TABLE OF CONTENTS... 1 INTRODUCTION FROM THE HEAD OF TIMPANI AND PERCUSSION... 2 QUICK START GUIDE... 3 TEACHING STAFF... 4

Transcription

1 0 PG Percussion Handbook

2 TABLE OF CONTENTS TABLE OF CONTENTS... 1 INTRODUCTION FROM THE HEAD OF TIMPANI AND PERCUSSION... 2 QUICK START GUIDE... 3 TEACHING STAFF... 4 LEAVE OF ABSENCE PROCEDURE... 5 SPECIAL CIRCUMSTANCES PROCEDURE... 6 ASIMUT... 7 STUDENT RECORDINGS... 7 CONCERTS DEPARTMENT... 8 PRIZES OTHER DEPARTMENTAL INFORMATION POSTGRADUATE INFORMATION ONE YEAR COURSE TWO YEAR COURSE YEAR TWO YEAR COURSE YEAR

3 INTRODUCTION FROM THE HEAD OF TIMPANI AND PERCUSSION Welcome to the Timpani and Percussion Department Handbook for Postgraduate students, which will give students, professors and examiners alike a comprehensive guide to practical examinations, coursework and examination requirements. In the multi- faceted world of Timpani and Percussion, it is important to have a balanced curriculum enabling the student to experience and digest as much related material as possible in order to gain a focused plan of action. We are fortunate to have many of the world s finest players and teachers to deliver this curriculum, whilst inviting to the Academy visiting artists and professors to keep the course as pertinent and relevant as possible. During the first year of our course, strong technical and musical habits will be encouraged so that good practice regimes and listening skills will enable the student to develop over subsequent years. Related specialist study areas (Solo Percussion/Marimba, Baroque Timpani, Drumset, Latin American and Ethnic percussion) will also be introduced in year one together with faculty activities such as percussion ensemble, orchestral repertoire classes, chamber music classes and masterclasses, so that a thorough foundation will be laid. It is expected for students to consolidate the in- depth tuition they will receive with a rigorous self- regulated practice regime. This is a pre- requisite of successful studentship at the Royal Academy of Music. In years 2, 3, and 4, higher levels of technical and musical ability will have been achieved, encouraging students to experiment more with interpretative and stylistic considerations, culminating in an expressive maturity and professionalism. Employability is key to the ethos of the department and we would hope students will be comfortable with the prospect of a professional audition and a 30 minute solo recital by the time they reach graduation. Should students show exceptional ability in related study areas, due consideration will be given to whether they should specialise or continue with all in joint study. Our aim is to expose students to a variety of related study areas whilst not compromising standards. We hope to enable them to have a full, rewarding and varied career by providing them with the necessary skills needed for their continual development. NEIL PERCY Head of Timpani and Percussion 2

4 QUICK START GUIDE DEPARTMENT CONTACTS Neil Percy, Head of Timpani and Percussion Mobile: Room (The above contact information is for students ONLY and must NOT be passed to anyone without consulting the Head of Department first) Tara Savile, Woodwind, Brass, Percussion and Timpani Administrator Tel: Fax: Room KEY DATES Autumn term Monday 14 th September Friday 27 th November 2015 (Enrolment commences on 7 th September 2015) Spring term Monday 4 th January Friday 18 th March 2016 Summer term Monday 18 th April Friday 8 th July 2016 Summer Examination Period 23 rd May 10 th June 2016 (please note that these dates are subject to change at any time) You are expected to attend all timetabled activities and academic classes. Absences may affect your progression to the next stage of your programme of study. CHECK LIST Store the contact details of your principal study professors in your phone. Store the contact details of your department administrator in your phone. Check your orchestral commitments and store the Concert and Orchestra Manager s contact details in your phone (Rosie Larkins , r.larkins@ram.ac.uk) Check dates of visiting professors classes and masterclasses for the purposes of participation and attendance. Check your Academy e- mail address every day, including during the vacation periods. Check closing dates for internal and external competitions and prizes. 3

5 TEACHING STAFF Andrew Barclay Tony Bedewi Simon Carrington Paul Clarvis Colin Currie Peter Erskine David Hassell Benedict Hoffnung Joe Locke William Lockhart Neil Percy Eric Percussion/Orchestral Repertoire (Co- Principal Percussion, London Philharmonic Orchestra) Timpani (Co- Principal Timpani, London Symphony Orchestra) Timpani/Percussion/Orchestral Repertoire (Principal Timpani, London Philharmonic Orchestra) Drumset, Latin- American/Ethnic Percussion (International Soloist and Recording Artist) Solo/Duo/Concerti/Chamber Music (International Soloist and Recording Artist) International Drumset Consultant (International Soloist and Recording Artist) Drumset, Latin- American/Ethnic Percussion (Session Musician and renowned Clinician) Baroque Timpani/Historical Performance (Principal Timpani, London Mozart Players/Academy of Ancient Music) International Vibraphone Consultant (International Soloist and Recording Artist) Timpani/Percussion/Orchestral Repertoire (Principal Timpani, English National Opera) Head of Department/Percussion/Orchestral Repertoire/Director of Percussion Ensemble (Principal Percussion, London Symphony Orchestra) Marimba, Chamber Music (Principal Percussionist, Orchestra de Paris) 4

6 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. 5

7 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 * 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. 6

8 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. 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). 7

9 CONCERTS DEPARTMENT 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) Concerts Department Director of Artistic Planning Ms Nicola Mutton, Room G6 Tel: 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: 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 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). 8

10 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. 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. 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. 9

11 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. 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: Wednesday 24th September (for Spring/Summer Term concerts) Wednesday 28th January (for Summer Term concerts) Wednesday 6th May (for Autumn Term 2015 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 10

12 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 précis. 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. 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. 11

13 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: students/conditions/ PRIZES There are four prizes on offer to students annually, which will be awarded after due deliberation by all of the adjudicators on completing the examinations/recitals. NB: A student may only win each prize once. Zildjian Prizes The Zildjian prizes are awarded to the two students with the highest mark in their Timpani and Percussion examination/recital. The highest mark collects the First Prize of $2,000. Second Prize is an invitation to Zildjian International in Sunningdale where the recipient will be given a guided tour, lunch and invited to select a set of cymbals of their choice. The Academy is honoured to be associated with the Zildjian Cymbal Company and is grateful for its generous support. James Blades Award for Timpani This prize is awarded to the student who in the opinion of the adjudicators has performed exceptionally on Timpani, regardless of his or her overall mark. The winner of this prize will receive a cheque for 200 (approx) The Academy is very grateful for the generous support from the James Blades Trust James Blades Award for Percussion This prize is awarded to the student who in the opinion of the adjudicators has performed exceptionally on Percussion, regardless of his or her overall mark. The winner of this prize will receive a cheque for 200 (approx) The Academy is very grateful for the generous support from the James Blades Trust OTHER DEPARTMENTAL INFORMATION Principal and Second Study lessons It is your responsibility to make contact with your allocated professor(s) in order to arrange lesson times and locations. This must be done within the first two weeks of the autumn term. Contact details of all staff are available from Tara Savile (Administrator to the Timpani and Percussion Department) in room 108. Any problems in establishing contact with a professor should be reported to Tara immediately. 12

14 Attendance and class participation A class profile component is built into the assessment of students in the Timpani and Percussion. This allows professors to award students for preparation, class participation and levels of progress not measurable through other means of assessment. Dates and details of lessons, classes and additional masterclasses are displayed on the percussion noticeboard situated outside the percussion studio which should be consulted on a daily basis. Any requests for references from the Head of Percussion should be submitted with at least 10 days notice. The Percussion Administrator often receives requests for teachers. Please inform her if you wish to be put forward for such work. Please also ensure you notify the Percussion Administrator, Concerts and Orchestra Manager and the Registry of any changes to your contact details (particularly your mobile telephone number) throughout the year as these methods of communication will also be utilised, particularly to convey urgent information. 13

15 POSTGRADUATE INFORMATION Individual Lessons As timpani and percussion are taught in tandem as a first study, their allotted time for tuition must be shared equally. Students will receive 45 minutes per week on timpani, (or 90 minutes per fortnight), and 45 minutes per week on percussion, (or 90 minutes per fortnight). Students who have chosen a timpani or percussion only course will receive 90 minutes per week on their chosen instrument resulting in a more comprehensive study of the repertoire lists and its related techniques and musical styles. Repertoire Repertoire unfamiliar to a postgraduate student new to the Academy (selected from the following lists) will provide the starting point for creating a repertoire list specific to each student. After detailed work on these pieces during the year, a tailored examination list will be created to service the need of the individual student and reflect the current demands of the profession. (Repertoire marked in bold represents material that will only be studied at postgraduate level, aimed more at BMus Academy students continuing with a year of postgraduate study, but available to all Postgraduate students.) Equipment and Scores The Royal Academy of Music provides excellent facilities for Timpani and Percussion students including access to quality instruments for practice and performance. It is expected that students will treat these instruments with care and consideration and return them after use to the appropriate location. Students must furnish themselves with a near- professional range of sticks, mallets and music that will meet the demands of this course. PROFESSIONAL DEVELOPMENT ACTIVITY Professional Development Activity is at the core of your Academy experience and we expect it will form the backbone of your Professional Portfolio. Apart from your individual practice and work with your teacher, it is likely to account for most of the time you spend working at the Academy. It is formatively assessed (thus does not directly contribute to your degree result, which is determined by final assessments only), but you must pass in order to gain the necessary credits for the degree. Your transcript will record a single Professional Development Activity Profile mark. There are five key areas, which each department handles differently according to professional preparation requirements. 14

16 SKILLS ONE and TWO (Technical and Synthetic) Two- year students (1st year) Two- year students (2 nd year) One- year Students REQUIREMENTS (including minimum required to pass) Participation in Academy Projects and/or external engagements as directed by Neil Percy. Participation in Academy Projects and/or external engagements as directed by Neil Percy. Participation in Academy Projects and/or external engagements as directed by Neil Percy. Feedback mark (Y/N) N N N Written report (Y/N) N N N EXTERNAL PERSPECTIVES (Masterclasses etc.) Two- year students (1st year) REQUIREMENTS (including minimum required to pass) Participation in classes from International Consultants, Visiting Professors, guest artists and performers. Attendance is compulsory for all students. Feedback mark (Y/N) N Written report (Y/N) N Two- year students (2 nd year) Participation in classes from International Consultants, Visiting Professors, guest artists and performers. Attendance is compulsory for all students. N N One- year Students Participation in classes from International Consultants, Visiting Professors, guest artists and performers. Attendance is compulsory for all students. N N COLLABORATIVE WORK Two- year students (1st year) REQUIREMENTS (including minimum required to pass) Participation in performances with RAM Percussion Ensemble, (including duo, trio or mallet chamber groups). In addition students will be assessed on their performances/response to coaching and rehearsals. Feedback mark (Y/N) N Written report (Y/N) N Two- year students (2 nd year) Participation in performances with RAM Percussion Ensemble, (including duo, trio or mallet chamber groups). In addition students will be assessed on their performances/response to coaching and rehearsals. N N One- year students Direct assessment of performances with RAM Percussion Ensemble, (including N N 15

17 duo, trio or mallet chamber groups). In addition students will be assessed on their performances/response to coaching and rehearsals. SELF- GENERATED PERFORMANCE or RECORDING Two- year students (1st year) REQUIREMENTS (including minimum required to pass) All first- year postgraduates (and one- year students) are encouraged to give an assessed concert during the year, and/or to engage with recording projects using solo or duo repertoire. Feedback mark (Y/N) Written report (Y/N) Two- year students (2 nd year) Students are encouraged to engage with recording projects using solo or duo repertoire. One- year students All first- year postgraduates (and one- year students) are encouraged to give an assessed concert during the year, and/or to engage with more recording projects using solo or duo repertoire. 16

18 ONE YEAR COURSE PRINCIPAL STUDY* *All components of Principal Study carry a mandatory pass requirement Timpani (6 hours per term) Lessons will be centered on the introduction and development of basic technique and musical awareness through the repertoire listed below. In addition students should work through the studies of Delecluse, Alan Cumberland, Nick Would, Knauer and Friese. A thorough knowledge of the entire repertoire list will be expected, after detailed work on the following pieces during the year: Bartók Beethoven Berlioz Bernstein Brahms Britten Bruckner Dvořák Elgar Hindemith Janáček Mendelssohn Mahler Mozart Orff Concerto for Orchestra, Piano and Violin Concerti, and The Miraculous Mandarin Symphonies Nos 1-9, Missa Solemnis, Egmont, Fidelio and Leonora 2 and 3 Overtures, Violin Concerto, Piano Concertos Nos 1,3,4 and 5 Symphonie Fantastique Chichester Psalms, West Side Story, Candide Symphonies Nos 1+4 and German Requiem Young Person s Guide, War Requiem, Spring Symphony and Nocturne Symphonies Nos 6-9 Symphonies 7-9, Enigma Variations Symphonic Metamorphoses Glagolitic Mass, Sinfonietta and Operas Symphonies Nos 3 and 4, Midsummer Night s Dream, Hebrides Overtures Symphonies Nos 1-9 Symphonies Nos 39 and 41, Magic Flute Overture Carmina Burana Prokofiev Symphonies Nos 5 and 6 Rachmaninov Symphony No 2 and Symphonic Dances Schubert Symphonies Nos 8 and 9 Schumann Symphonies Nos 3 and 4 Tchaikovsky Symphonies Nos 4, 5 and 6 Shostakovich Symphonies Nos 1,5,6,7, 11 Sibelius Symphonies Nos 1,2,5,7 Violin Concerto and Finlandia Strauss Ein Heldenleben, Tod und Verklarung, Also sprach Zarathustra, Don Juan, Rosenkavalier Suite and Opera excerpts (Salome etc) Stravinsky Firebird Suite ( ), The Rite of Spring Wagner Overtures and excerpts from The Ring Walton Symphony No 1 Tippett Concerto for Orchestra Baroque Timpani (One hour per term + one three hour class) JS Bach Easter Oratorio, Christmas Oratorio, Third Suite for Orchestra, 4 th Suite for Orchestra Beethoven Symphony No1, Symphony No 2, Symphony No 3, Symphony No 4, Mass in C Handel Coronation Anthems, Israel in Egypt, Messiah Haydn Symphony No 103, Symphony No104, Creation Purcell Ode to St Cecilia s day, The Fairy Queen Mendelssohn Symphony No 3, Symphony No 4 Mozart Serenata Noturna, Symphony No 36, Symphony No 39, Symphony No 41, Requiem Schubert Symphony No 3, Symphony No 8, Symphony No 9 Schumann Symphony No 4 17

19 Percussion (7 hours per term) Snare Drum Rudimentary skills, rolls, dynamics, control, sound and strong time within a musical framework will be addressed using relevant material by Morrello, Stone, Blackley, Moeller, Sholle, Wilcoxon, Gladstone, Goldenberg and Bailey etc. The relationship between essential technique and repertoire will be explored together with skills that connect directly to many other percussion instruments. There will be detailed work on the following repertoire list and any outstanding technical problems will be addressed. The relationship of technique and musicality in playing the set repertoire will be high on the agenda, concentrating on interpretative skills and musical thinking by the student. The following repertoire for snare drum and tuned percussion will be studied in detail, with additional score, CD and, where possible, live study, in conjunction with Assorted Percussion study and Faculty Activity professors. Bartok Concerto for Orchestra, Piano Concerto 1+ 2, and The Miraculous Mandarin Berg Violin Concerto and Wozzek Bernstein Age of Anxiety (Symphony No 2) Candide Overture, Serenade Borodin Polovtsian Dances Britten A Young Person s Guide, Sinfonia da Requiem, Gloriana, A Midsummer Night s Dream. (High Drum) and War Requiem Copland Billy the Kid and Rodeo and Symphony No 3 Debussy Iberia Elgar Enigma Variations and Cockaigne Falla Three Cornered Hat Gershwin An American in Paris, Piano Concerto, Rhapsody in Blue Holst The Planets Ives Three Places in New England Janáček Taras Bulba Orff Carmina Burana Kodály Hary Janos Mahler Symphony No 3 and 6 Nielsen Symphony No 5 and Clarinet Concerto, Prokofiev Peter and the Wolf, Lt. Kije, Symphony No 5, Romeo & Juliet (complete) Rachmaninov Symphonic Dances and Symphonies Nos 1 and 2 Ravel Rhapsodie Espagnole, Valses Nobles et Sentimentales, La Valse, Bolero and Pictures at an Exhibition Rimsky- Korsakov Capriccio Espanol and Scheherezade (complete) Rossini Thieving Magpie Overture Shostakovich Symphonies Nos 1, 5, 6, 7, 8, 10, and Festival Overture Strauss Rosenkavalier Suite Stravinsky Petrushka ( ), A Soldier s Tale Suppé Pique Dame Tchaikovsky 1812 Overture Walton Belshazar s Feast, Crown Imperial Webern 6 Orchestral Pieces Williams Star Wars Tuned Percussion Scales*, arpeggios*, related technical exercises, mallet selection and sound projection using relevant material by Hamilton Green, Goldenberg, Friedman, Samuels, Stevens, Becker, and Bailey etc. The related techniques and movement of each tuned percussion instrument will be studied establishing a thorough basis of knowledge and understanding in conjunction with detailed work on the following repertoire: 18

20 Adams Century Rolls (marimba), Harmonielehre (marimba) Bartók Music for Strings, Percussion and Celeste, Wooden Prince (Suite) Bluebeard s Castle Berg Lulu (vibraphone), Wozzeck, Three pieces for Orchestra Bernstein Quiet Place Suite, Candide Overture, Chichester Psalms and Age of Anxiety, Symphonic Dances from West Side Story and Prelude, Fugue and Riffs vibe+xylo for both pieces + West Side Story (arranged Crees) Brahms/Schoenberg Quartet for Orchestra Britten A Young Person s Guide, Four Sea Interludes, Prince of the Pagodas and Soirées Musicales Copland Appalachian Spring and Hoe Down Debussy La Mer Dukas Sorcerer s Apprentice Elgar In the South glock and Wand of Youth Suites 1+2 Khachaturian Gayne Ballet Gershwin Piano Concerto, An American in Paris and Porgy and Bess (complete opera) Glazunov The Seasons Hindemith Kammer Music Holst The Planets xylo+glock Janáček The House of the Dead Kabalevsky Colas Breugnon Overture Kodály Hary Janos Mahler Symphony No 6 xylo Messiaen Oiseaux Exotiques xylo Turangalîla Symphony vibraphone Couleurs de la Cité Céleste xylo and Chronochromie xylo Prokoviev Alexander Nevsky, Piano Concerto No 1, Romeo & Juliet (complete) xylo+glock Symphony No 7 xylo+glock Rachmaninov Symphonic Dances xylo+glock Ravel Mother Goose and Daphnis complete xylo+glock Symphony No 2 (glock) Reich Septet (Vibraphone 1) Three Movements (Marimba 1) Respighi Pines of Rome, Festivals of Rome, Fountains of Rome Saint- Saëns Carnival of the Animals, and Samson and Delilah (glock) Shostakovich Symphonies Nos 5, 6, 7, 8, 14, 15, Violin Concerto No 1, Polka from the (Golden Age Ballet) Symphony No 4, Jazz Suite No 2, Cello Concerto No 2 and Lady Macbeth of Mezensk (excerpts) Stravinsky Firebird (complete), Les Noces and Petrushka ( ) Strauss Don Juan and Salome Tchaikovsky Sleeping Beauty and The Nutcracker Tippet Concerto for Orchestra and Symphony No 4 (marimba) Vaughan Williams Symphonies 7 & 8, Job Walton Belshazzar s Feast, Portsmouth Point and Scapino *Scales and Arpeggios Syllabus All major, harmonic and melodic minor scales All chromatic scales All whole tone scales All major and minor arpeggios Dominant and diminished seventh arpeggios in all keys Assorted Percussion As much tuition as possible will be given on related percussion instruments (tambourine, cymbals, bass drum, triangle, glockenspiel etc), encouraging the student to use the same foundational skills to set up a technical network to connect the many different percussion instruments and experiment with the techniques needed to play them in a variety of different musical situations. The above repertoire lists will also be used to give students 19

21 an in- depth profile of specific pieces, with support and in tandem with both related study and faculty activity professors, creating a network of support through combined information. PROFESSIONAL PORTFOLIO 1. Marimba/Solo Percussion (one visit per professor per term) Equipment and Scores As with all other areas of timpani and percussion study, students are expected to equip themselves with an appropriate selection of mallets, books and music. Literature and Performances: Students will select literature for study from the following lists commensurate with their ability as marimbists. Marimba repertoire: Keiko Abe Works for Marimba (Schott) Bennett After Syrinx II Burritt Azure Burritt Caritas, Four Movements and October Night Miake Chain Mordant Diemer Toccata Druckman Reflections on the Nature of Water Dupin One Exitan Dance, Le Vélo (Leduc) Ewazen Northern Lights Fissinger Suite Karsten Furndal Mobius Splitting #1 Glassock Altered Echoes Markus Halt Marimbics Markus Halt Marimbasonic (Simrock) Handel Pieces for a Musical Clock Set II HWV Harris Potpourri Helble Well- Tempered Marimbist Helble Preludes Hollinden Of Wind and Water David Horne Pulse Toshi Ichiyanagi Paganini Personal Ignatowicz Toccata Klatzow Inyanga Percussion music Europe Klatzow Dances of Earth and Fire Eckhard Kopetzki Kaskada Anders Koppell Concerto No.1 Anders Koppell Concerto No. 2 Anders Koppell 9 Peanuts Steve Mackey See Yah Thursday Robert Maggio Songs of the Wood Maslanka My Lady White Maslanka Variations Miki Time for Marimba Miyoshi Torse III Musser Etude in G Major Niimi For Marimba I O Meara Tune for Mary 0 O Meara Restless Andy Pape Marrrimba 20

22 Penn Preludes Ptaszynska Graffito Reich Nagoya Marimbas (B&H) Rimey- Meille Une Autre Personne, Encorce et l Ame en soi Sakura Sakura Cherry Blossom Rotations Cameleon Zapping Trio (kp 3) Hombre et d Aout (Billaudot) Kaleiduoscope (duo) (kp3) Sugaria Colombo/arrgt Indifférence Chopin/arrgt The Revolutionnary Bizet / arrgt Carmen Fantaisy Piazolla/ Libertango (kp3) Matthias Schmitt Corrido Matthias Schmitt Ghanaia Matthias Schmitt 6 Miniatures Matthias Schmitt Wasserspiele Schwantner Velocities Sejourné 5 Pièces (Leduc) Smadbeck Rhythm Song Smadbeck Virginia Tate Stevens Rhythmic Caprice Stevens Great Wall Stout Sedimental Structures Stout Two Mexican Dances, Etudes Rumble Strips, Sedimental Structures, Astral Dance, Studio 4 Sueyoshi Mirage Tastimitsu Tanaka Two Movements Thomas Merlin Turina Danzas Gitanas Ulrich Suite Vinao Khan Variations Zivkovich Gretel Verlag Zivkovic Ultimatum Modern Japanese Marimba Pieces 1 st book Ongaku no Tomo Literature and Performances: Students will select literature for study from the following lists commensurate with their ability and knowledge of the solo percussion repertoire. Concerti/Solo Percussion repertoire: Louis Andriessen Javier Alvarez Bartók Benjamin Britten Britten Carter Chick Corea Michael Daugherty G Determeyer Joe Duddell Joe Duddell Wood Pecker, for Marimba and Woodblocks Temazcal Sonata for Two Pianos and Percussion A Young Person s Guide to the Orchestra arr. David Corkhill Nocturne Sonatas for Timpani Children Songs UFO Percussion Concerto The Train (for solo snare drum) Freaky Dancer for vibraphone and four guitars Parallel Lines mallets and piano 21

23 Joe Duddell Ruby Percussion Concerto Joe Duddell Snowblind mallets and strings Friedman/Samuels Carousel, Sunset Glow, Nyack Hans Werner Henze 5 Scenes for the Snow country David Hollinden Cold Pressed David Horne Phantom Moon for Flute and Two percussion David Horne Rush Multi Percussion Maki Ishii Thirteen Drums op 66 Andre Jolivet Concerto for Percussion Peter Klatzow Ambient Resonances for vibraphone and marimba Eckhard Kopetzki Topf- Tanz, multi percussion Anders Koppell Tarantella Marimba and Violin Anders Koppel Toccata David Lang The Anvil Chorus, Multi- percussion Steve Mackay Micro Concerto Chamber work John Macleod Percussion Concerto James Macmillan Veni, Veni Emmanuel Clive Malabar Selected solo pieces for marimba Dave Maric Trilogy Anna Meredith Flex Darius Milhaud Marimba Concerto Panufnik Concertino for Timpani and Percussion John Psathas Matre s Dance Ravel/Safri Alborada del Gracioso Steve Reich Nagoya Marimbas, Marimba Phase Christopher Rouse Der Gettete Alberich Percussion Concerto Paul Rudens Alarm for multi percussion Stephen Rush Inner Rebellion Stephen Rush Rebellion Matthias Schmitt Nocturne 2 Marimbas Matthias Schmitt 3 Skizzer for 2 marimbas Werner Thärichen Concerto for Timpani Jacques Veldhuis Goldrush Rolf Wallin Twine for marimba and xylophone Nigel Westlake Fabian Theory Iannis Xenakis Rebonds Iannis Xenakis Psappa Selected solo vibraphone pieces by: Gary Burton David Friedman Bill Mollenhof John Mark Piper Ravel/Burton David Samuels With the evolving role of the International Vibraphone Professor we should see an increase in the amount of solo vibraphone repertoire available to students for examinations and recitals. 2. Drum Set and Latin American/Ethnic Percussion (Two days per professor per term) This area of related study will use the comprehensive syllabus (listed below) with a degree of flexibility to enable the professors to deal with the varied abilities and requirements of each student with respect to the different types of music studied (Latin American, World Music, Jazz etc). The primary objective will be to develop the 22