Technical Testing FA* Performance Class/Masterclass Participation FA * Formatively Assessed - Technical Testing must be passed as a pre-requisite for the Final Recital Professional Development Activity (25 credits) Orchestral Audition (Week 1) 10% Spring Term Orchestral Audition (screened) 15% Orchestral Profile 25% Spring Term Chamber Music Assessment including Chamber Music Profile 50% All elements of Professional Development Activity must be passed to complete the BMus(Hons) course SPRING TERM – TECHNICAL TESTING – Studies Only

• Two contrasting virtuoso studies/caprices or etudes – one to be performed from memory

SUMMER TERM – FINAL RECITAL Repertoire for all assessments should be selected in full consultation with your professor. In assessments, the degree of challenge of pieces is taken into consideration, and works should be of a suitable level of demand for the stage of study. The complete undergraduate programme offers the scope to perform a variety of repertoire, and it is recommended that this opportunity should be used. Please note that no piece/movement may be presented for assessment more than once during the undergraduate programme. A recital of solo and/or duo (with piano) repertoire demonstrating versatility, technical assurance, imaginative programming and full understanding of stylistic demands of chosen pieces should be presented. You must submit your programme, complete with accurate timings to the Registry by

30

Friday 13th May 2016. Timing of Final Recitals 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 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks NO repetition of Caprices etc performed in Technical testing. Coherence of programme to be taken into consideration – it is therefore recommended that complete pieces should be performed. Individual movements of unaccompanied Bach may be included if suitable. As programme structure is part of the examination, this should be considered carefully in conjunction with each student’s own professor. Although general advice about programming is available from the Head of Strings, specific programme approval should not be requested for the purposes of impartiality. Memory is only strictly compulsory at level 3 and 4 for one study in techniques tests. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Provision of Music/Editions: Students of all years from all departments should provide two copies of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims. Although it is a useful and important skill, making a verbal introduction to end of year and final

31

recitals is not permitted. This is due to the timing requirements of the examinations.

DOUBLE BASS UNDERGRADUATE EXPECTATIONS AND REQUIREMENTS

UNDERGRADUATE DOUBLE BASS: YR

1

The first year of study is for many students a period of adjustment and orientation. Overseas students will become acclimatised to living and studying in the UK, those already familiar with the customs of the country will often be living independently away from home for the first time.

A working relationship with your Principal Study professor will become established and you will develop personal strategies to prepare thoroughly for your lessons, and to achieve the targets you set together to ensure that you do full justice to your capabilities in the first year assessments. It may be that some significant remedial technical work is undertaken during this year to resolve problems. The choice of repertoire required for presentation at the end of year recital allows for adjustments that may have been made to your playing, but you should aim for focused and fluent performing.

In addition to your individual instrumental work, you are expected to participate fully in the programme of study, which will include the disciplines of chamber music and orchestral skills as well as academic work. All aspects of performance are assessed in the course of the first year and you should demonstrate a solid foundation of ensemble skills. The first year students participate ONLY in the second round of orchestral auditions in January. During the autumn term, seating in the first year String Orchestra rotates to allow students to develop acquaintances and try different roles. The second term’s activities may include other orchestral projects and a range of alternative performance practices including Jazz and Baroque techniques are explored.

A professional attitude is required from the beginning of your time at the Academy, to ensure vital protocols become habitual. Your performance class should be treated as a professional engagement and prepared accordingly.

Absolute prioritisation of Academy commitments must be demonstrated throughout your studentship. The ability to behave with initiative and the development effective self-management will contribute to a successful first year of study. Attendance at masterclasses and internal performances is strongly advised. An understanding of the performing season in London’s great concert venues is also recommended.

Principal Study: Solo Performance (45 credits) - all components carry a mandatory pass requirement End of Year Recital 100% Spring Term Technical Testing FA* Performance Class FA *Formatively Assessed. Technical Testing must be passed as a pre-requisite for the End of Year Recital Professional Development Activity (25 credits) Orchestral Profile including regular orchestral classes and other collaborative activity 50% Spring Term Orchestral audition (screened) 50% All elements of Professional Development Activity must be passed to progress into Year 2

32

SPRING TERM – TECHNICAL TESTING Scales, Arpeggios etc

• Major, Melodic and Harmonic Minor Scales and Arpeggios. Diminished and Dominant 7ths and Chromatic Scales in 4 keys of own choice in 3 octaves (2 octaves for C to E flat). A variety of bowings may be requested by the examining panel: Slurred, marcato & spiccato (up to four bows to a note) • Duncan McTier’s Daily Exercises, no.1, no.5 & no.10. Style of presentation and tempi at professors’ discretion but should demonstrate security, fluency and accuracy. • One study (from Bottesini Method Book 1) demonstrating bowing agility/control.

• Two short orchestral excerpts at professor’s discretion.

SUMMER TERM – END OF YEAR RECITAL Two (or more) contrasting solo or accompanied works. Any concerns regarding suitability of repertoire should be discussed with the Head of Strings. Please note that no piece/movement may be presented for assessment more than once during the undergraduate programme. Length of Examination: 20 minutes including all breaks between works. Advised maximum: 18 minutes OF ACTUAL PLAYING. Advised minimum 16 mins. Programmes that are below the minimum may be deemed to indicate insufficient preparation for the examination or lack of understanding of the level required. Performances that exceed the length of the examination will be halted to allow for schedules to be kept on track. Although timing penalties are not applied at this level, students should become familiar with adhering to timing requirements which are enforced later in the course. Memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Provision of Music/Editions: Students of all years from all departments should provide one copy of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims.

33

UNDERGRADUATE DOUBLE BASS: YR

2

Second year students should feel comfortable in the conservatoire environment. At this stage in your studies, any technical issues which you needed to address on arrival should be resolved - or at least at an advanced stage of resolution. Some personality in interpretation is expected in your individual assessment. Your musical communication should be well-developed and you should perform carefully selected repertoire with accuracy, confidence and some flair. Your ability to overcome taxing technical challenges should be well-developed.

You will be involved in Academy orchestral performance projects and manage the continuing expectation of professional coping strategies with a heavier workload.

Your chamber music experience should become more intensive and focussed and you should demonstrate that you can maintain professional working relationships with your peers. In assessment, a clear collective interpretative sense is expected.

Opportunities to perform in masterclasses should be seized upon and attendance for the purpose of observation and is advised and will be monitored. Performance class preparation should be strategically managed to make full use of this opportunity to receive professorial feedback and play in front of your peers. You are expected to demonstrate support for your colleagues in attending their performances also.

Second year students will benefit from preserving an enquiring mind and full integration of an analytical and sophisticated approach to practice. As before, absolute prioritisation of Academy commitments must be demonstrated throughout your studentship.

Principal Study: Solo Performance (45 credits) - all components carry a mandatory pass requirement End of Year Recital 100% Spring Term Technical Testing FA* Performance Class/Masterclass Participation FA *Formatively Assessed. Technical Testing must be passed as a pre-requisite for the End of Year Recital Professional Development Activity (25 credits) Orchestral Audition (Week 1) 10% Spring Term Orchestral Audition (screened) 15% Orchestral Profile including regular orchestral classes and other collaborative activity 75% All elements of Professional Development Activity must be passed to progress into Year 3 SPRING TERM – TECHNICAL TESTING Scales, Arpeggios etc

• Major, Melodic and Harmonic Minor Scales and Arpeggios. Diminished and Dominant 7ths and Chromatic Scales in 6 keys not played in year 1 examination - 3 octaves (2 octaves for C to E flat) • Duncan McTier’s Daily Exercises no.1 in A, no. 5 in G, no. 7 or no.11 Style of presentation and tempi at professors’ discretion but should demonstrate security, fluency and accuracy. • A study (from Bottesini Method Book 2, or similar), demonstrating secure technical control and of a suitable standard for this level of study.

34

• 3 orchestral excerpts at professor’s discretion SUMMER TERM – END OF YEAR RECITAL One movement of a Bach Cello Suite (not a Prelude) PLUS A complete Classical concerto with cadenzas PLUS A contrasting accompanied piece (or pieces) of a later period Length of Examination: 30 minutes including all breaks between works. Advised maximum: 28 minutes OF ACTUAL PLAYING. Advised minimum: 25 minutes. Programmes that are under the minimum may be deemed to indicate insufficient preparation for the examination or lack of understanding of the standard required. Performances that exceed the length of the examination will be halted to allow for schedules to be kept on track. Although timing penalties are not applied at this level, students should become familiar with adhering to timing requirements which are enforced later in the course. Any concerns regarding suitability of repertoire should be discussed with the Head of Strings. Please note that no piece/movement may be presented for assessment more than once during the undergraduate programme. Memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention (unless the pianist plays from memory too.) Provision of Music/Editions: Students of all years from all departments should provide one copy of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims.

35

UNDERGRADUATE DOUBLE BASS:

YR 3 At this stage of study, students are expected to have the confidence to present a short public recital. Stylistically informed adaptations according to the demands of repertoire should be assured. The ability to plan and structure programmes is advisable and all performing opportunities should be undertaken - in consultation with your professor - within a designed structure of improvement through performing experience. A commitment to volunteering for both solo and chamber music masterclasses is requested and the uptake of performing opportunities in both internal and external concerts is encouraged. Your technique should be advanced and reliable. You should demonstrate that you can deploy it in multiple genres, and maintain a high standard of performance in solo, ensemble and orchestral work. Your sight-reading skills should be secure. Professional protocols should by now be embedded. You should be a responsible communicator and a supportive and enabling colleague to your student peers. The ability to self-analyse and correct, to self-critique constructively and to develop consistency in pressurised performance roles must be high-functioning. Your musical character should be emerging with authority. Principal Study: Solo Performance (45 credits) - all components carry a mandatory pass requirement End of Year Recital 100% Spring Term Technical Testing FA* Performance Class/Masterclass Participation FA *Formatively Assessed. Technical Testing must be passed as a pre-requisite for the End of Year Recital Professional Development Activity (25 credits) Orchestral Audition (Week 1) 10% Spring Term Orchestral Audition (screened) 15% Orchestral Profile including regular orchestral classes and other collaborative activity 75% All elements of Professional Development Activity must be passed to progress into Year 4 SPRING TERM – TECHNICAL TESTING Scales, Arpeggios etc

• All Major, Melodic and Harmonic Minor single stop Scales and Arpeggios, Diminished and Dominant 7ths and Chromatic Scales, 3 octaves (2 octaves for C to E flat)

• Scales in false harmonics, A Major and Harmonic Minor (1 octave), separate bows (with a perfect 4th between thumb and 3rd finger) starting on A below middle C (on D string) • Daily Exercises: No.5 in A to C (4 keys), No.7 in C to E flat (4 keys) or No.11 separate bows and slurred (2 crotchets to a bow) Style of presentation and tempi at professors’ discretion but should demonstrate security, fluency and accuracy. • Orchestral excerpts, at professor’s discretion

36

SUMMER TERM – END OF YEAR RECITAL 2 contrasting movements of a Bach Cello Suite (not a Prelude) AND a complete Romantic or 20th Century Concerto A complete Romantic or 20th Century Concerto ––or a solo work that is of a concerto character but normally accompanied by orchestra (e.g. Chausson Poeme, Hindemith Der Schwanendreher or Bloch Schelomo). OR 2 contrasting movements of a Bach Cello Suite (not a Prelude) AND a complete Romantic or 20th Century Sonata - or comparable repertoire (e.g. Glière Four Pieces) at professor’s discretion. Both options may also include additional contrasting repertoire (preferably including contemporary genre work(s)) to fill timing requirement. Any concerns regarding suitability of repertoire should be discussed with the Head of Strings. Please note that no piece/movement may be presented for assessment more than once during the undergraduate programme. Length of Examination: 35 minutes including all breaks between works. Duration of the recital (ideal 35 minutes) Penalty applied More than 47 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 46.01 to 47.00 9 marks 45.01 to 46.00 8 marks 44.01 to 45.00 7 marks 43.01 to 44.00 6 marks 42.01 to 43.00 5 marks 41.01 to 42.00 4 marks 40.01 to 41.00 3 marks 30 minutes to 40 minutes inclusive NO PENALTY 29.00 to 29.59 3 marks 28.00 to 28.59 4 marks 27.00 to 27.59 5 marks 26.00 to 26.59 6 marks 25.00 to 25.59 7 marks 24.00 to 24.59 8 marks 23.00 to 23.59 9 marks Less than 23 minutes 10 marks Please seek advice if your chosen repertoire is substantially shorter, or longer than this specified period. Memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Provision of Music/Editions: Students of all years from all departments should provide two copies of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims. Although it is a useful and important skill, making a verbal introduction to end of year and final

37

recitals is not permitted. This is due to the timing requirements of the examinations.

38

UNDERGRADUATE DOUBLE BASS: YR

4 Final Year students should ensure complete prioritisation of the important examinations that conclude Undergraduate study. Careful balance of commitment to Academy student responsibilities and the forging of necessary connections for the future following the imminent conclusion of the course is a challenge. Professorial and Head of Department advice should be sought to reconcile potential hazards. Playing should now be fluent, individual, stylistically informed and engaging in performance. Experience garnered during the preceding years of study should be demonstrably put to good use, and the student should have the components of a contributing artist evident and consistently present. Attendance at masterclasses should be regular and students should have well-developed and constructive critical faculties. Areas of particular interest may have emerged. Enthusiasm for specialism is endorsed, within the context of flexible, rounded performing capacity. Students should not limit or restrict their horizons. Full engagement with Academy performances is still expected and chamber music study should now 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 (60 credits) - all components carry a mandatory pass requirement End of Year Recital 100% Spring Term Technical Testing FA* Performance Class/Masterclass Participation FA *Formatively Assessed. Technical Testing must be passed as a pre-requisite for the End of Year Recital Professional Development Activity (25 credits) Orchestral Audition (Week 1) 10% Spring Term Orchestral Audition (screened) 15% Orchestral Profile including regular orchestral classes and other collaborative activity 75% All elements of Professional Development Activity must be passed to complete the BMus(Hons) course SPRING TERM – TECHNICAL TESTING – Studies Only

• A Prelude from either a Bach Cello Suite or Fryba Sonata in the Olden Style • Orchestral excerpts at professor’s discretion

SUMMER TERM – END OF YEAR RECITAL A recital of solo and/or duo (with piano) repertoire demonstrating versatility, technical assurance, imaginative programming and full understanding of stylistic demands of chosen pieces should be presented. You must submit your programme, complete with accurate timings to the Registry by Friday 13th May 2016. Contemporary and virtuoso pieces should be included if they have not been played in previous end of year 2 or end of year 3 recitals. Some works may fulfil both these categories. NO repetition of Bach or Fryba Prelude performed in Technical testing.

39

Construction of programme to be taken into consideration – it is therefore recommended that complete pieces should be performed. Although general advice about programming is available from the Head of Strings, specific programme approval should not be requested for the purposes of impartiality. Programmes should be discussed with your own professor. Timing of Final Recitals 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 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks Memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Provision of Music/Editions: Students of all years from all departments should provide two copies of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims. Although it is a useful and important skill, making a verbal introduction to end of year and final recitals is not permitted. This is due to the timing requirements of the examinations.

40

POSTGRADUATE EXPECTATIONS Postgraduate students at the Academy are considered to be at a performance level where technique is sufficiently securely embedded to be completely at the service of the music. There should be clear personality in interpretation of a variety of repertoire and confidence to take key major repertoire in ones stride. Development of individual enthusiasm for particular styles and genres of performance is encouraged, but a reliable ability to perform competently in all formats is considered a fundamental outcome of Academy training. Students should not limit or restrict the possibilities of career choices.

An enquiring mind and mature initiative will ensure maximum benefit of postgraduate study, and students at this level should expect to manage their access to opportunities for master class participation and attendance, competition entry and performance classes with absolute assurance.

Chamber music should be a forum for shared musical vision with ones peers at a high level and thorough exploration of challenging repertoire is considered mandatory. Postgraduate musicians should have established sophisticated communication skills as well as a professional speed of working.

Participation in orchestral projects is non-negotiable unless a unique, significant and career-changing opportunity arises. If you believe such a clash is likely, you should alert the Head of Strings at the earliest opportunity and seek advice, bearing in mind that any Leave of Absence is at her discretion. Compromise of Academy performances will not be permitted under any circumstances. Within the context of commitment to Academy obligations, links to the profession should begin to be forged. Guidance from the Head of Strings is available to manage this important transition.

Postgraduate students are most strongly advised to avail themselves of every opportunity to refine their musicianship and reinforce personal development as career musicians during their course. The imminent embarkation on professional life requires robust and well-resourced preparation.

41

POSTGRADUATE: PROFESSIONAL DEVELOPMENT ACTIVITY All students must undertake components reaching 100% for each year of study. Percentages below. If you fail any component of the programme, you may not be able to progress/graduate.  

SKILLS ONE (Technical)

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

Two-year students (1st year)

Study test (spring term). Two advanced studies or virtuoso unaccompanied pieces (e.g. Paganini or Piatti Caprices) one to be performed from memory PLUS two orchestral auditions (September and January - screened). Prepared excerpt material available in advance

Y Y

Two-year students (2nd year)

September orchestral audition only Y Y

One-year students

Study test (spring term). Two advanced studies or virtuoso unaccompanied pieces (e.g. Paganini or Piatti Caprices) one to be performed from memory PLUS two orchestral auditions (September and January - screened). Prepared excerpt material available in advance

Y Y

SKILLS TWO (Synthetic)

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

Two-year students (1st year)

Participation in orchestral activity at the Academy or external engagements. Minimum two projects

N N

Two-year students (2nd year)

Participation in orchestral activity at the Academy or external engagements. Minimum two projects

N N

One-year students

Participation in orchestral activity at the Academy or external engagements. Minimum two projects

N N

42

EXTERNAL PERSPECTIVES* (Masterclasses etc.)

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

Two-year students (1st year)

One allocated performance class and an excerpt class: includes participation and observation: 2 hours One Master class observation One concert attendance

N Y – for performance class N – excerpt class

Two-year students (2nd year)

Two allocated performance classes Plus EITHER master class observations (includes non-strings), OR one master class participation and two Academy concerts attended. External masterclasses and summer schools acceptable. (Hard evidence of external activity may be required – e.g. contemporaneous written note on observations or evidence of own participation – Photos etc. concert programme)

N Y - for performance classes

One-year students

One allocated performance classes and an excerpt class Plus EITHER master class observations (includes non-strings), OR one master class participation and two Academy concerts attended. External masterclasses and summer schools acceptable. (Hard evidence of external activity may be required – e.g. contemporaneous written note on observations or evidence of own participation – Photos etc. concert programme) An additional performance class opportunity will be available on request, in May (after the Professional Development deadline). This is a sign-up date of which you will be notified.

N Y- for performance class N – excerpt class

43

COLLABORATIVE WORK

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

% of final profile

Two-year students (1st year)

Not required 0%

Two-year students (2nd year)

A single Academy duo or ensemble performance or performance project report, which should include responses to coaching and description of rehearsal strategy. Could also be an external concert, schools event or ensemble study day, or chamber music prize– but not an assigned Academy orchestral project unless Principal Study is Double Bass. Please refer to the Concerts Department section of this handbook (page 15) for details of how to book Academy concerts. N.B. Deadline for all performances to take place Friday 13th May 2016.

N N – verbal feedback supplied where possible*

25%

One-year students

A single Academy duo or ensemble performance or performance project report, which should include responses to coaching and description of rehearsal strategy. Could also be an external concert, schools event or ensemble study day, or chamber music prize– but not an assigned Academy orchestral project unless Principal Study is Double Bass. Please refer to the Concerts Department section of this handbook (page 15) for details of how to book Academy concerts. N.B. Deadline for all performances to take place Friday 13th May 2016.

N N – verbal feedback supplied where possible*

20%

44

SELF-GENERATED PERFORMANCE or RECORDING

REQUIREMENTS (including minimum required to pass)

Feedback mark (Y/N)

Written report (Y/N)

Two-year students (1st year)

Independent concert/recording/ presentation. Hard evidence must be supplied (e.g. recording of performance, concert programme, Press etc.)

N N – verbal feedback supplied where possible*

Two-year students (2nd year)

Not required

One-year students

Independent concert/recording/ presentation. Hard evidence must be supplied if concert (e.g. recording of performance, concert programme, Press etc.)

N N – verbal feedback supplied where possible*

* - not all activities can be monitored and feedback will be given only where practicable. Informal verbal comment on hard evidence provided (such as recordings, press materials, programme notes etc.) will be given if requested. Internal performances for Early Evening and Lunchtime concerts are arranged with the Concert and Prizes Administrator It is expected that the bulk of the self-generated performances will come under this arrangement.

45

POSTGRADUATE COMPULSORY STRING CLASS REQUIREMENTS These classes form part of Professional Development Activity and are compulsory. They must be considered in the same light as professional commitments and given the same priority and importance. You are encouraged to invite fellow students to attend and you should support your fellow students. Performance classes are the opportunity for you to try out repertoire in front of a small audience and with an objective tutor. Distinguished and influential visitors whose comments and teaching are relevant to all string players take performance classes. The emphasis is on performance style and presentation but may also be in the form of a small master class/open lesson, with the tutor involving other students in discussion about each performer. Every violin, viola and cello student will have one half hour compulsory performance opportunity within a two-hour class, and must attend for the full period. Failure to attend is now a disciplinary issue and can affect progression/graduation. If inadequate reason for non-attendance is given, an alternative arrangement IS UNLIKELY TO BE POSSIBLE. Please note that this will mean that you are required to repeat the year. All final two-year MA, MMus and PG Cert students will have an additional compulsory 30-minute slot to help with Finals preparation. 1 year PG students may request an extra opportunity. Arrangements for double bass students to fulfil the class requirements are made within the double bass department. Excerpt classes All 1st year/one-year Masters students will have a compulsory orchestral excerpt session. These are designed to improve awareness of the requirements of professional auditions and the appropriate presentation of excerpts. Experienced and prominent members of major professional orchestras will take the classes. They will offer guidance on standard orchestral excerpts, and there will be an opportunity to receive feedback on the presentation of this material in an audition setting. Material to prepare will be provided in advance of the classes, giving a reasonable preparation time, but the ability to prepare excerpts within a short timeframe should be developed. Additional opportunities Students whose audition mark in September suggests extra input is needed in this area should attend as many excerpt classes as possible to observe/for tips and for best practice advice. Additional optional performance classes may be arranged IF SUFFICIENT DEMAND IS MADE: Students must ask Jo Cole or Emily Good if they want extra performance feedback, and when there are enough requests, a performance opportunity will be fixed in consultation with appropriate professors. It is noticeable how students who take advantage of observing classes have a better overall performance outcome. Every effort will be made to avoid internal clashes. The schedule for these classes can be found on the Strings AIR page. REQUESTS FOR CHANGES MUST BE MADE VIA JO COLE OR EMILY GOOD AND WILL ONLY BE CONSIDERED UNDER EXCEPTIONAL CIRCUMSTANCES.

46

POSTGRADUATE MASTERCLASS GUIDELINES Masterclasses are a regular feature of Academy activities. They are a traditional learning environment where students can enhance their understanding of performance, develop insight into repertoire, and form an appreciation of the skills and techniques of advanced pedagogy through either participation or observation. Participation in masterclasses is not solely for the benefit of the student being taught. Significant advantage is derived from intelligent analysis of these open lessons. Attendance at masterclasses will be monitored, and feedback sought from students. Their level of perceptive scrutiny is essential to assess the value of masterclasses, given the finite resources available. Students are strongly advised to ensure they are fully informed of all the masterclasses taking place – not just their own discipline – and to seize the opportunity to witness the work of international performers sharing their craft with student peers. Having a score of the material being explored, and taking personal reference notes is the best way to maximize this unique learning environment. Students should always approach their professors first about signing up for masterclass participation. Professors will be consulted about the suitability of students for this exposed tutorial environment. Participants in masterclasses are then nominated or advised to take part with specific conditions in mind. The level of preparation must be advanced in order to:

• adapt to suggestions • respond artistically to inspirational guidance • benefit fully from the experience • respond effectively in a masterclass environment

Desire to participate must be matched by the appropriate personality traits and temperament/attitude.

47

VIOLIN, VIOLA CELLO POSTGRADUATE EXPECTATIONS AND REQUIREMENTS

POSTGRADUATE VIOLIN VIOLA

CELLO:

YEAR 1 (of a two year course) Principal Study - all components carry a mandatory pass requirement. See below for detailed requirements. End of Year Performance Examination Professional Development Activity – see pages 38-41 for a breakdown of components required. Skills One (Technical) Skills Two (Synthetic) External Perspectives Collaborative Work Self-generated Performance or Recording If you fail any component of the programme, you may not be able to progress. SUMMER TERM – END OF YEAR PERFORMANCE EXAMINATION An examination lasting 15 minutes to contain two contrasting pieces from memory if appropriate (see below). In order to make a full assessment of the student's progress, the total playing time should be at least 13 minutes. Performances exceeding 15 minutes will be stopped in order to maintain the schedule. This is a formative examination for which a pass is required. An advisory mark will be given. Memory is only strictly compulsory for one study in the PG 1 study test and for the full concerto option of the Concerto examination in PG 2. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Students are expected to demonstrate that they are on track for a successful Final Recital in year 2. Provision of Music/Editions: Students of all years from all departments should provide one copy of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims. Please note that there must be no repetition of ANY repertoire in Academy assessments

48

within the same degree course.

49

POSTGRADUATE VIOLIN VIOLA

CELLO:

YEAR 2 continuing students (final year of a two-year course) Principal Study - all components carry a mandatory pass requirement. See below for detailed requirements. Summer Term Final Recital Concerto Exam OR Audition repertoire Exam Professional Development Activity – see pages 38-41 for a breakdown of components required. Skills One (Technical) Skills Two (Synthetic) External Perspectives Collaborative Work Self-generated Performance or Recording If you fail any component of the programme, you may not be eligible to graduate. SPRING TERM - CONCERTO OR AUDITION REPERTOIRE EXAM A major concerto to be prepared from memory. Advised playing time should not exceed 23 minutes*. The deadline for submission of repertoire is Monday 23rd November 2015. Works longer than 23 minutes will not be heard in their entirety. For those choosing to offer a concerto that exceeds the timing requirement, the work must still be prepared in its entirety. Cuts in the score will be available from the Strings Department office seven working days ahead of the examination. OR One movement or equivalent from a major concerto plus one contrasting piece and a major orchestral solo notified in advance. Advised actual playing time of repertoire should last for no more than 18 minutes NOT including the orchestral solo*. *The slots allowed for each exam include panel deliberation and discussion time. Your entire presentation should not exceed 25 minutes, including breaks between works or movements. IMPORTANT: For details of penalties relating to over/under-running, please refer to the Examination Procedures on the Registry pages of AIR. SUMMER TERM – FINAL RECITAL A free choice of solo or duo (with piano) recital repertoire demonstrating versatility, technical assurance, imaginative programming and full understanding of stylistic demands of chosen pieces should be presented. 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 recognise that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. As programme structure is part of the examination, this should be considered carefully in conjunction with each student’s own professor. Although general advice is available from the Head of Strings, particular approval of programmes should not be

50

requested – the Department Heads must remain impartial as they have an examining role. Timing of Final Recitals 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 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks Memory is only strictly compulsory for one study in the PG 1 study test and for the full concerto option of the Concerto examination in PG 2. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Please refer to the Examination Procedures on Air for details of programme notes submission. Provision of Music/Editions: Students of all years from all departments should provide two copies of the full score for all pieces presented. Students are expected to provide an edition that reflects their performance aims. Although it is a useful and important skill, making a verbal introduction to end of year and final recitals is not permitted. This is due to the timing requirements of the examinations.

51

52

POSTGRADUATE VIOLIN VIOLA

CELLO:

one year option

Principal Study - all components carry a mandatory pass requirement. See below for detailed requirements. Summer Term Final Recital Concerto Exam OR Audition Repertoire Exam Professional Development Activity – see pages 38-41 for a breakdown of components required. Skills One (Technical) Skills Two (Synthetic) External Perspectives Collaborative Work Self-generated Performance or Recording If you fail any component of the programme, you may not be eligible to graduate. SPRING TERM - CONCERTO OR AUDITION REPERTOIRE EXAM A major concerto to be prepared from memory. Advised playing time should not exceed 23 minutes*. The deadline for submission of repertoire is Monday 23rd November 2015. Works longer than 23 minutes will not be heard in their entirety. For those choosing to offer a concerto that exceeds the timing requirement, the work must still be prepared in its entirety. Cuts in the score will be available from the Strings Department office seven working days ahead of the examination. OR One movement or equivalent from a major concerto plus one contrasting piece and a major orchestral solo notified in advance. Advised actual playing time of repertoire should last for no more than 18 minutes NOT including the orchestral solo*. *The slots allowed for each exam include panel deliberation and discussion time. Your entire presentation should not exceed 25 minutes, including breaks between works or movements. IMPORTANT: For details of penalties relating to over/under-running, please refer to the Examination Procedures on the Registry pages of Air. SUMMER TERM – FINAL RECITAL A free choice of solo or duo (with piano) recital repertoire demonstrating versatility, technical assurance, imaginative programming and full understanding of stylistic demands of chosen pieces should be presented. 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 recognise that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. As programme structure is part of the examination, this should be considered carefully in conjunction with each student’s own professor. General advice about

53

programming is available from the Head of Strings, but specific programme approval should not be requested for the purpose of impartiality. Timing of Final Recitals 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 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks Memory is only strictly compulsory for one study in the PG 1 study test and for the full concerto option of the Concerto examination in PG 2. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention (unless of course the pianist plays from memory too). Please refer to the Examination Procedures on Air for details of programme notes submission. Provision of Music/Editions: Students of all years from all departments should provide two copies of the full score for all pieces presented. Students are expected to provide an edition that reflects their performance aims. Although it is a useful and important skill, making a verbal introduction to end of year and final recitals is not permitted. This is due to the timing requirements of the examinations.

54

55

DOUBLE BASS POSTGRADUATE EXPECTATIONS AND REQUIREMENTS

POSTGRADUATE DOUBLE

BASS:

YEAR 1 (of a two year course) Principal Study - all components carry a mandatory pass requirement. See below for detailed requirements. End of Year Performance Examination Professional Development Activity – see pages 38-41 for a breakdown of components required. See below for indications of content required. Skills One (Technical) NB In addition to the requirements listed under Faculty Activity, double bass students may choose additional orchestral excerpts as an alternative to the second study at professor’s discretion. Skills Two (Synthetic) External Perspectives Collaborative Work Self-generated Performance or Recording For Double Bass, flexibility of content for collaborative work is possible. If you fail any component of the programme, you may not be able to progress. SUMMER TERM – END OF YEAR PERFORMANCE EXAMINATION An examination lasting 15 minutes to contain two contrasting pieces from memory if appropriate (see below). In order to make a full assessment of the student's progress, the total playing time should be at least 13 minutes. Performances exceeding 15 minutes will be stopped in order to maintain the schedule. This is a formative examination for which a pass is required. An advisory mark will be given. Memory is only strictly compulsory for one study in the PG 1 study test and for the full concerto option of the Concerto examination in PG 2. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention (unless of course the pianist plays from memory too). Students are expected to demonstrate that they are on track for a successful Final Recital in year 2. Provision of Music/Editions: Students of all years from all departments should provide one copy of the score for all pieces presented. Students are expected to provide an edition which reflects their performance aims.

56

POSTGRADUATE DOUBLE

BASS:

YEAR 2 continuing students (final year of a two-year course) Principal Study - all components carry a mandatory pass requirement. See below for detailed requirements. Summer Term Final Recital Concerto Exam OR Audition repertoire Exam Professional Development Activity – see pages 38-41 for a breakdown of components required. Skills One (Technical) Skills Two (Synthetic) External Perspectives Collaborative Work Self-generated Performance or Recording For Double Bass, flexibility of content for collaborative work is possible. If you fail any component of the programme, you may not be eligible to graduate. SPRING TERM - CONCERTO OR AUDITION REPERTOIRE EXAM A major concerto to be prepared from memory. Advised playing time should not exceed 23 minutes*. The deadline for submission of repertoire is Monday 23rd November 2015. Works longer than 23 minutes will not be heard in their entirety. For those choosing to offer a concerto that exceeds the timing requirement, the work must still be prepared in its entirety. Cuts in the score will be available from the Strings Department office seven working days ahead of the examination. OR One movement or equivalent from a major concerto plus one contrasting piece and a major orchestral solo notified in advance. Advised actual playing time of repertoire should last for no more than 18 minutes NOT including the orchestral solo*. *The slots allowed for each exam include panel deliberation and discussion time. Your entire presentation should not exceed 25 minutes, including breaks between works or movements. IMPORTANT: For details of penalties relating to over/under-running, please refer to the Examination Procedures on the Registry pages of Air. SUMMER TERM – FINAL RECITAL A free choice of solo or duo (with piano) recital repertoire demonstrating versatility, technical assurance, imaginative programming and full understanding of stylistic demands of chosen pieces should be presented. 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 recognise that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. As programme structure is part of the examination, this should be considered carefully in conjunction with each student’s own professor. General advice about programming is available from the Head of Strings, but specific programme approval should not be

57

requested for the purpose of impartiality. Timing of Final Recitals 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 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks Memory is only strictly compulsory for one study in the PG 1 study test and for the full concerto option of the Concerto examination in PG 2. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention. (Unless of course the pianist plays from memory too.) Please refer to the Examination Procedures on Air for details of programme notes submission. Provision of Music/Editions: Students of all years from all departments should provide two copies of the full score for all pieces presented. Students are expected to provide an edition that reflects their performance aims. Although it is a useful and important skill, making a verbal introduction to end of year and final recitals is not permitted. This is due to the timing requirements of the examinations.

58

POSTGRADUATE DOUBLE

BASS:

one year option Principal Study - all components carry a mandatory pass requirement. See below for detailed requirements. Summer Term Final Recital Concerto Exam OR Audition repertoire Exam Professional Development Activity – see pages 38-41 for a breakdown of components required. Skills One (Technical) NB In addition to the requirements listed under Faculty Activity, double bass students may choose additional orchestral excerpts as an alternative to the second study at professor’s discretion. Skills Two (Synthetic) External Perspectives Collaborative Work Self-generated Performance or Recording If you fail any component of the programme, you may not be eligible to graduate. SPRING TERM - CONCERTO OR AUDITION REPERTOIRE EXAM A major concerto to be prepared from memory. Advised playing time should not exceed 23 minutes*. The deadline for submission of repertoire is Monday 23rd November 2015. Works longer than 23 minutes will not be heard in their entirety. For those choosing to offer a concerto that exceeds the timing requirement, the work must still be prepared in its entirety. Cuts in the score will be available from the Strings Department office seven working days ahead of the examination. OR One movement or equivalent from a major concerto plus one contrasting piece and a major orchestral solo notified in advance. Advised actual playing time of repertoire should last for no more than 18 minutes NOT including the orchestral solo*. *The slots allowed for each exam include panel deliberation and discussion time. Your entire presentation should not exceed 25 minutes, including breaks between works or movements. IMPORTANT: For details of penalties relating to over/under-running, please refer to the Examination Procedures on the Registry pages of Air. SUMMER TERM – FINAL RECITAL A free choice of solo or duo (with piano) recital repertoire demonstrating versatility, technical assurance, imaginative programming and full understanding of stylistic demands of chosen pieces should be presented. 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 recognise that rising to challenges can be an important element in meeting the criteria for marks in the higher categories. As programme structure is part of the examination, this should be considered carefully in

59

conjunction with each student’s own professor. General advice about programming is available from the Head of Strings, but specific programme approval should not be requested for the purpose of impartiality. Timing of Final Recitals 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 45 minutes. Duration of the recital (ideal 45 minutes) Penalty applied More than 57 minutes 10 marks AND PANEL CHAIR HALTS THE

RECITAL 56.01 to 57.00 9 marks 55.01 to 56.00 8 marks 54.01 to 55.00 7 marks 53.01 to 54.00 6 marks 52.01 to 53.00 5 marks 51.01 to 52.00 4 marks 50.01 to 51.00 3 marks 40 minutes to 50 minutes inclusive NO PENALTY 39.00 to 39.59 3 marks 38.00 to 38.59 4 marks 37.00 to 37.59 5 marks 36.00 to 36.59 6 marks 35.00 to 35.59 7 marks 34.00 to 34.59 8 marks 33.00 to 33.59 9 marks Less than 33 minutes 10 marks Memory is only strictly compulsory for one study in the PG 1 study test and for the full concerto option of the Concerto examination in PG 2. However memorisation IS advised of repertoire, which it is standard practice to play without the music, e.g. for any concertos, virtuoso and ‘salon’ pieces, Unaccompanied Bach etc. at ALL levels of study. Non-memorisation may be considered to indicate a less committed level of preparation or a failure to comprehend standard practice. This will be reflected in the marking. Contemporary works are exempt from this recommendation. Playing a duo sonata without music may be perceived as a deviation from standard practice – which is that duo sonatas are chamber works and therefore having the music is the convention (unless of course the pianist plays from memory too). Please refer to the Examination Procedures on Air for details of programme notes submission. Provision of Music/Editions: Students of all years from all departments should two copies of the full score for all pieces presented. Students are expected to provide an edition that reflects their performance aims. Although it is a useful and important skill, making a verbal introduction to end of year and final

60

recitals is not permitted. This is due to the timing requirements of the examinations.