CONTENTS INTRODUCTION FROM THE HEAD OF PIANO STUDIES... 2 QUICK START REFERENCE GUIDE... 3

Transcription

1 Piano Handbook

2 CONTENTS INTRODUCTION FROM THE HEAD OF PIANO STUDIES... 2 QUICK START REFERENCE GUIDE... 3 Department contact details... 3 Key dates Check List... 4 PIANO DEPARTMENT STAFF... 5 LEAVE OF ABSENCE PROCEDURE... 6 SPECIAL CIRCUMSTANCES PROCEDURE... 7 STUDENT RECORDINGS... 8 ASIMUT... 8 CONCERTS DEPARTMENT... 9 PERFORMANCE... 9 Royal Academy of Music Performance Protocol Concert Requests Other Informal Performance Opportunities External Bookings Service Academy Engagements, Including External Engagements Right to work in the UK UNDERGRADUATE CHAMBER MUSIC REQUIREMENTS UNDERGRADUATE PIANO: YEAR ONE UNDERGRADUATE PIANO: YEAR TWO UNDERGRADUATE PIANO: YEAR THREE UNDERGRADUATE PIANO: YEAR THREE (SOLO PATHWAY) UNDERGRADUATE PIANO: YEAR THREE (ENSEMBLE PATHWAY) UNDERGRADUATE PIANO: YEAR FOUR UNDERGRADUATE PIANO: YEAR FOUR (SOLO PATHWAY) UNDERGRADUATE PIANO: YEAR FOUR (ENSEMBLE PATHWAY) POSTGRADUATE PIANO: YEAR ONE (of a two-year course) POSTGRADUATE PIANO: YEAR TWO (final year of a two-year course) POSTGRADUATE PIANO: ONE YEAR OPTION POSTGRADUATE PROFESSIONAL DEVELOPMENT ACTIVITY POSTGRADUATE PIANO ACCOMPANIMENT: YEAR ONE (of a two-year course) POSTGRADUATE PIANO ACCOMPANIMENT: YEAR TWO (final year of a two-year course).. 59 POSTGRADUATE PIANO ACCOMPANIMENT: ONE YEAR OPTION GUIDELINES FOR PIANO USAGE

3 INTRODUCTION FROM THE HEAD OF PIANO STUDIES T Welcome to the Piano Department of the Royal Academy of Music! I hope your time here will be inspiring and rewarding, and set you on your path to becoming a rounded, virtuoso and individual pianist. This handbook tells you about the course and the way you ll be assessed and examined. It outlines the exact repertoire requirements for exams, and the skeleton of your piano studies: one to-one teaching, required attendance at performance classes and masterclasses, and chamber music studies. It gives you all the crucial deadlines for submissions. However, your time here is not only about preparing for exams. It s about widening your outlook in every way: stretching and broadening your knowledge of repertoire, as well as building your technique; engaging with contemporary composers and jazz; playing and performing with other musicians; thinking hard about programming, and presentation of performances; making use of the library resources; regularly attending activities and performances here at the Academy; and taking advantage of being in London - one of the most excitingly diverse and musical cities in the world. You will have a strong relationship with your principal study professor, whom you can ask for advice; but I d like to also encourage you to come and see me, with any queries, and to discuss your hopes and plans while you re here. We want to provide you with the many skills you ll need for a rich, interesting career in music have fun and work hard! Professor Joanna MacGregor OBE FRAM Head of Piano 2

4 QUICK START REFERENCE GUIDE Department contact details Head of Piano Professor Joanna MacGregor Room Head of Piano Technical Services Clive Ackroyd Room YG24 Please report any faults or damage to pianos immediately to Clive using the above contact information or by filling in a form available from the Front Desk or the General Office. Departmental Administrator Alison Booker Tel: Fax: Room a.booker@ram.ac.uk Key dates (Please note that these dates are subject to change please check AIR, your s and the Piano noticeboard regularly) Autumn term Mon 14 th September Fri 27 th November 2015 (Enrolment week Monday 7 th Fri 11 th September) Intensive Projects Week (Academic classes suspended): Mon 19 th Oct Fri 23 rd Oct 2015 Informal Chamber Music assessment for UG1s, with Michael Dussek and John Reid: mid-november PG Professional Development Activity classes (improvising to film, conducting from the keyboard, early keyboards etc) Oct - mid-november Spring term Mon 4 th January Fri 18 th March 2016 Intensive Projects Week (Academic classes suspended): Mon 8 th Fri 12 th February 2016 PG Professional Development Activity classes (improvising to film, conducting from the keyboard, early keyboards etc) from January Part 1 exams BMus 1: Weds 17 th February 2016 Room 115 BMus 2: mid/late February - date tbc BMus 3 Mozart Concerto exams: early/mid February - date tbc BMus 4 Concerto exams: 8 th and 9th February Postgraduate concerto exams: PG1 Beethoven concerto: early/mid March - date tbc PG2 concerto exams: 14 th and 15 th March Undergraduate Chamber Music Assessments 14 th - 18 th March

5 Summer term Mon 18 th April Sun 10 th July 2016 PG Professional Development Activity classes (improvising to film, conducting from the keyboard, early keyboards etc) April-May All PG recordings/professional Development Activity reports to be handed in by early Summer Term Summer Examination Period (all Mon 23 rd May Fri 9 th June 2016 instruments) Piano Department Festival 30 th June and 1 st July 2016 Check List 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 all Repertoire and Masterclass dates and all extra Professional Development classes. Don t miss the dates of international visiting professors and masterclasses (available on AIR) Store the Concert and Orchestra Manager s contact details in your phone (Liz Williams , e.williams@ram.ac.uk) Check your course requirements and exam dates. Check and store the contact details of your chamber ensemble and your coaches. Check closing dates for internal and external competitions and prizes. Check any Leave of Absence is applied for by using the appropriate form see page 6 for further details. Check your Academy account and AIR every day, including during the Christmas, Easter and Summer vacations. Check your department notice boards regularly. 4

6 PIANO DEPARTMENT STAFF Head of Piano Professor Joanna MacGregor OBE MA (Cantab), FRAM Piano Sulamita Aronovsky MA (Moscow State Cons.), FRSA, Hon ARAM Nicola Eimer DipRAM, MMus (Juilliard School), ARAM Professor Christopher Elton FRAM (Professor Emeritus of Keyboard) William Fong PPRNCM, Hon ARAM Ian Fountain Hon ARAM Rustem Hayroudinoff ARAM Diana Ketler ARAM Professor Hamish Milne FRAM Pascal Nemirovski Hon ARAM Tessa Nicholson LRAM, ARAM Carole Presland MusB, GRNCM, PPRNCM Tatiana Sarkissova Grad (Moscow State Cons.) Hon ARAM Colin Stone Hon.ARAM Amandine Savary MA, ARAM Piano Accompaniment and Piano Ensemble Coaching Michael Dussek FRAM (Head of Piano Accompaniment) John Reid (Chamber Music Administrator) James Baillieu Ian Brown Nicola Eimer DipRAM, MMus (Juilliard School), ARAM Diana Ketler ARAM Florian Mitrea Hodgson Fellow Malcolm Martineau MA, Hon RAM Andrew West ARAM Amandine Savary MA, ARAM Visiting Professors Pascal Devoyon(Broadwood Visiting Chair of Piano) Imogen Cooper Stephen Hough Kathryn Stott Yevgeny Sudbin Head of Piano Technical Services Clive Ackroyd Hon ARAM Departmental Administrator Alison Booker 5

7 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 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 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. 6

8 SPECIAL CIRCUMSTANCES PROCEDURE The Special Circumstances Committee considers applications from students in 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 * 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. 7

9 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). ASIMUT You must check your ASIMUT account daily for details of your academic and departmental classes and activities. It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown by the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary penalty, ranging from a temporary ban from the room booking system to temporary suspension of the studentship, depending on the severity of the case. Penalties will be determined by the Programme Management Team and communicated to students by their Programme Tutor. 8

10 CONCERTS DEPARTMENT Director of Artistic Planning Ms Nicola Mutton, Room G6 Tel: 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: e.williams@ram.ac.uk Concert & Orchestra Manager - Ms Rosie Larkins Room G7 Tel: 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: 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: 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: 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: 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. PERFORMANCE 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 Semyon Bychkov, Sir 9

11 Mark Elder, Edward Gardner, Jane Glover, Gareth Hancock, Oliver Knussen, Wolfgang Lischke, Trevor Pinnock, Robin Ticciati, 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) for strings, wind and brass are a means of deciding seating for all orchestras. 10

12 Royal Academy of Music Performance Protocol 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 and will be added to students agendas on ASIMUT. 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 or text message. Communication will only be done via Academy s, so students must check this regularly. If a student has a mobile phone, voic 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) Students must telephone the Concert and Orchestra Managers, Liz Williams on (strings, wind & brass) or Rosie Larkins on (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 11

13 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. 12

14 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) Forms submitted later in the term will be considered at the next Artistic Planning Group for the following term. 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 unless this is requested 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 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 on the noticeboard outside Room G8, 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. 13

15 Failing to adhere to these conditions may result in disciplinary action. 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: 14

16 UNDERGRADUATE CHAMBER MUSIC REQUIREMENTS BMus Chamber Music Assessments Chamber music will now be assessed in scheduled examinations in the last week of the Spring Term. A scheduled period of examinations will take place for all Undergraduate students, and also for Undergraduate ensembles that have a minority number of Postgraduate members or external members. An annual test will ensure that all students participate in the acquisition of chamber music skills. The design of the assessment is such that the full scale of the activity is not represented, but takes a snapshot sample of work, which reflects the level of function as an ensemble performer of individual students. All chamber music assessments will be minimum 15, maximum 20 minutes in length (75% of your overall chamber music mark). Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form which will be pigeonholed to every student at the start of the academic year. Students must use this form to record every session of chamber music activity (coaching, rehearsals, performances etc). They must submit it to the panel at their chamber music assessment as evidence of the process through which they have arrived at the assessment. This form is also to demonstrate initiative and activity in chamber music over two terms in order that it can be credited and is worth 25% of your overall chamber music mark. Professors must sign for coaching sessions where indicated FOR EACH MEMBER OF THE ENSEMBLE. Each student must the Chamber Music Administrator with the personnel of their ensemble for the assessment by Friday 29 th January You must not assume that one member s covers all of you. A student who plays in more than one ensemble must make himself/herself available for the exams of members of all groups in which he/she plays. Membership of more than two groups is discouraged. Shortage instruments may be exempted from this, but in consultation with the Head of Study only. Repertoire offered should be suitable for the level of study. Strict repertoire requirements are not made, but entire works should be prepared from which the panel selects sample(s) at the assessment. If students have been programmed into a chamber music concert by the Academy, they may be able to use this towards this requirement. If one of these performances is to be assessed, they must alert the Concerts Administrator well in advance who will then make sure a member of staff attends the concert as an assessor. Chamber Music requirements Chamber music is a significant part of your programme of study throughout your four years, and carries weight in your degree profile. You will be assessed on both your commitment and artistry in playing chamber music as seriously as your solo performances. 15

17 BMus 1 (special instructions): You will have an informal review in the middle of November, and an assessment at the end of the Spring Term. To build on the existing chamber music culture and to instil the necessary commitment and discipline at an early stage, Year 1 ensembles will be expected to perform a movement of a work to chamber music professors and the Head of Department probably during the first half of November. This is not a formal assessment, but an opportunity to ensure progress is underway from the beginning of the year, and to tackle any difficulties. Observations on areas requiring improvement should be noted. If any adjustment is necessary with playing partners, for example - it can happen straightaway, in time for ensembles to prepare for a formal assessment during the last week of the Spring Term. This assessment will include discussion with the students about rehearsals and coaching undertaken as well as a performance demonstrating that the ensemble has developed. The chamber music requirement for both these assessments for piano students is: ONE performance of a substantial equal duo or ensemble work (maximum 20 minutes), ie: a Brahms Violin and Piano Sonata a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Single movements will be regarded as appropriate in this year of study. Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. BMus2 The chamber music requirement for piano students is: ONE performance of a substantial equal duo or ensemble work (maximum 20 minutes), ie: a Brahms Violin and Piano Sonata a work for two piano duo or piano duet (four hands) a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. BMus 3 both pathways The chamber music requirement for piano students is: ONE performance of a substantial equal duo or ensemble work, ie: a Brahms Violin and Piano Sonata a work for two piano duo or piano duet (four hands) a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Where there is any doubt about the suitability of a work (e.g. timing, or an unusual line-up) the Head of Piano Studies will have to be consulted and give written consent. 16

18 Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. BMus 4 solo pathway The requirement for piano students is: ONE performance of a substantial equal duo or ensemble work, ie: a Brahms Violin and Piano Sonata a work for two piano duo or piano duet (four hands) a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Where there is any doubt about the suitability of a work (e.g. timing, or an unusual line-up) the Head of Piano Studies will have to be consulted and give written consent. Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. BMus 4 ensemble pathway The chamber music requirement for piano students is: ONE performance of a substantial equal duo or ensemble work, ie: a Brahms Violin and Piano Sonata a work for two piano duo or piano duet (four hands) a major item of Lieder or French Song a work for piano and larger ensemble where the piano has a major role (e.g. Piano Trio/Quartet) a work for piano with brass, percussion or wind Where there is any doubt about the suitability of a work (e.g. timing, or an unusual line-up) the Head of Piano Studies will have to be consulted and give written consent. Each student will be required to hand in to the panel a completed Record of Chamber Music Activity Form. Please refer to Chamber Music handbook and Chamber Music pages on AIR for more details. 17

19 UNDERGRADUATE PIANO: YEAR ONE This is a very exciting year for you. You have been chosen to enter the Academy because of your special talents and individual voice; this is where the hard work begins, as you and your principal study professor evaluate your strengths and weaknesses. Technical issues, artistic choices, knowledge of repertoire and individual style are all personal to you; it s important to analyse and think about what progress needs to be made, to practice deeply and well, and to enjoy and love the music you re playing. Most of all to look around you: the Academy is full of very interesting musicians! It could be a challenging year of adjustment: living independently, being responsible for organising your work schedule; adjusting to living in a new city as well as studying in a very different environment, with a new teacher. Don t be shy about asking for help; we want you to succeed and flourish in every way. It s important that you start off immediately with a feeling not only of discipline, but also of pride in your work. Above all you ll be establishing a relationship with your piano professor that will be a really pivotal to your years at the Academy. Take part in masterclasses and Repertoire classes (attendance to these are compulsory), sign up for 1-1 lessons with Visiting Professors on the Piano Board (outside 115), watch other musicians in action, and take advantage of all the extra classes (in jazz, improvisation, contemporary music) the Head of Piano will be organizing. There will also be talks about the music business how to begin to make your way as a professional musician. It will be interesting and stimulating and essential for your growth as a musician. Preparing repertoire for exams shouldn t be your only aim for the year, but it still needs to be chosen carefully with your professor. It s important that you perform well in exams, but the requirements are not heavy and will hopefully be part of your natural evolution as a fully-rounded musician. Core repertoire is absolutely essential,but start making interesting choices too: think imaginatively about programmes, and give them your unique identity. In addition to your solo piano work, ensemble playing is essential, and forms one of the most important areas in your BMus degree assessment. Your academic work is carefully programmed to create a genuine overall educational experience, and to inform and add intellectual weight to your performances. We encourage musicians to get together to create projects and explore ideas. Try not to get behind in any area of your work. This can lead to serious strain and anxiety, and impact negatively on your playing. If you feel things getting on top of you, talk to your professor or Head of Piano. Embrace everything the Academy and London offers. Don t just go to piano recitals visit the opera, go to art galleries and museums, see jazz gigs and visit the theatre! There are lots of free performances and events, both in the Academy and outside. Year 1 Principal Study (45cr) End of Year Recitals100% (part 1 23%, part 2 77%) Repertoire/Performance Class and Concert Participation (F/A)* Year 1 Professional Development Activity (25cr) Chamber Music (100%) *F/A Formatively assessed 18

20 Spring Term End of Year Part 1 exam A work of appropriate difficulty demonstrating contrapuntal playing: a prelude and fugue by Bach, a contrapunctus from the Art of Fugue, or a Shostakovich prelude and fugue. Any Chopin Etude from either Op. 10 or Op. 25 You will be offered a harpsichord session on Bach style and ornamentation (in a small group or in pairs) as part of your preparation, in early February. This will be arranged by the Department Administrator, and you can sign up on the Piano Board. Summer Term End of Year recital A well-designed programme of minutes, choosing two or three of the following strands: A short collection of Baroque pieces (ie a Bach French Suite, Scarlatti Sonatas) A work in a contemporary style (ie Messiaen, Ligeti, Takemitsu, Golijov) One or two movements of a classical sonata up to and including Schubert A work by a major Romantic or early 20 th century composer There are no specified timing penalties for over or under-running in end of year recitals in B1 and B2, but you must adhere to the given recital lengths in order to prepare for the timing penalties that come into force in B3 and B4. Memory Requirements All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.) Chamber music requirements for Undergraduate Year One Please refer to the Chamber Music handbook and Chamber Music pages on AIR for more details. Repertoire/Performance Classes and Concerts Required to pass: Compulsory attendance at all Repertoire/Performance classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in a Repertoire/Performance class, masterclass, Academy concert, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation incorporating elements into your programming Repertoire-building and stylistic awareness 19

21 Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend. Provision of Music/Editions Students should provide one copy of the full score for all pieces presented. Poor or inaccurate editions will reflect badly on your performance! 20

22 UNDERGRADUATE PIANO: YEAR TWO By now you have settled comfortably into both musical and social life at the Academy. Hopefully major technical issues will have been resolved and you ll be working towards sophisticated detail - and critical analysis - in your playing. You should be taking increasing opportunity to perform in concerts, competitions and Repertoire classes and masterclasses. Often students are supporting and challenging each other at this stage by forming their own informal performance/discussion groups. Keep having ideas about projects and programmes; collaborate with composers and other musicians. Expectations in performance assessments are higher; in your piano platform and end of year exams, examiners will be looking beyond mere technical security. They ll be evaluating the ability to communicate intelligent and personal musical ideas, and judge those ideas through the repertoire you have chosen. You may be considered for outside engagements. Even if unpaid, these offer invaluable experience; no venue is too small, and every audience is different. This is how you ll learn to become a powerful, confident performer. Chamber music work will become more focused, and you ll be required to gain experience in playing with singers in some of the great Lieder and song repertoire some of the best writing in piano literature. Be aware of the alternative BMus performance strand for pianists coming up in B3 / B4 called Ensemble Pathway. Greater weighting is given to ensemble activity (while still making strong demands on your solo abilities), and is a great chance to play interesting repertoire. Do discuss this option with your teacher and Head of Piano. Year 2 Principal Study (45cr) End of Year Recitals 100% (part 1 23%, part 2 77%) Repertoire Class and Concert Participation (F/A) *F/A Formatively assessed Year 2 Professional Development Activity (25cr) Chamber Music (70%) Performance Platform (30%) Performance Platform Exam A performance of 9-12 minutes of free repertoire, demonstrating individuality and imagination. Each student will be assigned a date for this performance, (before the end of May). Memory Requirements All works must be played by memory, except in the case of complex contemporary scores. Permission to play from the score in such music must be approved in advance from the Head of Piano Studies, well in advance of the performance date. (Please see the Examinations Procedures Handbook on the Registry page of AIR for information on penalties for failure to meet the memory requirements.) Spring Term End of Year Part 1 exam A short recital of songs for voice and piano of approx. 10 minutes. The accompaniment should have been written specifically for piano, ie orchestral reductions of opera or oratorio are not permitted. After your performance there will be a short viva (no longer than two minutes) in which you will be asked to shown an understanding of the texts in your chosen songs, and the musical setting. NB:No work(s) performed as part of the chamber music requirements may be duplicated here. 21

23 Summer Term End of Year Part 2 (Recital) exam A programme of minutes, to include: a) i) A Chopin Etude from either Op. 10 or Op. 25 ii) One concert etude by another composer (Liszt, Ligeti etc) or an appropriate short virtuoso piece (Moszkowski, Rachmaninov transcriptions etc.) b) The choice of repertoire is free, but at some stage over the course of Years 1-3 (Years 1-4 for ensemble pathway) all candidates must include a work from each of the categories below: A work of appropriate difficulty demonstrating contrapuntal playing (eg. Bach Partita, Handel Suite) A work in a contemporary style A complete classical sonata up to the time of Schubert You are not permitted to repeat any repertoire that you have presented for assessment in any previous examination or Piano Platform during your course. However, if repeating a small part allows for the greater whole (in a song cycle, for instance), ask for written approval from the Head of Piano. There are no specified timing penalties for over or under-running in end of year recitals in B1 and B2, but you must adhere to the given recital lengths in order to prepare for the timing penalties that come into force in B3 and B4. Chamber music requirements for Undergraduate Year Two Please refer to the Chamber Music handbook and Chamber Music pages on AIR for more details. Repertoire Classes and Concerts Required to pass: Compulsory attendance at all Repertoire classes and masterclasses; registers are monitored to ensure regular attendance. You must give a minimum of one performance in a Repertoire class, masterclass, Academy concert, informal concert or the Summer Piano Festival. Development and Discovery classes These are sign-up classes for all year groups, often involving a special guest, encouraging you to informally explore a variety of topics designed to expand and broaden your skills and outlook, including: Jazz and improvisation incorporating elements into your programming Repertoire-building and stylistic awareness Working alongside multimedia Exploring and commissioning contemporary music Professional development: building a career, platform and curatorial skills, preparation, health and well-being. Although these classes are not compulsory, it is advisable that you attend. 22