royal college of music prospectus

AN ENVIRONMENTRICH IN

ARTISTIC STIMULUS

AN OPPORTUNITY TO

PERFORMAT THE

HIGHEST LEVEL

ROYAL COLLEGE OF MUSIC, LONDON

2011 | 2012PROSPECTUS

EXTRAORDINARILY

TALENTEDPEOPLE

RCM Prospectus 2011/2012_AW_RCM Prospectus 19/03/2010 11:14

Introd

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nINTRODUCTION 2


“CHOOSING WHERE TOSTUDY IS ONE OF THE MOSTDIFFICULT DECISIONS AMUSICIAN EVER MAKES.

You need teachers of international reputation, individuals who areexperienced in working with the most gifted musicians of theirgeneration and accustomed to unlocking potential you may neverhave dreamed of. You want plenty of opportunity to perform at thehighest level, as a soloist or an ensemble player. You require anenvironment that nurtures and challenges, an atmosphere rich inartistic stimulus with practical resources that reflect and serveyour ambition, in order to develop your talent to the full.

You need to live in a city with a cultural life that is unsurpassedanywhere in the world. You deserve to study at an institution whichtakes your musical future seriously from the day you arrive, andworks with you to ensure that you enjoy lifelong success andfulfilment from your music.

We hope that the pages that follow give you an idea of what it’slike to be a student at the Royal College of Music, London.Remember, you can email your questions to the addressesdisplayed in each section, and do check www.rcm.ac.uk regularlyfor the latest information...

...GOOD LUCK WITH YOUR DECISION.”

Professor Colin Lawson DirectorMA(Oxon), MA, PhD, DMus, FRCM, FRNCM, FLCM

www.rcm.ac.uk 3Introduction


Conten

tsCONTENTS 4

Life at the RCM 6

8 Why Study at the RCM?10 Location12 Student Services - Money Matters - Students with Disabilities - Counselling Service - Accommodation - Healthcare - Chaplaincy - Alexander Technique14 Funding Your Studies15 Students’ Association16 Performance Spaces17 Facilities and Resources - Teaching and Practice Facilities - RCM Studios - ICT Facilities and Services - Library - Centre for Performance History20 Performance Opportunities24 International Students25 Exchanges

Life Beyond the RCM 26

28 The Woodhouse ProfessionalDevelopment Centre

- Professional Engagements - Teaching Service - RCM Sparks - Job Opportunities - Professional Skills30 Graduate Careers

Faculties 32

34 Keyboard38 Strings42 Woodwind46 Brass50 Percussion52 Vocal Studies 56 RCM International Opera School58 Composition62 Historical Performance

Academic Programmes 66

68 Undergraduate School - Undergraduate Programmes - Experience Programmes in London71 Graduate School - Programmes for Instrumentalists - Programmes for Composers - Programmes for Singers - Other Programmes - Academic Programmes Staff77 Doctoral Programmes

Research 78

80 Research at the RCM - Research Centres - The Grove Forum - Heritage - Fields of Research - Research Specialisms - People

How to Apply 84

86 Open Days and Tours87 Entry Requirements - Undergraduate School - Graduate School - English Language Requirements88 Applying to the RCM - CUKAS Applications - Non-CUKAS Applications - Application and Audition Fees89 Special Requirements90 Auditions - Audition Format - Audition Pieces - When and Where - Auditions by DVD for International Applicants91 What Happens Next? - Consultation Lesson92 Money Matters - Tuition Fees - Scholarships, Study Awards and Bursaries - Other Sources of Financial Assistance94 Application Checklist

CONTENTS


www.rcm.ac.uk 5Contents


Life at the

RCM

L IFE AT THE RCM 6

8 Why Study at the RCM?10 Location12 Student Services - Money Matters - Students with Disabilities - Counselling Service - Accommodation - Healthcare - Chaplaincy - Alexander Technique14 Funding Your Studies15 Students’ Association16 Performance Spaces17 Facilities and Resources - Teaching and Practice Facilities - RCM Studios - ICT Facilities and Services - Library - Centre for Performance History20 Performance Opportunities24 International Students25 Exchanges

LIFE AT THE RCM


Life at the RCM www.rcm.ac.uk 7


Why Study at the

RCM

?L IFE AT THE RCM 8

WHY STUDY AT THE RCM?

1. OUR PROFESSORS ARETHE BEST IN THE WORLD

The heart of your RCM experience isone-to-one lessons and groupmasterclasses with dedicated,passionate, experienced professors.Some of them are big names with bigperforming careers, while others havededicated their lives to teaching. Whatdo they all have in common? They allhave the power to inspire, to unlocktalent, and to transform lives.

2. A GRAND HERITAGE AND A BRIGHT FUTURE

By coming to the RCM, you becomepart of a continually unfolding story of success. For more than 100 yearsour students have gone on tointernational stardom, so at the RCMyou can enjoy the buzz of treading inthe footsteps of the world’s leadingcomposers, conductors, singers andinstrumentalists. But we don’t rest onour laurels. With our cutting-edgefacilities, technology and research,we’re in the business of helping youcreate music’s future.

3. UNPARALLELED PERFORMANCE OPPORTUNITIES

You will be given performanceopportunities unparalleled in any otherconservatoire. RCM soloists performin the best venues, and with world-leading conductors and directors.Press reviews recognise that thequality of our orchestra and operaperformances is second to none. Our composers have regular chancesto have their works brought to life bybrilliant performers. We offercountless opportunities to takeclassical music into the widercommunity and for you to earn moneyperforming at prestigious eventsacross the UK and beyond.

| For further details see pages 20-23

4. AN INSPIRING LOCATION

Our location, in one of the globe’sleading cultural capitals, is the envy of the world. Our iconic BlomfieldBuilding, opposite the Royal AlbertHall, has been an inspiration togenerations of students. Ourpartnerships with neighbouringorganisations provide a wealth ofopportunities to perform and compose.


TEN GOOD REASONS...


www.rcm.ac.uk 9Why Study at the RCM

?

5. UNRIVALLED FACILITIES

You will be able to take advantage of our unrivalled facilities. Our performance spaces are ourgreatest asset, including the fullyprofessional Britten Theatre, and theAmaryllis Fleming Concert Hall, whichis winning huge acclaim for itsacoustics following a £5 millionrefurbishment. Our practice rooms,teaching rooms, library, museum,studios, portrait collection, and in-house luthier all support your studies.


6. A PROFESSIONAL ENVIRONMENT

Unlike other conservatoires, at theRCM we don’t just prepare you for themusic profession; we enable you to bea professional from the moment youarrive. Our ensembles, orchestras andopera performances reflectprofessional standards andconditions. And we enjoy partnershipswith London’s leading orchestras,opera houses and concert halls, sowhile at the RCM you will perform on aprofessional stage, alongside well-known figures in the music industry.

7. WE VALUE INDEPENDENCE AND INDIVIDUALITY

After all, we’re independent ourselves– we’re the only UK conservatoiretrusted with the power to award andcreate our own degrees, meaning wecan tailor your studies precisely to suityou. Our independent faculties providethe perfect training for you as aperformer or composer. And with just650 of the world’s most talentedyoung musicians studying here at anyone time, we’re the perfect size tooffer a breadth of experience and avibrant musical community, yet stillhave the personal touch.

8. GREAT MUSICIANS WITH GREAT CAREERS

We will help you become the completeworking musician. Achieving successis about so much more than the notes.How can you market yourself andnetwork effectively? How can youmanage your finances? How can youbuild up a teaching practice? Youmight not be worrying about thesethings right now, but when you do, our world-leading WoodhouseProfessional Development Centre will be on hand to help you not onlybecome a great musician, but alsohave a great career.


9. OPENING UP THE WORLD

At the RCM, the world’s best meet thebest of British. Half of our studentscome from outside the UK, while ourteaching staff are drawn from everycorner of the globe. The RCM’sfriendly atmosphere provides a uniqueopportunity for you to build contactsand friendships with musicians fromacross the world.

| For further details see page 24

10. IMPROVING YOUR PERFORMANCE

The RCM helps you get behind themusic. We have the largest researchcommunity of any UK conservatoire,and our ethos of “practice-basedresearch” means that our researchersare devoted to helping you to improveyour performance skills. The highlyrespected academic component of ourdegree programmes is also centred onperformance – as you’re learning,you’ll be improving everything you do.



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The Royal College of Music’s location is the envy of the musical world. We are situateddirectly opposite the Royal Albert Hall in one of London’s most attractive and vibrant areas.Surrounding us on three sides is Imperial College London, making the RCM part of one thelargest and most active student bodies in the capital. Whether you enjoy shopping or sight-seeing, pubs or parks, everything you could want is a short walk away – or an even shorterbus ride on one of the six bus routes that serve the College.

EXHIBITION ROAD

The RCM is situated in the heart ofExhibition Road Cultural Quarter –London’s premier hub of culturalactivity. Within five minutes’ walk ofthe RCM you’ll find the Royal AlbertHall, Hyde Park, three of the UK’sbiggest museums (the ScienceMuseum, the Natural History Museumand the Victoria and Albert Museum),Imperial College London, theSerpentine Gallery and the RoyalCollege of Art, to name but a few ofour partners in the Exhibition RoadCultural Group. Our specialpartnerships with these neighbourshave resulted in countlessopportunities for RCM performers andcomposers, including the annualExhibition Road Music Day, whentens of thousands of visitors come tohear RCM musicians performing indozens of local venues.

For more details visitwww.exhibitionroad.com

2012 OLYMPICS

The world’s eyes will be on London in2012, when the city hosts the Olympicand Paralympic Games. SeveralOlympic events, including the triathlonand open water swimming, will be heldright on our doorstep in Hyde Park.Running throughout the first half of2012 will be a series of major culturalevents. This will come to a climax inJuly 2012 when local roads will beclosed for a week-long festival duringthe Olympic Games themselves.

LOCATION

Albert Memorial


Location www.rcm.ac.uk 11

1. English National Ballet

2. Goethe-Institut London

3. Hyde Park

4. Imperial College London

5. Institute Francais

6. Ismaili Centre

7. Kensington Gardens

8. Natural History Museum

9. Royal Albert Hall

10. Royal College of Art

11. Royal College of Music12. Memorial to the Great Exhibition in 1851

13. Royal Geographical Society with IBG

14. Science Museum

15. Serpentine Gallery

16. Victoria and Albert Museum

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Serpentine Gallery Science Museum

Royal Albert Hall Imperial College London


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MONEY MATTERS

The Student Services Manager cangive advice on funding your course andgeneral financial concerns, and ishappy to advise you if you are aprospective RCM student. The StudentServices Manager also administersthe Access to Learning Fund (for UKstudents in hardship) and the RCMMid Term Study Support Grants for EUand international students whodemonstrate unexpected financialhardship partway through the course.

For information on fees, funding andthe cost of living see page 92-93 orvisit www.rcm.ac.uk/moneymatters

STUDENT SERVICES“The RCM’s Student Services provide advice and support on a range ofissues helping you to get the most out of your time at College. We offer adrop in and appointment service, and provide free information sheets andbooklets on a wide variety of matters from health issues to events.”

Lynnette Easterbrook Student Services Manager

STUDENTS WITHDISABILITIES

We welcome and encourage theparticipation of students withdisabilities in all aspects of Collegelife, and we have particular experiencein supporting students with dyslexiaand visual impairment. Our DisabilityStatement is available on the RCMwebsite at www.rcm.ac.uk, or if youprefer, copies can be provided in largeprint, Braille or audio.

If you are thinking of applying to theRCM and would like to discuss any ofyour needs, you can contact theStudent Services Manager, inconfidence, on +44 (0)20 7591 4316or email [email protected]

COUNSELLING SERVICE

If you experience any problems in yourpersonal or academic life during yourtime at the RCM, a counselling serviceis available to all students. Theservice is offered by an experiencedcounsellor who will listen to you incomplete confidence. There is also acounselling service available atImperial College Health Centre.Designated members of RCMprofessorial staff are available toadvise you on academic issues.

ACCOMMODATION

The RCM has its own hall ofresidence, College Hall, a short bus ortube ride from the RCM. College Hallaccommodates 169 students in 79large single rooms, 56 standard singlerooms and 15 shared double rooms.Each room has a hand basin, built-infurniture, telephone and wirelessaccess. The communal facilitiesinclude six self-catering kitchens onevery floor, 16 single-sex bathrooms,two large television/games rooms, acoin-operated laundry room, two ITrooms, a courtyard and gardens, carparking (limited) and most importantly,22 practice rooms that are open 24hours a day. If you would like to lookaround, the College Hall Manager will be pleased to arrange viewings of the facilities.

Please contact the Manager on: +44 (0)20 8749 1134, fax +44 (0)20 8740 9461 or [email protected]

During the year, the Student Servicesdepartment produces a list of landlordsoffering private accommodation toRCM students. A list of hostels andhousing associations is also availableand the nearby Queen Alexandra’sHouse provides accommodation for100 female students(www.queenalex.com).

For further details, please contactStudent Services on +44 (0)20 591 4339 or [email protected]


Student Services www.rcm.ac.uk 13

HEALTHCARE

The RCM is linked with ImperialCollege Health Centre, just a fewminutes’ walk away. Students who liveat College Hall or in specified nearbypostcode areas may register there asNHS patients. Other students, who areadvised to register with a GP (doctor)close to where they live, can use theHealth Centre during the day forurgent medical problems. ImperialCollege London also has a dentalpractice nearby. Advice on finding andregistering with an NHS doctor isavailable from the Student ServicesOffice. Student Services also hasinformation on agencies specialisingin the care of performance relatedinjuries, and works with the Centre forPerformance Science to encourageand promote the healthy musician.

CHAPLAINCY

The Chaplaincy Centre at ImperialCollege London welcomes RCM studentsand is just two minutes’ walk away.More information can be found on theirwebsite www.chaplaincy.ic.ac.uk.Reverend Andrew Willson and FatherGeoff Wheaton S.J visit the RCMregularly, and have strong links withother faith communities.

You can find information aboutchurches and places of worship for other faiths atwww3.imperial.ac.uk/chaplaincy/information/placesofworship.

ALEXANDER TECHNIQUE

There is a strong tradition of AlexanderTechnique at the RCM, and the weeklygroup sessions are popular with manystudents. It is also possible to arrangelessons with visiting specialistsoffering guidance on particularaspects such as singing, wind playingand string playing.

Peter Buckoke HonRCM, ATCL, STAT

Judith Kleinman STAT, GRSM

Bethan Pugh STAT


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FUNDING YOUR STUDIES

When thinking about tuition fees,accommodation and other expensesthe numbers can seem big and scary,but the College can offer you a wealthof support to enable you to financeyour studies.

Approximately 45% of our studentsbenefit from an RCM scholarshipevery year to help towards tuition feesor living costs, and a small number ofgrants are available to help withunexpected study costs throughoutthe year. In addition our International& Awards Officer and StudentServices Manager are here to offeradvice on financial matters andassistance with finding alternativesources of funding from outside theCollege. For more information aboutscholarships and other funding seepage 93.

Once at the RCM all students alsohave access to the WoodhouseProfessional Development Centre,whose dedicated team offers a wide

range of free services, from help withfilling in application forms or writingthe perfect CV to finding paidemployment through ProfessionalEngagements or the Teaching Service.For more information about theWoodhouse Professional DevelopmentCentre see pages 28-29.

As for London itself, there is lots to beenjoyed on a budget. Much of thecity’s vibrant cultural scene is free orinexpensive, including the manybeautiful open spaces, art galleriesand world-famous museums, such asthe nearby Victoria and AlbertMuseum, Natural History Museum andScience Museum. Most lunchtimeconcerts and theatre matinees arefree or sold at a reduced price.Students can also take advantage ofspecial discounts offered by many ofthe capital’s shops and restaurants,including the local independent musicretailer, Kensington Chimes.

For further information about tuition fees and other living costs see page 92 or visitwww.rcm.ac.uk/moneymatters

Study at a world-class conservatoire in the centre of London can beexpensive, but we believe the RCM experience – from the high standard ofteaching and one-to-one tuition to the excellent reputation our studentshold in the professional world – offers excellent value for money.


www.rcm.ac.uk 15

STUDENTS’ ASSOCIATION

What with individual lessons,orchestra and lectures it’s going to

be a really invigorating couple of yearsfor anyone choosing to study at theRCM. However, making the most ofyour time here depends on much morethan simply juggling your academicstudies with rehearsing, giggingacross London or even landingyourself a job.

Coming to London to study music isan amazing experience. Perhaps you’llhave just finished school or maybefind yourself away from home for thefirst time – whatever the situation,you’ll definitely find the independenceto make of College what you will.Alongside all the practice andperformance opportunities you’llundoubtedly be immersed in, youshould also have the opportunity toenjoy a full-on university experience.And that’s where the Students’Association (SA) comes in!

Our job is to make sure that Collegelife really is buzzing. How do we dothat? Well, first of all we offer yousupport and advice to make sure youhave as happy a time as possible.Then we add in some social events tohelp you get to know everyone (thisalso works well as an accompanimentto networking). Finally we throw in apinch of live music and a twist of newideas (currently we’re trying to getourselves a regular happy hour in the bar – yes, we have one!) andvoila – there you have it – a thrivingsocial scene!

On joining the RCM, you willautomatically become a member ofthe SA. It all starts with an action-packed Freshers’ Week followed bymonthly parties and even an annualAssociation of London Colleges OfMusic and Drama (ALCOMD) eventsuch as this year’s ALCOMD WinterWonderland Ball.

Then there’s RAG (Raising And Giving)Week in February where we try toraise as much money for charity aspossible... and have fun in theprocess, obviously. The videochallenge is my particular favourite –how are you at leading a sing-songaboard a double decker bus?!Amongst the smaller events such aspub quizzes, open mic nights and pooltournaments we also try our hand atfootball and netball and even have ourown Student Podcast (downloadable from iTunes).

So, if making music and having a goodtime sound like an arrangement madein music college heaven then we hopeto see you in September!

Students’ Association

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Ed Hallinan Students’ Association President 2009-10


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L IFE AT THE RCM 16

PERFORMANCE SPACES

The College has a range of performance spaces suitablefor hosting a wide variety of events.

BRITTEN THEATRE

The Britten Theatre is one of London’sbest-loved opera venues. Itsresponsive acoustics and intimateauditorium are appreciated byperformers and audiences alike. Withexcellent technical facilities thetheatre is in regular use as the focusof the RCM’s thriving InternationalOpera School, but also hosts a varietyof instrumental performances,including a chamber music series andvisits from the RCM Big Band. Itbenefits from an orchestra pit for 80musicians, a Steinway grand piano,four dressing rooms, a seatingcapacity of 400, and a recentlyrefurbished bar and foyer.

AMARYLLIS FLEMINGCONCERT HALL

The Amaryllis Fleming Concert Hall isthe primary rehearsal and concertvenue for RCM orchestras and largeensembles. It is one of the busiestvenues in London, and has playedhost to many of the greats, includingRichard Strauss and Jean Sibelius;Ralph Vaughan Williams and BenjaminBritten; Bernard Haitink and VladimirAshkenazy.

Thanks to a £5 million refurbishmentprogramme completed in 2009, thismuch-loved venue now boastsimproved acoustics, soundproofing, air conditioning, state-of-the-art lightingand a one-touch recording system.

RECITAL HALL

The more intimate space of our RecitalHall provides an alternative to theAmaryllis Fleming Concert Hall forsmaller or less formal occasions. Itfeatures two Steinway grand pianosand a harpsichord.

PARRY ROOMS

This attractive suite of rooms underthe eaves of the building is namedafter the former Director of the RoyalCollege of Music, Sir Hubert Parry. Itboasts an excellent acoustic andviews of the Royal Albert Hall. Thethree rooms are frequently used forchamber music and solo recitals,lectures and masterclasses. Facilitiesinclude a grand piano, a harpsichordand an organ, plus new state-of-the-artvideoconferencing equipment providingopportunities for internationalmasterclasses and performances.

Britten Theatre Amaryllis Fleming Concert Hall


www.rcm.ac.uk 17

FACILITIES AND RESOURCESThe RCM’s resources are internationally renowned and willenhance and support your learning throughout your College years.

• seven opera rehearsal spacesavailable for Opera Departmentcoaching and student practice

• 156 pianos, including 63 grandpianos, and 23 early keyboards. TheRCM’s collection of Model BSteinways is the largest of anyBritish institution

• Smartboards and a state-of-the-artTandberg videoconferencing systemto enable interactive teaching,distance learning and performance

• instrument storage with specialfacilities for harps and doublebasses

• in-house instrument workshopsincluding an on-site luthier and aresident piano technician

TEACHING AND PRACTICE FACILITIES

The RCM has a large number ofteaching and practice facilitiesdesigned to offer all students acomprehensive and conduciveatmosphere in which to develop theirtalents. Every year we develop andimprove our facilities, but at the timeof writing these include:

• 49 teaching/practice rooms, fitted with a combination of audioequipment, pianos, TV screens and mirrors, which are used foracademic classes, one-to-one tuitionand student practice. These includefour organ rooms

• 26 practice rooms dedicated solelyfor the purpose of student practice.These rooms are free for students’use and can be booked from 8am-10pm six days a week. A further 22soundproofed practice rooms areavailable at College Hall 24 hours a day

RCM STUDIOS

Our world-renowned studios provide the very latest digital audioand video recording, postproductionand editing facilities. With assistance,supervision and tuition from those inthe profession, you will have theopportunity to gain valuable recordingexperience whether on the concertplatform or in a studio sessionenvironment. Many RCM concerts are recorded for the RCM’s recordingarchive which can be accessed online.The well-equipped Composers’ Studioand Production Suite provide facilitiesfor film, TV and electroacousticcomposition. The Studios also support the Centre for Music andMultimedia, and other researchactivities in the College.

Chair of Music and MultimediaProfessor David Burnand BMus, MA

Area Leader in Composition for ScreenVasco Hexel BM, MMus

Area Leader in Recorded ProductionBen Connellan BMus

Area Leader in Electroacoustic MusicMichael Oliva BA, MA

Studios ManagerJonathan Rule BA

Facilities and Resources


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ICT FACILITIES ANDSERVICES

RCM ICT (Information andCommunication Technology) Services support teaching, learningand research activities at the College. We provide you with a broad range ofessential technology services to aidand enhance the learning experience.Standard services available tostudents include: rcm.ac.uk e-mail andstudent portal accounts; wirelessnetwork hotspots at Prince ConsortRoad and College Hall; up-to-datestudent computers with facilities forDVD burning and a range of standardsoftware titles (Office, Sibelius,Audacity, etc.); online technologytraining; virtual learning resources andonline assignment submissions.We also have a very wide range ofonline technology training materialsavailable, covering a multitude oftopics from internet and web design,graphics, and multi-media editingpackages to the standard MicrosoftOffice applications.

LIBRARY

The Library contains a wealth ofmaterial: over 400,000 items, rangingfrom rare, early 16th century printedmusic to standard musical repertoireplus gramophone recordings, compactdiscs and DVDs.

Music literature includes all the majorencyclopaedias, bibliographies andcatalogues, as well as over 400 musicperiodical titles and many electronicresources. The Library also subscribesto major collected editions andscholarly anthologies. Among itsspecial collections are the libraries ofthe Sacred Harmonic Society and theConcerts of Ancient Music, as well asmore specialised collections of, forexample, British manuscripts,hymnology and harp music. We offerseminars on library use and mountregular exhibitions. Library facilitiesinclude a reading room, a listeningroom and an IT room where Sibeliusscore-writing facilities are available.Audio-visual facilities includegramophone records, cassettes, CDs, DVDs, tapes, DATs, minidiscsand videos.

We aim to provide a comprehensiveservice for advice, lending, reference,research and listening for all membersof the College. We provide materialsfor orchestras, ensembles, choirs andclasses and give priority to the needsof the curriculum whilst maintaining abalance in music and referencecollections. We are also open to thepublic for reference, and toresearchers from around the world for study of our special collections.

For more information visitwww.rcm.ac.uk/library

Chief LibrarianPamela Thompson BA, HonRCM

Library StaffSarah Batchelor BA

Chris Bornet MA, HonRCM

Rob Corp

Angela Escott BA, MA, PhD, GRSM, ARCM, HonRCM, MCLIP

Tony Hess BM, BA, MA, MS (Lib Science)

Peter Horton MA, DPhil, DipLib, ACLIB, HonRCM

Giuseppina Mazzella BA (Venice Univ.), BMus (Venice Conserv.), MMus

Michael Mullen BMus, MA, DMus

Amelie Roper BMus, MMus, MA

LIFE AT THE RCM


Facilities and Resources www.rcm.ac.uk 19

CENTRE FOR PERFORMANCE HISTORY

The Centre for Performance History (CPH) is a research centre (see page 81) that is also responsiblefor the stewardship of two well-established RCM research collections.

At its new custom-built repository atCollege Hall, the Portraits andPerformance History Collection(PPHC) houses a diverse collectionrelating to the history of performance.This includes the RCM’sinternationally famous collection ofimages, comprising 340 originalportraits and sculptures and 25,000prints and photographs, forming themost comprehensive archive oflikenesses of musicians in the UK.The collection of 600,000 concertprogrammes from 1720 to the presentday is of major importance forresearch into the history of music,society and culture. The PPHC alsohouses extensive holdings of opera,instrument, title-page and concert hall design, and a specialist reference library.

The RCM Museum of Instruments is acollection of international significance.It holds an outstanding collection ofsome 1000 musical instruments andaccessories dating from the late 15thcentury to the present day. Among itstreasures are the anonymousclavicytherium, c1480 (the earliestknown stringed keyboard instrument),an instrument by Dias (thought to bethe earliest surviving guitar), windinstruments by Scherer and Denner,harps by Erard and Erat and otherhighly important objects.

The collection, housed in a custom-built, air conditioned space, is aunique resource for research andeducation for all members of the RCM,as well as for researchers and groupsfrom all over the world. Lecture tourswith live demonstrations, seminars,lecture recitals, concerts and otherevents are given for students andmembers of the public. Recentresearch by members of Museumstaff includes studies on theacoustics of keyboard instruments in collaboration with Imperial CollegeLondon and the development ofinstrument manufacturing in late 18th century Britain.

For more information visitwww.cph.rcm.ac.uk

Head of CPHProfessor Paul Banks BA, DPhil, HonRCM

Curator of Musical InstrumentsJenny Nex BMus, MA

Reader in the Social History of MusicDavid Wright BMus, MMus, GTCL, FTCL, ARCM

Curatorial and AdministrativeAssistantPaul Collen BA

Assistant Curator, MuseumMichael Mullen BMus, MA, DMus


RCM at the National Portrait Gallery

Resonate

Sir Roger Norrington

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RCM students receive opportunities for solo and communal music-making in prestigiousvenues with the most highly regarded guest artists.

Our orchestral concerts offer chances for solo performers, and are regularly conducted by the likesof Vladimir Ashkenazy, Bernard Haitink, Esa-Pekka Salonen and Sir Roger Norrington. Our operas aredirected by internationally renowned directors and designers, and are reviewed in the national andinternational press. Our many solo concerts and chamber series see singers, pianists and all ourother instrumentalists perform every week in London’s most prestigious venues. Our jazz ensemblesperform with distinguished guest artists in a variety of settings.

The following includes just some of the performing opportunities that RCM students had in 2008/9,and shows what you could be part of.

September 2008 to July 2009RCM Chamber Music and SoloPerformancesRCM singers and instrumentalistsperformed in our regular concertseries at London’s most prestigiousvenues, including St Martin-in-theFields, the National Gallery, SteinwayHall, the Royal Academy of Arts,Cadogan Hall, the Victoria and AlbertMuseum, and St James’s Piccadilly.

OCTOBER 2008

8 and 10 October 2008Sir Roger NorringtonFresh from conducting the Last Nightof the Proms, Sir Roger Norringtonconducted the RCM SymphonyOrchestra and current vocal studentPhilip Tebb in London and Cambridgein a programme of Schubert, Mahlerand Brahms.

17 October 2008ResonateFive RCM composers collaborated withchoreographers from the BalletRambert School on brand new danceworks, performed in the RCM’s BrittenTheatre.

Resonate

PERFORMANCE OPPORTUNITIES

NOVEMBER 2008

1 November 2008TransPerforming alongside the world’sleading new music performers, theRCM Symphony Orchestra under DiegoMasson gave two renditions ofStockhausen’s Trans at London’sSouthbank Centre.

“The highlight of the weekend wasundoubtedly Trans... the brilliantyoung players of the Royal Collegeof Music.”– Daily Telegraph

“Trans was stunningly played (andacted) by the Royal College ofMusic Symphony Orchestra” – The Times

11 to 14 November 2008The RCMInternational ViolFestival IISome of theworld’s greatestgamba playerscongregated at theRCM for four daysof concerts,lectures andmasterclasses.


Performance Opportunities

www.rcm.ac.uk 21

13 November 2008John WilsonThe RCM alumnus and conductor tookthe RCM Symphony Orchestra toCadogan Hall for a programme ofDebussy, Copland and Rimsky-Korsakov.

“This concert was as good asanything you’d be able to hear inany Concert Hall in London withplaying of the very highest calibreand a spirit and enjoyment whichcomes with youth... The ending leftthe audience spellbound and sittingin silence at the sheer magnificenceof what it had heard... A fabulousshow, one of which both thestudents of the RCM, and the RCMitself, can be very proud.”– Music Web International

18 to 19 November 2008España!In collaboration with the LondonInternational Guitar Festival, GaryRyan led a two-day celebration ofSpanish music for guitar and keyboard.

DECEMBER 2008

1 to 6 December 2008La finta giardinieraThe RCM International Opera Schoolpresented four performances ofMozart’s sparkling early opera.

4 December 2008RCM SinfoniettaAt Cadogan Hall, current piano studentKumi Matsuo performed the RavelPiano Concerto for Left Hand.

JANUARY 2009

16 January 2009Gordan NikolitchThe inspirational leader of the London Symphony Orchestra directedthe RCM String Band and ChamberOrchestra in Haydn, Mozart and Beethoven.

26 January 2009Elliott Carter: A CelebrationThe RCM and pianist-conductor Julian Jacobson celebrated theAmerican composer’s 100th birthdaywith two concerts of his mostimportant chamber works.

28 January 2009The Contemporary PianoInternationally celebrated composer-pianist Rolf Hind visited the RCM for a masterclass and concert ofcontemporary classics alongsidebrand new works by RCM composers.

29 January 2009Bach CantatasAshley Solomon directed the RCMChamber Choir and Baroque Orchestraalongside members of Florilegium inan all-Bach programme at St John’sSmith Square.

FEBRUARY 2009

4 February 2009The Sound of PerfumeThree RCM composers took home£1,000 prizes from this special event,after writing piano works exploring theevocative relationship betweenperfume and music.

14 and 15 February 2009Chilingirian ChamberFest @ RCMResident RCM ensemble theChilingirian Quartet led RCM chamberensembles in a weekend of eventsdedicated to the music of Haydn.

MARCH 2009

5 and 7 March 2009Britten War RequiemAfter a £5 million transformation, theRCM’s concert hall re-opened with aperformance by massed RCMperformers of this monumental workby RCM alumnus Benjamin Britten.

“Listening to these young musiciansI know that the future of theperformance of classical music is invery safe hands.”– Music Web International

John Wilson

La finta giardiniera

Gordan Nikolitch

Rolf Hind

The Sound of Perfume

Britten War Requiem


Alison Murphy

Performan

ce Opp

ortunitie

sL IFE AT THE RCM 22

March to September 2009City of DreamsRCM chamber groups and soloistsparticipated in the PhilharmoniaOrchestra’s celebration of Viennesemusic written between 1900 and 1935.

APRIL 2009

30 March to 2 April 2009London Handel FestivalOur annual collaboration saw singersfrom the RCM International OperaSchool perform alongside professionalmusicians in three full performancesof Handel’s Alessandro

“This annual collaboration between the London Handel Festivaland the RCM has again produced ariveting show.” – The Times

“The Royal College fielded a starteam... This Alessandro was livelier,more engaging, and better sungthan Covent Garden’s Acis andGalatea the next day.”– Opera magazine

22 April 2009RCM Big Band and Jazz EnsembleThe RCM’s two major jazz ensembles entertained crowds in the Britten Theatre.

April to July 2009The Listening GalleryRCM musicians performed in liverecitals at the V&A Museum, whilerecordings of RCM musicians could be heard by thousands of visitors to the galleries.

29 April 2009Film Music ShowcaseStudents on the RCM’s Composition for Screen coursewitnessed screenings of their mostrecent collaborations at a special gala concert.

MAY 2009

7 May 2009Stokowski World PremièreThe RCM Sinfonietta under RobinO’Neill performed the world premièreof an early symphony by thecelebrated RCM alumnus LeopoldStokowski, and current student Alison Murphy performed the IbertFlute Concerto.

“This was a concert of which any orchestra could have beenproud... the RCM’s young playersdirected by Robin O’Neill did aremarkable job.”– Tempo

8 May 2009RCM Percussion ShowcaseDavid Hockings led star RCMpercussionists in a varied programme of original works and special arrangements.

“A fantastic insight into thecreativity and versatility of thissection of the orchestra. Thestudent players displayed highlevels of skill and musicianship, andleft the audience hoping for more ofthe same in the future.”– Music Web International

12 May 2009The Sound of Martinu RCM wind players commemorated the50th anniversary of Martinu’s death.

London Handel Festival

RCM Big Band

The Sound of Martinu


Performance Opportunities

www.rcm.ac.uk 23

15 May 2009New PerspectivesNew music specialist Tim Linesdirected a programme of new works byRCM composers among works byHenze, Takemitsu and Boulez.

JUNE 2009

June to July 2009Rising StarsCadogan Hall once again invited RCM soloists and chamber groups to perform alongside the likes offormer BBC Young Musician of theYear Guy Johnston, in a series ofspecial recitals.

19 and 20 June 2009Esa-Pekka SalonenThe Finnish maestro conducted theRCM Symphony Orchestra in twoperformances of Mahler’s mighty 9th Symphony.

“The string ensemble achieved sucha full-blooded, yet roundedintegration the like of which I’ve notheard in London before...extraordinarily accomplished solowork from winds and brasses...Mahler has never been morevisceral and all-encompassing.Salonen’s debut at the RCM will livelong in the memory.”– Classical Source

21 June 2009Exhibition Road Music DayRCM musicians entertainedthousands of visitors to London’spremier cultural quarter with a full dayof events, climaxing with “The Historyof the Piano.”

21 June 2009Wigmore Hall String ShowcaseRCM alumna Natalie Clein joinedcurrent students and special guestsfor world premières and Brahms’String Sextet.

29 June to 4 JulyA Midsummer Night’s DreamThe RCM International Opera Schoolinvited former RSC director Ian Judgeto direct four performances of themasterpiece by RCM alumnusBenjamin Britten.

“Ian Judge has brought a touch ofraffish magic to Kensington... Thelook of it is top class; how doeseverything else add up? Extremelywell, I’m delighted to report...Utterly magical”– What’s On Stage

30 June 2009RCM SinfoniettaTrumpet student Robin Totterdellperformed the Tomasi TrumpetConcerto, and the orchestral yearcame to a triumphant end withStravinsky’s Firebird Suite.

JULY 2009

July 2009Castleton OperaLorin Maazel invited a dozen RCMinstrumentalists to spend a month athis ranch in West Virginia and toperform under his baton in a series ofBritten operas and orchestral concerts.

“A sparkling production ofBenjamin Britten's comic opera‘Albert Herring’. The orchestralaccompaniment, provided bymusicians from London's RoyalCollege of Music, was spot-onthroughout.”– The Washington Times

“A compelling Turn of the Screw...superb playing by students fromLondon’s Royal College of Music” – The Baltimore Sun

3 July 2009RCM Brass Ensemble with Zone One BrassRCM students joined residentensemble Zone One Brass for acelebration of brass music.

9 July 2009Historical Performance DayAshley Solomon led an intriguing dayexploring performances of Boyce,Haydn and Bach on both modern andperiod instruments.

Esa-Pekka Salonen

A Midsummer Night’s Dream

Castleton Opera


Internationa

l Stude

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L IFE AT THE RCM 24

No matter where you come from, it can be a bit of a shock to the

system when you first arrive, but asInternational & Awards Officer at theRCM, it’s part of my job to help makeyou feel at home here. It’s the staffand other students that make that joban easy one. With 50% of studentsfrom 54 different countries across theglobe, the RCM is truly an internationalmusic community in its own right. The academic and administrative staff come from as far away as NewZealand and as close as the SouthKensington streets.

INTERNATIONAL STUDENTS

Darren Clark International & Awards Officer

”“

Two full-time staff members, myselfand the Student Services Manager,provide advice and support forinternational students across a rangeof practical subjects including; visasand immigration; opening bankaccounts; accommodation; financialadvice or just finding out how you can make the most out of your time at the RCM.

And if you would like to speak to fellowinternational students about what theRCM has to offer, the Students’Association is a lively and activestudent body in the internationalmusic arena.

The RCM’s international studentcommunity is one of its greatestassets and, along with the world-classteaching, is what helps to make theRCM a friendly, exciting and wildlydiverse hub of music-making talent.

For further information about tuitionfees, auditions and English Languagerequirements for overseas applicantssee How to Apply, pages 84-94.


Exchanges www.rcm.ac.uk 25

The RCM has a large number ofstudent exchange opportunities withleading European, American andAustralian music conservatories anduniversities. These provide anopportunity to study at anotherinternational music institution as partof your RCM studies.

The RCM is a member of theERASMUS Lifelong LearningProgramme, a European Unioninitiative that promotes exchange ofknowledge and learning throughoutEurope. As a member the RCMreceives funding in order to offerfinancial support to those studentswho choose to go on an exchangewhilst they are enroled at the College.Erasmus exchanges are for a period of three months. They are available to undergraduate students in Years 3and 4, and to postgraduate studentsin Year 2.

European Exchanges

Amsterdam, Berlin, Brussels,Cologne, The Hague, Helsinki,Karlsruhe, Lyon, Malmö, Oslo,Paris, Prague, Salzburg, Stockholm,Stuttgart, Utrecht and Vienna

American Exchanges

Eastman School of Music,Manhattan School of Music, New England Conservatory

Australian Exchanges

Queensland Conservatorium,Sydney Conservatorium

EXCHANGES

American and Australian exchangesare unfunded and can last from sixmonths up to a full academic year.They are available to undergraduatestudents in Year 3.

Student exchanges are an excellentopportunity for you to get to knowanother city and its culture, to learn ordevelop a new language, and tobenefit from the new perspectivesoffered by a different teacher. Theyalso provide an opportunity to developnew networks and contacts that canhelp advance your future career as amusician. Many past RCM studentswho have been on exchange havegone on to work abroad as a result.


Life Beyon

d the RC

ML IFE BEYOND THE RCM 26

LIFE BEYOND THE RCM

You want to be a professional musician, but whatdo today’s professional musicians actually do? Howhas the life of the musician changed in the last tenor twenty years? How might it change again beforeyou graduate?

At the Royal College of Music, we want to ensureyou are fully prepared for the ever-evolvingprofession which you have chosen. Challengesawait you, but if you start your preparation earlythere’s never been a better time to be a musician.

First-rate musical skills are of primary importancebut to achieve your goals you need to be trulydynamic, making opportunities for yourself,becoming proactive rather than reactive. You needdetermination, passion and great imagination tomake a lasting impression with future employersand potential audiences.

28 The Woodhouse Professional Development Centre - Professional Engagements - Teaching Service - RCM Sparks - Job Opportunities - Professional Skills30 Graduate Careers


Life Beyond the RCM www.rcm.ac.uk 27


LIFE BEYOND THE RCM28

The RCM is a world-leader in careerdevelopment for musicians and ishome to the renowned WoodhouseProfessional Development Centre. We emphasise the need for musiciansto be confident and versatilecommunicators, not just on stage butin everything they do.

Our dedicated team is here to helpyou unlock your potential and becomea distinctive candidate for the manyopportunities that lie ahead. We willadvise you on the basics, guide youthrough a range of opportunities whichmirror the professional world, andencourage you to use your initiative.

The Woodhouse ProfessionalDevelopment Centre offers:

• extensive opportunities toperform, teach and participate inoutreach work

• advice on preparing effectiveCVs, covering letters, biographiesand other essential publicitymaterials

• step-by-step suggestions onplanning your own concerts

• numerous resources anddirectories, enabling you to findout everything you need to knowabout the music profession

• factsheets designed to answeryour most frequently askedquestions

• guidance on self-managementand self employment includingfinance

• seminars, workshops and specialevents giving you a better view ofthe professional landscape

PROFESSIONAL ENGAGEMENTS

Gaining experience and makingcontacts while you are still a studentis crucial to your development as aprofessional musician. TheWoodhouse Professional DevelopmentCentre sources and manages a rangeof external opportunities that offerpractical experience in working as amusician. Engagements include formaland informal concerts in churches,galleries and community centrestogether with live music for a variety ofcorporate events and privatefunctions. Inventive programming,immaculate presentation and a highlyprofessional attitude are all essentialrequirements for musiciansundertaking this work, and the teamguide and support you through thisprocess offering feedback followingeach event.

TEACHING SERVICE

An essential part of many musicians’careers, teaching is widely valuedamong its exponents as animaginative and worthwhile way toshare your musical passion andexpertise with a new generation. TheWoodhouse Professional DevelopmentCentre runs a popular teaching servicewhich matches members of the publicwho want to learn with RCM studentswho are able to teach. Every week wereceive requests for private musicteachers of all types. If you have theskills, commitment and experienceyou can be considered for teachingopportunities as they arise.

THE WOODHOUSE PROFESSIONALDEVELOPMENT CENTRERCM musicians learn about the demands and realities of a fast-changing profession, and areencouraged to respond actively and creatively. In addition to carefully structured programmes ofstudy and performance, there are many opportunities to deepen your knowledge, widen yourexperience, extend your skills and build networks of contacts – all of which ultimately enhanceyour employability.

The Woo

dhou

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men

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www.rcm.ac.uk 29

RCM SPARKS

RCM Sparks is the Royal College ofMusic’s groundbreaking learning andparticipation programme. It providesopportunities for everyone to make orlearn about music at the RCM,regardless of musical ability. Fromweekend workshops for children toholiday courses for teenagers, vocaldays for families to opera matinees forschools, RCM Sparks offers amusically enriching experience for all.

Complementing the RCM mission toprovide professional training at thehighest international level, RCMSparks involves specially tailored andcomprehensive training for students,preparing them for diverse roles theywill undertake as professionals. The aims are to enrich each student’sindividual musicianship andprofessional skills, to cultivate anawareness of social responsibility andto improve long-term employability.

Recent RCM Sparks activities haveincluded:

• Musicians of the Future Scheme –an innovative instrumental projectplacing RCM students in localschools to deliver a bespokeprogramme of instrumental learning.

• Summer Music - a week of activitiesfor 300 young people, runningalongside the BBC Proms

• One Sun One World – RCMperformers joined 1,500 localschool children onstage at the RoyalAlbert Hall for the world première ofthis new musical

• Education projects with:- English Touring Opera- Turtle Key Arts- Brent Education Action Zone- Royal Borough of Kensington and Chelsea

- City of Westminster - English Chamber Orchestra

For more information visitwww.rcm.ac.uk/sparks

JOB OPPORTUNITIES

Our Woodhouse Centre Assistant iscommitted to ensuring that relevantjobs and opportunities in the musicbusiness are featured on ourextensive noticeboards and in ourpopular weekly jobs e-bulletin, bringingopportunities direct to your inboxwhether you are a current student oran RCM graduate.

PROFESSIONAL SKILLS

The Woodhouse ProfessionalDevelopment Centre’s team leadsunits and seminars on the BMusProgramme raising many of the keyissues concerning professionalmusicians. Topics include promotingyourself, applying for work, organisingeffective concerts and planningeducation projects.

The Woodhouse Professional Developm

ent Centre


Grad

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L IFE BEYOND THE RCM30

PLAYING WITH:

Baltimore Chamber OrchestraBBC Concert OrchestraBBC National Orchestra of WalesBBC Philharmonic OrchestraBBC Scottish Symphony OrchestraBBC Symphony OrchestraBelcea String QuartetBirmingham Royal BalletBournemouth Symphony OrchestraBrodsky String QuartetCape Town Philharmonic OrchestraChamber Orchestra of EuropeChilingirian String QuartetCity of Birmingham SymphonyOrchestraEnglish Chamber OrchestraEnglish National Opera OrchestraEnglish Northern PhilharmonicGlyndebourne Touring Opera OrchestraHallé OrchestraHong Kong Philharmonic

Iceland Symphony OrchestraLondon Mozart PlayersLondon Philharmonic OrchestraLondon SinfoniettaLondon Symphony OrchestraMelbourne Symphony OrchestraMusicworksNational Symphony Orchestra ofIrelandNorthern SinfoniaOpera Sinfonica de SevillaOrchestra of the Age of EnlightenmentL’Orchestre de la Suisse RomandePhilharmonia OrchestraQueensland Symphony OrchestraRambert Dance CompanyRoyal Concertgebouw OrchestraRoyal Liverpool PhilharmonicOrchestraRoyal Oman Symphony OrchestraRoyal Opera House OrchestraRoyal Philharmonic OrchestraRoyal Scottish National OrchestraSacconi String QuartetScottish Chamber OrchestraSouthbank SinfoniaSydney Symphony OrchestraSymphony Orchestra of IndiaTrondheim Symphony OrchestraUlster OrchestraWelsh National Opera Orchestra

GRADUATE CAREERS

RCM graduates are leading successful musical careers throughout the world. In fact, according tothe Guardian, Royal College of Music graduates are more likely to enjoy career success thanthose from any other conservatoire. When assessing “career prospects” in 2010 the Guardianrated the RCM not only as the top conservatoire in the UK, but as one of the top three academicinstitutions in the entire country, with 95% of graduates employed in graduate-level work within six months of graduation.

The most popular professions for RCM graduates are performer, composer, teacher, conductor,administrator or musical director (numerous shows in London’s West End are directed by RCMgraduates) – or a combination of all of these. These pages give just a few examples of placeswhere RCM graduates are plying their trade right now.


Graduate Careers www.rcm.ac.uk 31

SINGING WITH:

Bayreuth FestivalBuxton Festival OperaChelsea Opera GroupCity of Birmingham Touring OperaEnglish National OperaEnglish Touring OperaGarsington OperaGlyndebourne Festival OperaGlyndebourne Touring OperaGrange ParkLiceu, BarcelonaLyric Opera, ChicagoThe Metropolitan Opera, New YorkOpera Holland ParkOpéra national de LyonOpera NorthThe Royal Opera, Covent GardenLa Scala, MilanScottish OperaWelsh National Opera

TEACHING AT:

Bath Spa UniversityBirmingham ConservatoireBoston ConservatoryChichester CollegeColchester InstituteGuildhall School of Music & DramaHochschule der Künste, BerlinHong Kong Academy of PerformingArtsImperial College LondonThe Juilliard School, New YorkKing’s College, University of LondonMalaysian Institute of ArtsManhattan School of MusicOpen UniversityQueen Mary College, University ofLondonQueensland ConservatoriumReykjavik College of MusicRoyal Academy of MusicRoyal College of MusicRoyal Northern College of MusicRoyal Scottish Academy of Music &DramaRoyal Welsh College of Music & DramaSydney ConservatoriumTrinity LabanUniversity College, CardiffUniversity of MelbourneUniversity of YorkVictoria College of the Arts, AustraliaYamaha Academy of Arts and Music

WORKING WITH:

Academy of Ancient MusicAskonas Holt LtdBayerische StaatsoperBBCChannel 4Classic fMEden FoundationHarrison/Parrott LtdHazard ChaseITVLos Angeles Philharmonic OrchestraNational Children’s OrchestraNational Youth Orchestra of GreatBritainPriory RecordsRoyal Albert HallRoyal National TheatreThe Sage GatesheadSouthbank CentreStaatstheater KasselWarner Music LtdWigmore HallYamaha Music Ltd


Your time at the RCM is very special. Possibly the most

important person you will be in contact with during your study is

your chosen professor. He or she will act as guide and mentor

during your studies, on hand to help you nurture your talents

and support you through this time of rapid development.

Any Questions?If you have any questions about your study area contact us using the email in the gold band dividing each page.

FACULTIES

34 Keyboard38 Strings42 Woodwind46 Brass50 Percussion52 Vocal Studies 56 RCM International Opera School58 Composition62 Historical Performance

Facu

lties

FACULTIES32


www.rcm.ac.uk 33Faculties


“Fine players need fine instruments, and these the RCM certainlyhas in abundance. But a high quality musical performance,radiating artistry, technique, integrity and depth of stylisticunderstanding, is only obtainable from teaching staff of thehighest level. Our distinguished professorial team will help you

achieve your personal goals in a supportive environment, where you candevelop the skills to be successful in today’s music profession.”

Vanessa Latarche Head of Keyboard

KEYBOARD

ASK THE FACULTY - [email protected]

Keyboa

rdFACULTIES34

KEY FEATURES

• Opportunities to experience tuition

and masterclasses in a variety of

keyboard subjects – Piano,

Fortepiano, Harpsichord, Piano

Accompaniment, Organ and Jazz

• Historical keyboard studies

(see page 63)

• A specialist postgraduate piano

accompaniment programme. Visit

www.rcm.ac.uk/accompaniment

Head of KeyboardVanessa Latarche FRCM, HonARAM, FTCL, LRAM, ARCM

Assistant Head of KeyboardIan Jones BMus ARCM DipRCM

Piano Consultant & TechnicianChris Moulton

PIANO

• Perform and have individual lessonson Steinway grand pianos; the RCMhas the largest collection of Model BSteinways of any British institution

• Take part in concerto opportunitieswith the RCM’s orchestras

• Perform solo recitals in venuesacross London and beyond

• Be part of a faculty that achievesunrivalled success in internationalcompetitions

• Take part in the RCM’s annualfestival of piano music

• Participate in and observemasterclasses with the world’sleading performers and teachers

Prince Consort Professor of PianoBarry Douglas OBE, FRCM

Visiting Professor of PianoJohn Lill CBE, HonDMus, HonDSc, FRCM, FTCL, FLCM

Professors of PianoDmitri Alexeev Postgraduate Dip, Moscow Conservatoire

Andrew Ball BA, FRCM

John Blakely BA HonRCM, ARAM, ARCO

John Byrne Dip Moscow Conservatoire, GRNCM, ARCM, ARAM, DipRAM, PPRNCM

Nigel Clayton BMus, ARCM

Gordon Fergus-Thompson GRSM, ARMCM

Niel Immelman FRCM

Julian Jacobson GRSM, MA, ARCM

Ian Jones BMus, ARCM, DipRCM

Kevin Kenner BMus, MMus, Artist Diploma, Konzertexam

Vanessa Latarche FRCM, HonARAM, FTCL, LRAM, ARCM

Leon McCawley BMus (Curtis Institute),ARCM Hons

Ruth Nye Performance Dip. Melbourne, FRCM

Dina Parakhina Masters Diploma, Postgraduate Diploma (Moscow Tchaikovsky Conservatoire)

Edna Stern Solisten Dip. Basel

Kathron Sturrock ARCM

David Ward ARCM, LRAM

Ashley Wass BMus, PGDip, ARAM

Andrew Zolinsky Dip. RCM (Performance), Dip. RCM (Teaching)

PIANO ACCOMPANIMENT

Prince Consort Professor of PianoAccompanimentRoger Vignoles BA, MusB, FRCM, HonRAM

Professors of Piano AccompanimentAndrew Ball BA, FRCM

John Blakely BA, HonRCM, ARAM, ARCO

Elizabeth Burley ARCM, Orchestral piano specialist

Nigel Clayton BMus, ARCM

Julian Jacobson GRSM, MA, ARCM

Simon Lepper MA (Cantab), LRAM, DipRAM, ARAM

Kathron Sturrock ARCM

David Ward ARCM, LRAM

JAZZ PIANO

Michael Moran GRSM (Lond), ARCM


Keyboard www.rcm.ac.uk 35

ORGAN

• Students have access to the RCM’sselection of mechanical actioninstruments, including a 34-stopthree-manual organ by JW Walker

• Students can perform and havelessons on organs outside the RCM,including at the Royal Albert Halland on the new Flentrop organ inChrist Church, Chelsea

• RCM professors hold positions inimportant churches including FarmStreet Church in London, and StSulpice in Paris, as well asdistinguished internationalperforming and recording careers

• Regular study trips abroad arearranged to France, Germany andthe Netherlands

• Training within the core BMusprogramme encompassespreparation for the diplomas of theRoyal College of Organists

• Opportunities exist to work with theRCM Chamber Choir and take partin ensemble activities includingcontinuo playing

• Many students hold organscholarships while studying, forexample, at Westminster Abbey,Royal Hospital Chelsea, ChapelRoyal Hampton Court, SouthwarkCathedral, St Martin-in-the-Fields,Farm Street Church and othersignificant churches in and around London

Prince Consort Professor of OrganDame Gillian Weir DBE, HonDMus, HonFRCO, FRCM

Professors of OrganSophie-Véronique Cauchefer-ChoplinDeux PREMIER PRIX in interpretation, improvisation, harmony, counterpoint CNSMP (Conservatoire National Supérieur de Musique de Pau)

David Graham BMus, ARCM, ARCO - Professor in charge of organ

Margaret Phillips GRSM, FRCO, ARCM

ImprovisationSophie-Véronique Cauchefer-ChoplinDeux PREMIER PRIX in interpretation, improvisation, harmony, counterpoint CNSMP (Conservatoire National Supérieur de Musique de Pau)

David Graham BMus, ARCM, ARCO

Supporting studiesIan Curror GRSM, FRCO(ChM), ARCM -

Accompaniment

Andrew McCrea BMus, MMus, ARCM, ARCO

ALUMNI

CELEBRATED ALUMNI INCLUDE...

PIANOClifford BensonMalcolm BinnsBarry DouglasMegumi FujitaPeter JablonskiAndrei KorobeinikovJohn LenehanJohn LillMalcolm MartineauAlexander RomanovskyHoward ShelleyKathryn StottMelvyn TanRoger Vignoles

HARPSICHORDJane ChapmanSophie Yates

ORGANNicholas DanbyPeter HurfordNicholas KynastonWayne MarshallJane Parker-SmithGordon StewartThomas TrotterJane WattsDame Gillian Weir

Dame Fanny Waterman


Keyboa

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HARPSICHORD AND FORTEPIANO

• Students are offered individualtuition on outstanding earlykeyboard instruments. Theseinclude a fortepiano by Paul McNultyafter Walter; a newly commissionedsix and half octave fortepiano byDavid Winston after Schott (1825);copies of French, Flemish, Germanand Italian harpsichords by MichaelJohnson, David Rubio and DenzilWraight; a newly commissioned copyof ‘Queen Elizabeth’s Virginals’c1570 (V&A Collection) by AlanGotto; a continuo organ by VincentWoodstock; and a clavichord byDerek Adlam

• Students are given figured bass andcontinuo lessons

• Extensive continuo opportunitiesaccompanying soloists, in chamberensembles, and with the BaroqueOrchestra are available

• Opportunities are provided to studyin the unique RCM Museum ofInstruments. This importantcollection includes a copy of theearliest surviving stringed keyboardinstrument, harpsichords by Kirkman and Weber, and grandpianos by Broadwood and Bertsche(see page 19)

Visiting Professor of HarpsichordKenneth Gilbert FRCM

Professors of HarpsichordJane Chapman BA, HonRCM, ARCM

Terence Charlston MMus, MA, FRCO, ARAM

Robert Woolley GRSM, ARCM

Visiting Professors of FortepianoGary Cooper BA, FRCO

David Owen Norris MA, FRAM, FRCO

Professors of FortepianoGeoffrey Govier DMA, MFA, MMus, GRSM, ARCM, LTCL

David Ward ARCM, LRAM - Professor in charge of fortepiano

GRADUATE DESTINATIONS

• RCM graduate pianists are

performing concertos with major

orchestras world-wide, and giving

solo recitals at the world’s

leading festivals

• A number of piano alumni are chosen

to take part in the Park Lane Group

Series at the Southbank Centre

each year

• A number of pianists have

signed exclusive CD contracts with

record labels including Decca and

Sony BMG

• RCM graduate organists hold key

full-time posts at churches and

cathedrals, including St. Paul’s

Cathedral.

Murray Perahia



KeyboardKeyboard www.rcm.ac.uk 37

HIGHLIGHTS INCLUDE...

• Masterclasses with high-profile

visitors including world-renowned

pianist Murray Perahia

• Concerto opportunities with RCM

orchestras, working with conductors

such as Vladimir Ashkenazy and

Vladimir Jurowski

• A six-day trip for student organists to

Paris, including masterclasses at the

church of St. Sulpice

• Prize wins for a number of piano

students at 2009 International Piano

Competitions, including First and

Sixth Prize at Leeds International

Piano Competition; First Prize at the

Dudley International Piano

Competition; First Prize at the Norah

Sande Awards, First Prize at the

Intercollegiate Sheepdrove

Competition and First Prize at the

Scriabin Competition, Grosetto, Italy.

POOM’S STORY...

Poom is a third year student on the Bachelor of Music degreeprogramme and was granted a full scholarship by HRHPrincess Galyani Vadhana and the RCM.

“We have no excuse not to feel inspired at the Royal College of Music. Itis not only one of the best music conservatoires in the world but also hasa great atmosphere for learning and an excellent piano faculty in whichwe can develop our talent to the full. Moreover, students here havewonderful opportunities for working with international musicians andattending masterclasses.

The RCM provides regular performance opportunities for pianists inlunchtime concerts and faculty classes, as well as occasional orchestralwork. There are excellent opportunities for RCM students to perform invenues across London and beyond, such as Cadogan Hall, St Martin-in-the-Fields and Steinway Hall, through recitals provided by the WoodhouseProfessional Development Centre.

There are many great activities for us to do within London; it is aninternational city where you can always meet wonderful musicians, makegreat friends, easily form ensembles, and share music and talent.”

Poom Prommachart

STUDENT CASE STUDY


Strin

gsFACULTIES38

“No matter which area of performance you choose, we’llhelp you be the best: unlimited chamber coaching withinternational quartets and chamber musicians;performing with conductors such as Bernard Haitink andVladimir Jurowski; and lessons with international

professors. Be part of the vibrant musical family that is the StringsFaculty; tap into creativity and be transformed as a musician.”

Mark Messenger Head of Strings

STRINGS

KEY FEATURES

• An innovative course that combines

instrumental training of the highest

calibre with the skills needed to fulfil

your professional potential

• Leading world-class professors whose

students have a proven record of

competition and professional success

• Opportunities for string players to

form and perform in their own

chamber groups, with unlimited

coaching from and performances by

the RCM’s resident Chilingirian and

Sacconi Quartets

• Unparalleled orchestral experience

with links to the profession and major

London orchestras, and opportunities

to perform with international

conductors

• Earn while you learn through the

varied job opportunities available to

RCM students

• On-site workshop and luthier

providing maintenance and repairs,

together with rehair facilities and

practical advice

• Violin, viola and cello students work

with professional accompanists to

help develop duo skills

• Double bass, harp and guitar

students receive specially tailored

ensemble opportunities with expert

practitioners

Head of StringsMark Messenger FRCM, LRAM, ARAM

Assistant Head of StringsGary Ryan GRSM Hons, LRAM, LGSM Hons,

HonARAM

Ensembles in ResidenceChilingirian Quartet

Sacconi Quartet

Resident LuthierDavid Hume AGSM

Consultant LuthierCharles Beare HonRCM

VIOLIN

Visiting Professors of ViolinPeter Herresthal Visiting Professor in

Contemporary String Music

Lewis Kaplan BS, MS, The Julliard School

Professors of ViolinFelix Andrievsky FRCM, Dip and Dip Solo Performance, Gnessin Musical Institute

Radu Blidar LMD, Romenie, France, Austrie

Natalia Boyarsky Dip and Dip Solo Performance, Gnessin Musical Institute

Levon Chilingirian DMus, FRCM

Dona Lee Croft MMus, HonRCM

Lutsia Ibragimova

Berent Korfker

Adrian Levine ARAM, FRSA

Mark Messenger FRCM, LRAM, ARAM

Susie Mészáros

Madeleine Mitchell MMus (Eastman USA), GRSM, ARCM, FRSA

Gordan Nikolitch

Maciej Rakowski MA, Dip Solo Performance

Itzhak Rashkovsky MMus, BMus, FRCM

Jan Repko

Ani Schnarch ARCM, Artist Dip Hons (Tel Aviv Music Academy)

Maureen Smith HonARAM

Yuri Zhislin ARCM, Dip Hons

Yossi Zivoni FRCM, FRNCM, graduate (Tel Aviv Music Academy and Conservatoire Royal

de Bruxelles)



Strings www.rcm.ac.uk 39

JAZZ VIOLIN / VIOLA

Christian Garrick

VIOLA

Visiting Professor of ViolaLawrence Power

Professors of ViolaJonathan Barritt

Ian Jewel ARCM, HonARAM

Susie Mészáros

Simon Rowland-Jones

Andriy Viytovych Concert Artists Diploma

Katie Wilkinson DipRCM(perf), ARCM

VIOLONCELLO

Visiting Professors of VioloncelloNatalie Clein

Bernard Greenhouse

Professors of VioloncelloAlastair Blayden DipRCM(perf), DipRCM(teaching)

Alexander Boyarsky Dip and Dip Solo Performance, Gnessin Musical Institute

Thomas Carroll

Alexander Chaushian

Hélène Dautry

Richard Lester

Alice Neary

Melissa Phelps ARCM

Amanda Truelove ARCM, DipRCM(perf),

Konzertexamen Diplom, Dusseldorf

DOUBLE BASS

Visiting Professor of Double BassPaul Ellison

Professors of Double BassPeter Buckoke HonRCM, ARCM

Caroline Emery GTCL, LTCL, CertEd, HonRCM

Anthony Hougham LTCL, GTCL

Thomas Martin

Enno Senft DipMus Cologne/Vienna

Neil Tarlton

HARP

Visiting Professor of HarpMarisa Robles

Professors of HarpDaphne Boden ARCM, FRCM, HonARAM, Premier Prix, Conservatoire Royal de

Bruxelles, FRSA

Ieuan Jones DipRCM

Rachel Masters ARCM


QUARTETSBelcea QuartetChilingirian QuartetSacconi Quartet

VIOLINHugh BeanLevon ChilingirianAndrew HaveronDaniel HopeAlina IbragimovaVictoria Lyon (Escala)Vanessa MaeSir Neville MarrinerPeter OundjianVasko VassilevTamsin Waley-Cohen

VIOLACecil AronowitzRoger ChaseSimon Rowland-JonesChristopher Wellington

CELLONatalie CleinEileen CroxfordJoan DicksonAmaryllis FlemingJulian Lloyd WebberAnna Shuttleworth

GUITARJulian BreamJohn Williams

HARPClaire JonesRachel Masters

ALUMNI


GUITAR

Visiting Professor of GuitarJohn Williams

Professors of GuitarCarlos Bonell HonRCM

Charles Ramirez ARCM

Gary Ryan GRSM Hons, LRAM, LGSM Hons, HonARAM

Chris Stell

JAZZ GUITAR

Milton Mermikides


In addition to appearing around theworld as soloists, on stage with rockbands and in Hollywood recordingstudios, String Faculty alumni alsocurrently hold key positions at anumber of leading orchestras, including:

• Leader and Joint Leader, BBC

Symphony Orchestra

• Permanent Guest Leader, Hallé

Orchestra

• Leader and Joint Leader, Orchestra of

the Age of Enlightenment

• Concert Master, Philharmonia

Orchestra

• Principal Violin, London Sinfonietta

• Principal Viola, Orchestra of the Royal

Opera House, Covent Garden

• Sub-principal Cello, London

Symphony Orchesta

• Principal Double Bass, London

Philharmonic Orchestra

Strin

gsFACULTIES40



STUDENT CASE STUDY

Strings www.rcm.ac.uk 41

HIGHLIGHTS INCLUDE…


visitors including cellist Natalie Clein,

violinist Pinchas Zukerman, violinist

and conductor Franco Mezzena,

violist Lawrence Power and cellist

Raphael Wallfisch

• A performance by the RCM String

Band under the baton of Vladimir

Jurowski at the Queen Elizabeth Hall,

with first year students just eight

weeks into their studies at the RCM

• Visits by world-renowned violinist and

conductor Gordan Nikolitch in 2009

and 2010 to lead the RCM Chamber

Orchestra and String Band in rousing

performances of Beethoven’s 2nd

Symphony and Mendelssohn’s

‘Scottish’ Symphony

• Concerts by String Faculty members

at leading London venues including

the Wigmore Hall, Southbank

Centre, St-Martin-in-the-Fields and

Cadogan Hall

• The annual “RCM String Player

of the Year” competition at Cadogan

Hall, with the winner receiving a

concerto performance with a

professional orchestra

• RCM soloists and string quartets

winning intercollegiate competitions

and national prizes

• RCM performers taking part in the

Chilingirian Quartet’s annual

chamber music festival

ANNA’S STORY...

Anna Blackmur is a fourth year undergraduate student at theRCM studying with Maciej Rakowski. She has regularlyenjoyed leading, co-leading and playing principal 2nd for theRCM Symphony, Sinfonietta and Opera orchestras.

“RCM’s international reputation attracts some of the world’s leadingprofessors and performers, so any student has an exciting choice ofmentor. I have huge respect for my violin teacher, as an instrumentalist,and because of his superb teaching skills. I relish the exacting intensity ofmy lessons, and he never fails to motivate and energise my playing, withhis power and drive.

Unlimited chamber coaching and brilliant support from the String Facultyinspires me to work hard, too. Academic music is taken seriously as well,with a choice through the wider spectrum of subjects, to provide us with agood foundation as multi-faceted musicians. If you want to perform as aviolinist, the possibilities are boundless. There are regular formal andinformal opportunities for solo and chamber musicians, includingperformance classes and lunchtime and evening concerts. Of course thereare regular orchestral projects, often with distinguished internationalguest conductors, some of the best in the world.

London is the best city to study as a musician, but it is not cheap, andmost of us need to subsidise our student loans! At the RCM we are luckyin having the unique, expert help from the Woodhouse ProfessionalDevelopment Centre, in negotiating our external professionalengagements. Whether performing, teaching, or outreach work… we are offered the pick of an endless number of jobs. On leaving College,too, we all need help in understanding the right way to launch ourprofessional careers, and the Woodhouse Professional DevelopmentCentre is always there for us.“

Anna Blackmur

STUDENT CASE STUDY


“The RCM Woodwind Faculty boasts an unrivalled roster ofprofessors, who combine careers as eminent performers andpassionately dedicated teachers. With training of this kind vital inshaping you for your future career, the opportunity to play inorchestras and ensembles is open to everyone, from the moment

you enter the RCM as a first year undergraduate, right through to graduation.The RCM has two symphony orchestras allowing progression through anunparalleled orchestral experience with strong links to the profession andopportunities to perform with international conductors.”

Simon Channing Head of Woodwind

WOODWIND

KEY FEATURES

• Faculty members include principal

players in major orchestras as well as

soloists and members of well-known

ensembles

• Regular faculty performance classes

give you the opportunity to develop

your solo playing

• Masterclasses are given by

distinguished visiting international

musicians

• High-profile chamber music

opportunities are coached by a

professor of your own choice

• The RCM Wind Ensemble performs

frequently in College and at concert

halls in London

• Concerto trials are held each term,

allowing students to compete for a

concerto with a College orchestra in

the following term

Head of WoodwindSimon Channing BA, ARCM

Visiting Professor of FlutePaul Edmund Davies ARCM, AGSM **

Visiting Professor of Cor AnglaisChristine Pendrill ****

Visiting Professor of ClarinetPascal Moragues

Visiting Professor of RecorderWalter van Hauwe

FLUTE

Katie Bedford BMus, PGDip RCM

Simon Channing BA, ARCM

Jaime Martin ***

Susan Milan FRCM

Sue Thomas DipRAM, BMus, PPRNCM, GRNCM ***

Jazz FluteAndy Panayi

Piccolo (Second or Related Study only)

Stewart McIlwham ***

Kathleen Stevenson *

Baroque FluteLisa Beznosiuk HonRCM, GGSM +++++

Rachel Brown

RECORDER

Julien Feltrin

Ashley Solomon ARAM, HonRCM

OBOE

John Anderson ARCM +

Christopher Cowie DipRCM(perf) **

Gareth Hulse MA, ARCM +++

David Theodore FRAM, FGSM

Cor Anglais (Second or Related Study only)

Jane Marshall AGSM

Imogen Smith BMus, ARCM *

Baroque and Classical OboeGail Hennessy

Anthony Robson +++++

CLARINET

Peter Davis BA, LRAM, ARCM *

Robert Hill ARCM, ARAM ***

Janet Hilton FRCM, ARMCM

Richard Hosford ARCM, DipRCM(perf) *

Timothy Lines ARCM, DipRCM

Barnaby Robson AGSM **

E Flat Clarinet (Second or Related Study only)

Peter Davis BA, ARCM, LRAM *

Timothy Lines ARCM, DipRCM

Bass Clarinet (Second or Related Study only)

Michael Harris ARCM

Paul Richards GRSM ***

Classical ClarinetColin Lawson MA(Oxon), MA, PhD, DMus, FRCM, FRNCM, FLCM

Woo

dwind

FACULTIES42



SAXOPHONE

Kyle Horch BMus, MMus

Martin Robertson ARCM, DipRCM

BASSOON

Sarah Burnett DipRAM, MA, LRAM ++++

Andrea di Flamineis ++

Martin Gatt HonFGSM, ARCM, FRCM

Nicholas Hunka ARCM

Robin Kennard ARCM, AGSM

Julie Price *

Contabassoon (Second or Related Study only)

Martin Field ++

Nicholas Hunka ARCM

Baroque BassoonJane Gower

www.rcm.ac.uk 43Woodw

ind


FluteJames Galway

OboeEvelyn BarbirolliLeon Goossens

ClarinetMichael CollinsDame Thea KingGervase de PeyerFrederic Thurston

BassoonRoger BirnstinglArchie Camden

SaxophoneJohn Harle

ALUMNI

WOODWIND PROFESSORS ARE CURRENTLY PLAYING WITH…

BBC Symphony Orchestra *

Philharmonia Orchestra**

London Philharmonic Orchestra ***

London Symphony Orchestra ****

Royal Philharmonic Orchestra +

Orchestra of the Royal Opera

House, Covent Garden ++

London Sinfonietta +++

Britten Sinfonia ++++

Orchestra of the Age of

Enlightenment +++++



Woodwind alumni currently occupy thefollowing positions:

• Principal Flute, English National

Opera

• Principal Flute, Frankfurt Radio

Symphony Orchestra

• Principal and Second Flutes,

Orquesta Sinfónica de Galicia

• Principal Flute, RTE Concert

Orchestra

• Principal Oboe, Hong Kong

Philharmonic

• Principal Oboe, Hong Kong

Sinfonietta

• Principal Clarinet, Scottish Chamber

Orchestra

• Principal Clarinet, Hong Kong

Sinfonietta

• Sub-principal Clarinet, Northern

Sinfonia

• Contrabassoon, Royal Liverpool


• Contrabassoon, Hong Kong

Philharmonic

Woo

dwind

FACULTIES44




• Gold medals for two woodwind

students at the Royal Over-Seas

League Competition

• International masterclasses with

high-profile visitors including

Sir James Galway, Pascal Moragues,

Jonathan Kelly, Frederick Hemke

• A series of masterclasses with

principals from the Cleveland

Orchestra held using the RCM’s

videoconferencing facilities.

• Newly commissioned works for the

RCM Wind Ensemble.

Woodw

ind www.rcm.ac.uk 45

BEN’S STORY...

Ben MacDougall is an Associated Board Scholar at the RCMand the winner of the RCM Senior Woodwind Competition andthe All Flutes Plus Flute Prize, 2009. He is in the final year ofhis undergraduate studies. In the summer of 2007, he wasselected as one of nine finalists on BBC2’s classical musicshow, Classical Star, subsequently playing recitals inmainland Europe (as well as the UK), and makingappearances on both radio and in the national press. Notcontent with playing exclusively other people’s work, Ben alsocomposes and performs his own material, and is currently indiscussions with publishers.

“The teachers here at College are absolutely fantastic and veryprofessional. Whether you’re an instrumentalist, conductor or composer,there’s always someone to answer your questions and to help with anyproblems. As a flautist and composer here at the RCM I have only everfound the teaching to be informative, adaptable, and extremely personal.

Performance here is extremely important, and opportunities are alwaysvery well received. As well as many orchestral projects there are also arange of solo opportunities. As a flautist, the RCM has given me thechance to play all over the UK and overseas – I’m looking forward toperforming again in the USA this summer – I can’t wait!

The RCM’s Woodhouse Professional Development Centre is a valuableasset for students here at the College. It gives students another outlet tofind both work and experience whilst they’re studying. The staff arealways supportive of extra-curricular activities, and completely underpinthe idea that we are already in the profession from the moment we walkthrough the doors.”

Benjamin MacDougall

STUDENT CASE STUDY


“As a member of the Brass Faculty, you’ll enjoy an environmentthat enables you to recognise your full ability as a performingmusician. You’ll receive a challenging but carefully structuredprogramme of study and performance with particular emphasis on identifying and unlocking of individual potential.”

Nigel Black Head of Brass

BRASS

KEY FEATURES

• Regular performance and ensemble

classes

• Faculty masterclasses with


musicians

• High-profile chamber music

opportunities, coached by a professor

of your own choice

• Brass Faculty staff hold principal

positions in the Philharmonia

Orchestra, BBC Symphony Orchestra,

London Symphony Orchestra, London

Philharmonic, London Sinfonietta,

Academy of St Martin-in-the-Fields,

London Brass, English Baroque

Soloists, English Concert, His

Majesty’s Sackbuts & Cornetts,

Orchestra of the Age of

Enlightenment, Orchestra of the

Royal Opera House, Covent Garden

and Orchestre Révolutionnaire et

Romantique

Head of Brass

Nigel Black

Prince Consort Professor of Trumpet

Håkan Hardenberger

Prince Consort Professor ofTrombone

Christian Lindberg Principal Conductor,Norwegian Arctic Philharmonic Orchestra

Ensemble in Residence

London Brass

Brass Band in Residence

Zone One Brass

Brass

FACULTIES46



HORN

Julian Baker HonRCM Former Principal Horn, Orchestra of the Royal Opera House, Covent Garden

Nigel Black Principal Horn, Philharmonia Orchestra

Timothy Brown BA, HonRCM Former Principal Horn, BBC Symphony Orchestra

Philip Eastop ARAM Former Principal Horn, London Sinfonietta

Timothy Jones Principal Horn, London Symphony Orchestra

Simon Rayner ARCM Principal Horn, Orchestra of the Royal Opera House, Covent Garden

NATURAL HORN

Susan Dent ARCM, DipRCM Principal Horn,Orchestra Revolutionnaire et Romantique and Principal Horn, English Baroque Soloists

TRUMPET

Ian Balmain Principal Trumpet, Orchestra of the Royal Opera House, Covent Garden

Paul Beniston BA, MMus, FTCL, ARCM Principal Trumpet, London Philharmonic Orchestra

Andrew Crowley ARCM Principal Trumpet, English Chamber Orchestra

Michael Laird FRCM Visiting Professor

Alistair Mackie Principal Trumpet, Philharmonia Orchestra

Alan Thomas Principal Trumpet, City of Birmingham Symphony Orchestra

JAZZ TRUMPET (Second or Related Study only)

Martin Shaw GRSM, LRAM

LEAD TRUMPET (Second or Related Study only)

Mike Lovatt GTCL, LTCL Lead Trumpet, John Wilson Orchestra, Back to Basie Big Band and The Jay Craig Orchestra

NATURAL TRUMPET

Neil Brough ARCM

TENOR TROMBONE

Byron Fulcher GGSM Principal Trombone, Philharmonia Orchestra

Roger Harvey MA Oxon Co-Principal Trombone, BBC Symphony Orchestra

Graham Lee AGSM Principal Trombone, Royal Philharmonic Orchestra

Lindsay Shilling ARCM Principal Trombone, Orchestra of the Royal Opera House,Covent Garden

Brass www.rcm.ac.uk 47

BASS TROMBONE

Peter Harvey ARCM

David Stewart GGSM

JAZZ TROMBONE

(Second or Related Study only)

Richard Edwards Member, London Brass

LEAD TROMBONE

(Second or Related Study only)

Richard Edwards Member, London Brass


TUBA AND CIMBASSO

Owen Slade Member, London Brass and former member, London Philharmonic Orchestra

Eleftherios Tsarmaklis Principal Tuba, London Philharmonic Orchestra

EUPHONIUM

Andrew Fawbert HonBC, ABSM Former member, BBC Radio Orchestra and

Big Band


Graduates of the Brass Facultycurrently hold the following positions:

• Principal Horn, Philharmonia

Orchestra

• Principal Horn, Orchestra of the Royal

Opera House, Covent Garden

• Principal Horn, English National

Opera

• Principal Horn, Northern Sinfonia

• Principal Trumpet, Orchestra of the


• Principal Trumpet, City of

Birmingham Symphony Orchestra

• Co-Principal Trumpet, BBC Symphony

Orchestra

• Principal Trombone, Orchestra of the


• Principal Trombone, BBC Concert

Orchestra

• Principal Trombone, Opera North

• Tuba, Ulster Orchestra

Brass

FACULTIES48


Marvin Stamm



• The RCM Big Band took part in a

masterclass, open rehearsal and

performance with legendary

American trumpeter Marvin Stamm

• Ensemble in Residence Zone One

Brass finished 12th in the National

Brass Band Championships at the

Royal Albert Hall

• RCM Brass players joined the BBC

Symphony Orchestra for the BBC

Proms rehearsals, as part of the sit-in

scheme for postgraduate students on

the specialist orchestral pathway.

Each participating student on the

pathway is assigned a mentor from

the BBC SO and sits alongside them

in rehearsals throughout the year

• The faculty hosted a number of

masterclasses with high-profile

visitors including Jörgen van Rijen

(Principal Trombone, Concertgebouw

Orchestra, Amsterdam) and world-

renowned Italian horn player

Alessio Allegrini

• Esa-Pekka Salonen, Principal

Conductor and Artistic Advisor of the

Philharmonia Orchestra, conducted

two performances by the RCM

Symphony Orchestra, and singled out

the brass players for special praise

• Winner of the RCM’s Concerto

Competition, trumpeter Robin

Totterdell performed Tomasi’s

Trumpet Concerto

Brass www.rcm.ac.uk 49

MATT’S STORY...

Matthew Gee left the RCM in 2005 to take up the PrincipalTrombone position with the Orchestra of Scottish Operawhere he remained for nearly four years. He is currentlyPrincipal Trombone with the orchestra of Opera North andPrincipal Trombone with the Royal Philharmonic Orchestra. He has worked with orchestras all over the world including theVienne Philharmonic Orchestra, and is a founder member ofthe award-winning Lancia Brass Quintet, who have performed inthe Wigmore Hall, the Purcell Room, and live on Radio 3.

“Having come from a redbrick university with good, but limited,performance opportunities, I was keen to discover exactly what theRCM could offer. I was not disappointed; only two weeks into term Ifound myself playing Mahler’s second symphony with Bernard Haitink!The RCM has what is in my opinion the finest orchestral trainingscheme in the UK; numerous orchestras rehearse throughout the year,conducted by students, alumni such as the exceptional John Wilsonand the likes of Bernard Haitink.

I chose the orchestral performance module which included 10 lessons with someone outside the RCM. This allowed me to forgeimportant working relationships which were invaluable upongraduating. I found the Brass Faculty a very friendly place to work.Students were always eager to play, practise and socialise together,creating an atmosphere that really brings the best out of each other as both musicians and people.”

Matthew Gee

STUDENT CASE STUDY


“The Percussion Faculty currently boasts 27 former students inthe UK’s leading orchestras. Although the backbone of teachingstill has an orchestral bias, today’s training covers all aspects ofpercussion activity, enabling you to enter the profession equippedwith the musical tools of the trade.”

David Hockings Head of Percussion

PERCUSSION

Percussion

DESTINATIONS 50

KEY FEATURES

• A vibrant faculty encompassing world

percussion alongside the orchestral

repertoire

• A purpose-built percussion suite

• A new specialist postgraduate

solo marimba programme – the

first of its kind in the UK. Visit

www.rcm.ac.uk/marimbafor details

• Regular faculty performance classes

where every student participates at

least twice a term

• Regular lessons for all first and

second year undergraduates on solo

marimba, jazz vibraphone, latin

percussion and drum kit, in addition

to timpani and percussion

• The first conservatoire in the

UK to have an American

Drumline ensemble

Head of Percussion

David Hockings Principal Percussionist, BBC Symphony Orchestra and London Sinfonietta

TIMPANI

Matt Perry MA, DipRCM Principal Timpani, Royal Philharmonic Orchestra

Andrew Smith LRAM, ARCM Principal Timpanist, Philharmonia Orchestra

PERCUSSION

Alex Neal GRSM(Hons), DipRCM Co-Principal Percussionist, BBC Symphony Orchestra

Michael Skinner HonRCM, BSc(Hons), FRSA Principal Percussionist, Orchestraof the Royal Opera House, Covent Garden (1973-2004)

Sam Walton BMus(Hons), LRAM, ARAM

JAZZ VIBRAPHONE

Anthony Kerr

DRUM KIT

Ralph Salmins AGSM

LATIN PERCUSSION

Hugh Wilkinson BMus(Hons) RCM

MARIMBA

Daniella Ganeva LGSM


• Percussion alumni hold key

positions in major orchestras and

bands including Principal Timpani,

Principal Percussion and Co-Principal

Percussion with the BBC Symphony

Orchestra, London Symphony

Orchestra and London


• RCM graduates are achieving solo

success worldwide. For example,

2003 graduates Owen Gunnell and

Oliver Cox have achieved critical

acclaim and commercial success as

O Duo. They have performed

concertos with the BBC Philharmonic,

London Philharmonic and

Philharmonia Orchestras, worked at

Abbey Road and Sony studios on

television and film scores, and

broadcast on BBC Radio 3 and

BBC TV

• Many Percussion graduates also go

on to achieve successful freelance

careers as orchestral and session

players across the globe



OLIVER’S STORY...

Oliver Lowe is currently in the third year of his BMus. He wasrecently one of 12 RCM musicians flown out to WashingtonDC to perform for legendary maestro Lorin Maazel at theChateauville Foundation Castleton Festival.

“On arriving at the Royal College of Music I was immediately overwhelmedby the enthusiasm of the students around me - it didn’t take me long todelve into George Crumb’s Music for a Summer’s Evening with a fellowpercussionist and two pianists, and the performance opportunities justkept on coming! Now in my third year, I am still enjoying organising myown projects with other students.

Performing chamber works with the full support and help from the staff ofindustry experts has proved to be an invaluable experience for me, but ifchamber music isn’t your thing, the RCM has you covered, catering forsoloists and orchestral musicians alike with hundreds of performanceopportunities both within the College and externally.

The Woodhouse Professional Development Centre at the RCM has been agreat resource in providing many such opportunities for me, enabling meto play concerts at such prestigious venues as Cadogan Hall and StJohn’s, Smith Square.

Headed by David Hockings, the Percussion Faculty provides in-depthaccess to a large variety of different styles of music with regular teachingon Drum Kit, Latin Percussion, Marimba, Jazz Vibraphone and Timpani.We are also privileged to receive masterclasses from specialists in variousfields which give a great insight into all the possible paths one can take asa percussionist and allows one to get at least a basic technique on mostof the instruments you’d ever come across in the professional world.

There are many reasons why I have chosen to study at the RCM: thePercussion Faculty is a vibrant community in itself, inter-departmentalcollaborations are encouraged, there are great relationships betweenteaching staff and students, and there is an extremely high level ofmusicianship, achieved and expected, across the board!”

Percussion www.rcm.ac.uk 51

STUDENT CASE STUDY



visitors including Mark Ford,

Gary Husband and Nick Woud

(Principal Timpanist, Royal

Concertgebouw Orchestra)

• The Percussion Showcase – an

annual event featuring the entire

Percussion Faculty performing a

mixture of classic and commissioned

percussion works

• The selection of timpani student

Owain Williams from over 3,000

auditionees to perform at Carnegie

Hall as part of the YouTube Orchestra

Oliver Lowe


“The Vocal Faculty's reputation for producing outstanding internationalartists is unsurpassed. We foster a supportive environment whichencourages individual excellence and self-expression. Our goal is toequip emerging artists with the vocal and interpretative skills requiredfor a successful singing career. As a faculty we are proud of our

current and former successes using this as a spur to provide our singers withrelevant and innovative training in a flexible and ever-changing artistic landscape.”

Nicholas Sears Head of Vocal Studies

VOCAL STUDIES INCORPORATING THE RCM INTERNATIONAL OPERA SCHOOL

KEY FEATURES

• Masterclasses given by international

artists, together with coaching from

repetiteurs from London’s world-

renowned opera houses

• Individually-tailored vocal and artistic

projects led by outstanding artists

and innovative practitioners

• Courses include a two-year

specialist Artist Diploma in Opera

programme based in the exquisite

and professionally-equipped

Britten Theatre

• Three fully-staged operatic

productions per year, including one in

collaboration with the London Handel

Festival, which are attended by

international press and agents

• RCM singers currently enjoy

outstanding success, many making

impressive débuts in the main

international opera houses and

musical centres and securing

recording contracts with major

international labels

Head of Vocal StudiesNicholas Sears MA

Prince Consort Professor of OperaSir Thomas Allen CBE, HonMA, HonDMus,

FRCM

Prince Consort Professors of SingingPhilip Langridge CBE, FRCM, FRAM

Sarah Walker CBE, FRCM, FGSM, LRAM

Honorary Vocal Consultant forAustralasiaJoseph Ward OBE

Visiting ProfessorsMichael Chance

Sarah Connolly CBE, FRCM

Jeanette Favaro-Reuter

Gerald Finley FRCM

Peter Harvey MA

Dame Kiri Te Kanawa DBE

Dame Emma Kirkby OBE, FRCM

Patricia MacMahon FRSAMD

Jane Manning OBE, FRCM

Donald Maxwell

James Oxley

Voca

l Studies

FACULTIES52



ProfessorsRobin Blaze BMus, DipRCM

Graeme Broadbent DipRCM, Diplomé Moscow Conservatoire

Sally Burgess ARCM

Roderick Earle MA

Tim Evans-Jones

Eiddwen Harrhy FRWCMD, ARNCM, FRSA

Janis Kelly DRSAMD

Justin Lavender AGSM

Kathleen Livingstone HonRCM, DipMusEdRSAMD, DRSAMD

Rosa Mannion

Derek Lee Ragin

Stephen Roberts GRSM, ARCM

Elizabeth Robson JP, DRSAM

Amanda Roocroft

Patricia Rozario OBE, BA, AGSM

Peter Savidge MA

Jennifer Smith Diplomé Lisbon Conservatoire

Russell Smythe AGSM

Jeffrey Stewart AGSM

Mark Tucker MA, DipGSM

REPERTOIRE CLASSES

Sally Burgess ARCM

Christian Curnyn

Patrizia Dina Italian

Janis Kelly DRSAMD

Norbert Meyn Dip Hochschule für Musik “Franz Liszt” Weimar, LGSM Lieder

Stephen Roberts GRSM, ARCM Oratorio & English

Lucy Schaufer

Jennifer Smith Diplomé Lisbon Conservatoire French

Stephen Varcoe MA English

Roger Vignoles BA, MusB, FRCM,

HonRCM Duos

Vocal Studies www.rcm.ac.uk 53

LANGUAGE CLASSES

Daniele Guerra Italian

Johanna Mayr Mag.phil, Dip Trans, MIL German

Sonja Nerdrum HonRCM French

Paola Quaglia Italian

Franziska Roth BA, HonRCM German

VOCAL REPERTOIRECOACHING

John Blakely BA, HonRCM, ARAM, ARCO

John Fraser BMus, ARCM

Christopher Glynn

Simon Lepper MA (Cantab), LRAM,

DipRAM, ARAM

Christopher Middleton GGSM

Andrew Robinson DipRCM

Stephen Varcoe MA

Stephen Wilder GRSM, ARCM

SPEECH

Christina Legge

Dr Staffan Wilén HonRCM honorary phoniatrician

CELEBRATED ALUMNI INCLUDE

Thomas AllenSophie BevanAlfie BoeSally BurgessPaul Charles ClarkeSarah ConnollySarah-Jane DaviesRoderick EarleGerald EnglishAnne EvansHelen FieldGerald FinleyMichael GeorgeMartyn HillJason HowardNeil JenkinsDella JonesDame Gwyneth JonesRosemary JoshuaJanis KellyAndrew KennedyFiona KimmAnna LeeseJonathan LemaluJenny LindValerie MastersonSusan McCullochKenneth McKellarRobert MurrayAnna Maria PanzarellaIan PartridgePeter PearsJames RutherfordEric ShillingDame Joan SutherlandTomas TomassonSarah WalkerElizabeth WattsCatherine Wyn-Rogers


MOVEMENT

Sarah Fahie

Kate Flatt movement co-ordinator

Desirée Kongerød

Tim Lamford

Marishka Therani

ACTING

Tom Fahy


Vocal Studies alumni now performat/with:

• Royal Opera House

• Metropolitan Opera

• La Scala, Milan

• Liceu, Barcelona

• La Bastille

• Glyndebourne

• Welsh National Orchestra

• Opera North

• Scottish Opera

• Houston Opera

• Chatelet

• Teatre an der Wien

• Wigmore Hall

• Edinburgh Festival

• Royal Festival Hall

• Barbican

• Royal Albert Hall

• Vienna State Opera

• Vienna Volksoper

• Theatre an der Wein


• Prize wins for students at the

following 2009 competitions: First

Prize and the Song Prize at the

Kathleen Ferrier Awards; First and

Second Prize and the Audience Prize

at the Handel Singing Competition;

the Singing Prize at the Royal Over-

Seas League Competition; First and

Second Prize at the Great Elm

Awards; First and Second Prize in the

Hampshire Singing Competition

• Regular masterclasses with high-

profile visitors including Ann Murray,

Philip Langridge, Petra Lang, David

Daniels, Brindley Sherratt, Sarah

Walker and Edith Wiens

• A 2009 collaboration with the English

Touring Opera on ‘Handelfest’ – the

UK’s largest ever celebration of the

operas of GF Handel. This ambitious

project included fully staged

productions of five of Handel’s

operas over a 10-day period in the

Britten Theatre, followed by a tour of

concerts and masterclasses taking in

Malvern, Exeter, Bath, Cambridge and

Snape Maltings

• The 2007 Cardiff Singer of the World

Competition, where six RCM singers

reached the final. Elizabeth Watts

was awarded the prestigious

Rosenblatt Song Prize, following in

the footsteps of alumnus Andrew

Kennedy who won the prize in 2005

Voca

l Studies

FACULTIES54



“…an inspired choice for thestudents of the Royal College ofMusic to stage at the BrittenTheatre. How often does oneemerge from one of theprestigious opera houses with sorich a feeling of satisfaction?”The Spectator on The Cunning LittleVixen, July 2008

“…as usual it was RCM singerswho impressed me most…”Robert Thicknesse - “Who’s Hot?” featurein Opera Now, November 2008

“The Royal College fielded a starteam... This Alessandro waslivelier, more engaging, andbetter sung than CoventGarden’s Acis and Galatea thenext day.”– Opera magazine, March 2009

Vocal Studies www.rcm.ac.uk 55

ELEANOR’S STORY...

Eleanor Dennis, born in 1987, is a soprano from Ellon, asmall town north of Aberdeen in the North East of Scotland.She is presently in her first year of a Masters Programme InVocal Performance following the successful completion of aBMus. She has been awarded a major scholarship tocontinue her studies from 2009-2010, and is also generouslysupported by the Countess of Munster Musical Trust, theMusicians Benevolent Fund and the Josephine Baker Trust.

“I am always amazed by the dedication and hard work the teachers andacademic lecturers put in to their lessons – you get a real sense ofsupport and encouragement throughout the College faculties. My singingteacher inspires me to work hard and embrace new repertoire whichbroadens my horizons as a performer and instils the all-important workethic needed to succeed as a professional musician in London. After fouryears of great language classes, wonderful singing lessons and coachingon performance and acting, I feel I have laid some solid foundations whichwill undoubtedly help me in my future career.

As a singer, the performance opportunities are excellent, both in collegeand externally. From student operas to masterclasses given by the singinggreats, the experience you gain as a student here is incomparable. Theyearly concerts of oratorio given in the concert hall are an especial treat,as you get the chance to work with a fantastic orchestra, fantasticsoloists, and most of all, fantastic conductors.

It was a surprise to me when I first came to London that I could startearning money through performing so quickly. There is great support fromthe staff in the Woodhouse Professional Development Centre, who have anendless list of contacts for you to take advantage of. Also, being inLondon means there is constant demand for soloists and performers,which means you can build confidence and experience, not to mention agreat list of contacts! London is a fantastic city, being so culturallydiverse. It is constantly buzzing, and I’ve thoroughly enjoyed my four yearshere. This is perhaps down to the College being so supportive and, mostimportantly, friendly. It really feels like a home from home.”

Eleanor Dennis

STUDENT CASE STUDY


“The RCM International Opera School is one of the world’s leadingtraining centres for opera. Part of the Vocal Faculty (see pages 52 – 54),the Opera School offers operatic training at the highest level forperformers from around the globe, and many of the world’s leadingsingers have passed through our doors. Among the many performances

on offer, we present three fully-staged operatic productions a year, including one incollaboration with the London Handel Festival, which are attended by internationalpress and agents. Many of our students move straight into young artist schemes at theworld’s leading opera houses, or directly into fully fledged careers.”

Michael Rosewell Director of Opera

RCM INTERNATIONAL OPERA SCHOOL

Director of OperaMichael Rosewell

Assistant Director of OperaChristopher Middleton

Head of Vocal FacultyNicholas Sears MA

Prince Consort Professor of OperaSir Thomas Allen CBE, HonMA,

HonDMus, FRCM

Visiting ProfessorDame Kiri Te Kanawa DBE

Honorary AdviserJohn Berry English National Opera

Manager of the Opera School andVocal FacultyAnn Somerville

Theatre and Production ManagerPaul Tucker

Theatre ElectricianKieran Taylor

Costume SupervisorJools Osborne

RCM In

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MUSIC STAFF

Pamela Bullock international vocal coach, Lyric Opera, Chicago

John Constable formerly Royal Opera music staff and international coach

Laurence Cummings Musical Director, London Handel Society

David Drummond formerly Scottish Opera

Martin Fitzpatrick Head of Music Staff, English National Opera

Lionel Friend formerly Senior Staff Conductor for English National Opera, Head of Opera, Birmingham Conservatoire

FACULTIES56

John Gibbons conductor and opera coach

David Gowland Director of the Jette Parker Programme at the Royal Opera

Philip Headlam conductor and opera coach

Alex Ingram formally Staff Conductor, English National Opera

Jonathan Kenny early music specialist

Roy Laughlin international opera coach

Michael Lloyd formerly Staff Conductor, English National Opera

Christopher Middleton formerly Royal Operamusic staff

Natalie Murray formerly WNO music staff

Martin Pacey Vocal Coach, English National Opera

Mark Packwood Royal Opera music staff

Ian Page Artistic Director, Classical Opera Company

Michael Pollock International Opera Coach, formerly Welsh National Opera

Michael Rosewell Music Director, English Touring Opera, and formerly Vienna State Operaand National Theatre Mannheim music staff

Craig Rutenberg Head of Music, MetropolitanOpera New York, international coach

Peter Selwyn conductor and coach, formerly Royal Opera and Bayreuth music staff and Head of Music, Nuremberg Opera

Philip Sunderland conductor and opera coach

David Syrus Head of Music Staff, Royal Opera

Roger Vignoles international accompanist and vocal coach



SARAH-JANE’S STORY...

Winner of the 2009 Kathleen Ferrier Competition, soprano Sarah-Jane Brandon was born in Johannesburg and is currently astudent at the RCM International Opera School. Her manyawards include the Maggie Teyte Prize and Miriam LicetteScholarship administered by the Musicians Benevolent Fund andthe Overseas Trophy and the Lorna Viol and Audrey StrangePrizes in the 2008 Royal Over-Seas League Competition. She isrepresented by Askonas Holt.

“In my first week I attended a masterclass with the famous mezzo soprano,Sarah Walker. I was petrified! But she gave me a huge amount of confidence.In fact, all my teachers have been an inspiration, that’s why the College turnsout such polished performers. My current teacher, Janis Kelly, is a wonderfullydetailed technician whose dynamic and illuminating approach to teachingchallenges me to supersede the limitations I put on myself both as a singerand as a performer. Her very active career as a soprano means that I amalways assured the best advice and guidance for my own career.

As a member of the RCM International Opera School I have had excellentperformance opportunities both in fully staged operas and in opera scenes.The high standard of the RCMIOS productions has provided me with aplatform for exposure to a wider audience including agents and castingdirectors from all the major UK companies. Through the RCM I have had thepleasure of performing with the London Handel Festival, King’s College Choir,the Academy of Ancient Music and the London Philharmonic Orchestra.

London is a fantastic city buzzing with opportunity for both work and play. Youcould not want for more cultural diversity in the cosmopolitanism of this greatcity and with access to some of the best orchestras, opera companies andconcert venues in the world your education is complete. The RCM hasprovided me the opportunity to make contacts with major figures in theprofession and I have formed lasting friendships with these amazing people aswell as with my colleagues. The area around the College is so beautiful, it’sright by Hyde Park, you would have to work hard not to be inspired here! Iconsider London my “home” away from home!”

RCM International Opera School

www.rcm.ac.uk 57

LANGUAGE COACHES

Maria Cleva/Isabella Radcliffe Italian

Norbert Meyn/Hildburg Williams German

Michel Vallat French

ACTING

Tom Fahy

Julia Lewis

MOVEMENT

Kate Flatt movement co-ordinator

Desirée Kongerød

Marishka Therani

Tim Lamford

Sarah Fahie

Sarah-Jane Brandon

STUDENT CASE STUDY


COMPOSITION

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KEY FEATURES

• Composition at the RCM is about a

partnership – between talented

composers who want to write

and gifted instrumentalists who

want to perform

• Performances of your own works –

in concert or on film, in class,

workshop, studio and live

performance by fellow students

and by professional ensembles –

are central to the training

• Individual lessons and visits from

established composers of concert

and film music provide an unrivalled

opportunity for you to nurture and to

develop your creative and technical

skills as well as your own

compositional voice

Head of CompositionWilliam Mival MMus, FRCM

COMPOSITION

RCM Research Fellow in CompositionMark-Anthony Turnage FRCM

Composer in Residence, London Philharmonic Orchestra and Mead Composer in Residence, Chicago Symphony Orchestra

Prince Consort Professor ofCompositionColin Matthews BA, MPhil, DPhil, FRCM

Associate Composer with the Hallé Orchestra

Area Leader in PostgraduateCompositionJonathan Cole PhD

Composer-in-Association with the London Contemporary Orchestra

Professors of CompositionDai Fujikura PhD

Kenneth Hesketh MMus, DipRCM, ARCM ‘Composer in the House’, Royal Liverpool Philharmonic Orchestra, 2007-2009

Joseph Horovitz BMus, MA, FRCM

Alison Kay BA, ARCM, MMus, DPhil

Michael Oliva BA, MA

Timothy Salter MA, FRCM, LRAM, ARCO, MTC

Huw Watkins MA, MMus

Michael Zev Gordon BA, MA, MPhil, PhD, LRAM

FACULTIES 58

“Being a composer today is about having the confidence and thestrength to be yourself - realising your own personal ideas andcreating your own individual music. At the RCM you will find thatconfidence and strength built and sustained within a whollyexceptional performance environment in which your compositions

will be played by resident and visiting professional musicians, RCM orchestrasand ensembles and fellow students of the highest technical ability.”

William Mival Head of Composition

Recent Visiting Composers and Guest LecturersMichel van der Aa

Julian Anderson

Louis Andriessen

Tsvi Avni

Atsuhiko Gondai

Helen Grime

Simon Holt

Michael Jarrell

Hanspeter Kyburz

Helmut Lachenmann

Liza Lim

Magnus Lindberg

Stuart Macrae

Rolf Martinsson

Hilda Paredes

Roger Redgate

Frederick Rzewski

Kaija Saariaho

Joan Tower

Theo Verbey

Param Vir

Judith Weir



Composition

www.rcm.ac.uk 59

COMPOSITION FOR SCREEN

Professor of Music and MultimediaDavid Burnand BMus, MA

Area Leader in PostgraduateComposition for ScreenVasco Hexel BM, MMus

Professors of Composition for ScreenDavid Burnand BMus, MA

Howard Davidson ARCM

Joseph Horovitz BMus, MA, FRCM

Michael Oliva BA, MA Composer in Residence - rarescale, Artistic Director - madestrange opera

Senior Research Fellow in Music and MultimediaDr Edward Jessen BFA, MA, PhD

Recent Visiting Composers and Guest LecturersJeff Atmajian orchestrator: ‘The Dark Knight’,

‘The Village’, ‘Blood Diamond’, ‘King Kong’, ‘Terminator 3: Rise of the Machines’

Patrick Doyle composer: ‘Igor’, ‘Harry Potter and the Goblet of Fire’, ‘Much Ado About Nothing’, ‘Henry V’

Trevor Jones composer: ‘Labyrinth’, ‘The Last of the Mohicans’, ‘The League of ExtraordinaryGentlemen’

Dario Marianelli composer: ‘Atonement’, ‘Pride and Prejudice’, ‘The Brothers Grimm’

Jennie Muskett composer: ‘The State Within’,‘Material Girls’, ‘Hello Sister, Goodbye Life’, ‘Spooks’

Debbie Wiseman composer: ‘Flood’, ‘P.O.W.’, ‘My Uncle Silas’, ‘The Office’

Gabriel Yared composer: ‘The English Patient’, ‘The Talented Mr Ripley’, ‘Das Lebens der Anderen’


• Composition graduates have

produced commissions for opera,

orchestra, TV and film, including the

Orchestra of the Royal Opera House,

Covent Garden, the Berlin

Philharmonic Orchestra, the

Cleveland and Chicago Symphony

Orchestras, the BBC Proms, the

London Sinfonietta, Ensemble Modern

and Ensemble Intercontemporain.

• Composition for Screen alumni are

working throughout the industry in

both Hollywood and the UK and hold

numerous awards including BAFTA

Awards, Golden Globe Awards and

Academic Awards (Oscars).


• A collaboration with the National

Portrait Gallery, with RCM composers

writing new works to accompany

photographs on display as part of the

Taylor Wessing Photographic Portrait

Prize 2008

• Visits from some of the world’s

leading composers for both concert

and film including Helmut

Lachenmann, Hanspeter Kyburz,

Louis Andriessen and Debbie

Wiseman

• Prize wins for Composition students

including the Exposures Film Festival

Competition, the Tokyo International

Competition for Chamber Music, the

National Composition Prize of

Columbia, Royal Philharmonic

Society Composers Competition and

the ‘Best Local Film’ prize at the

Yellow Fever Independent Film

Festival 2009

Jonathan Cole


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ERICK’S STORY...

Erick Flores (Canada) has recentlycompleted a Masters inComposition at the RCM under thesupervision of Kenneth Heskethand is currently in the first year ofa DMus. His works have beenperformed in London, Montrealand New York. Among his mostperformed works is L’Intérieurbleu (for electronics and piano),premièred at the 2008 AldeburghFestival by pianist Sarah Nicollsand the Sound Intermedia. Withhis work Sonorités Naturelles (for14 players and electronics) Erickhas joined the shortlist ofcomposers by the British musicassociation Sound and Music. Hisstudies are currently supported bythe Canada Council for the Arts.

“I have always been challenged and pushed hard in every one of mycomposition classes. I don't think there has been a single occasion whenI've known the answers to all the questions. My teacher has helped me learnhow to follow my instincts and also to be more aware of my own voice.When I've been uncertain about my work, when I've felt as if what I'vewritten wasn't relevant, my teacher has helped me identify my errors, andmore importantly, showed me how to fix them. During my time in the CollegeI've learned to identify my own language, and I'm more confident with itnow. To me, that is valuable beyond measure.

In my experience at the RCM, the amount of performance opportunities forcompositions is vast. Here, the performance opportunities are varied, fromconcerts and workshops to competitions and collaborations. Being here,I've learned to plan ahead in the year. At first, I wanted to tackle all ofthem, but soon I learned that that was impossible. There is something inevery opportunity that might not fit one's plans in every aspect.Nonetheless, every opportunity has a benefit and a gain to offer. In myopinion, that is the most important thing.

You don't realise how important it is to be in a cosmopolitan city such asLondon until you see that your classmates come from all over the world andthey all are incredible musicians of immense talent and skill. We have allcome to meet in a city such as this and in a school such as the RCM.London offers all types of opportunities for us [students] in the final stagesof our training as we are looking for a professional career. At the RCM onegets a sense that life as a professional musician is actually a real thing andgreatly possible.”

Erick Flores

STUDENT CASE STUDY


www.rcm.ac.uk 61Com

position

CHRISTOPHER’S STORY...

Christopher Tin was born in America,but received much of his musicaleducation in England. Aftersuccessfully completing hisundergraduate education at StanfordUniversity and Oxford University, hewon a Fulbright Scholarship andenrolled for a Masters inComposition for Screen at the RCM.He graduated in 2000 with an MMuswith Distinction, earning the highestmarks in his class, and scooping theHorovitz Composition Prize in theprocess. Since graduationChristopher has established himselfas a composer whose career spansall major markets: film, television,video games, advertising, and therecord industry. His music has beenperformed live by many orchestrasaround the world, including theNational Symphony Orchestra,Hollywood Bowl Orchestra,Philharmonia, Metropole Orchestra,and hundreds of amateur choirsacross the globe. He currently livesin Santa Monica, Califonia.

“I’d been writing music since I was akid, but I wasn’t a Composer until Iattended the RCM. A transformationhappens during your months at theconservatoire; it’s brought aboutthrough the daily exposure to world-class teachers and the young andbrilliant student body. It comes fromliving in one of the great artisticcapitals of the world. You cease tomerely ‘write music’; instead you placeyourself squarely in one of the finesttraditions in English compositiontraining. You mature. You own your art.

Working in visual media requires abroad set of skills; dramaticsensibilities, business acumen, andcomfort with technology. But all of thataside, the heart of being a successfulfilm composer is simply to be a greatcomposer. And if you want to becomethe finest composer you can be, enrolyourself in the finest compositionschool you can find. That, for me, is theRoyal College of Music.”

Christopher Tin

ALUMNI CASE STUDY


Malcolm ArnoldLuke BedfordFrank BridgeBenjamin BrittenSamuel Coleridge TaylorAnne DudleyMichael FinnissyGustav HolstJoseph HorovitzHerbert HowellsConstant LambertNicola Le FanuAndrew Lloyd WebberElisabeth LutyensDame Elizabeth MaconchyAnna MeredithErnest MoeranBarrington PheloungEdmund RubbraRoberto SierraSir Michael Tippett Mark Anthony Turnage


HISTORICAL PERFORMANCE

KEY FEATURES

• Study with the important collection

of instruments in the RCM Museum

• Weekly one-to-one lessons by

principal players in major period

instrument orchestras as well as

soloists and members of

well-known ensembles

• Masterclasses given each year by


musicians including Dame Emma

Kirkby, Michael Chance, Peter Harvey,

Andrew Manze, Rachel Podger,

Walter van Hauwe and Kenneth Gilbert

• Outstanding research opportunities

with the RCM Library’s extensive

collection of manuscripts and early

printed editions

• A large collection of period

instruments (string, wind and brass)

which students are able to borrow,

and one of the largest collections of

early keyboards in any institution

• Practical classes and lectures

(project-based culminating in

assessed public performances and

presentation classes) include:

– medieval classes with WilliamLyons (Dufay Collective)

– stylus phantasticus – 17th centuryAustrian and Italian repertoire withTerence Charlston

– early 18th century Frenchrepertoire with Lisa Beznosiuk

– baroque dance workshops withMary Collins

– cello continuo classes withRichard Tunnicliffe

• Non-assessed regular classes

include:

– lute song with Jakob Lindberg

– tuning and temperament (16th-18th centuries) with Claire Hammett

– keyboard continuo with Terence Charlston

– ornamentation and cadenzaclasses with Rachel Brown

– chamber music and continuotechniques with Robert Woolley

– baroque and classical tastersessions for modern woodwindplayers take place in the RCMMuseum with Rachel Brown (flute),Anthony Robson (oboe), Professor Colin Lawson (clarinet),Jane Gower (bassoon)

“Historical Performance provides specialised training in allaspects of historically informed interpretations. Individual lessonsare offered on the complete range of period instruments. A fullschedule of performing opportunities includes frequent chamberprojects and concerts, baroque and classical orchestral projects

for both modern and period instruments and regular masterclasses.”

Ashley Solomon Head of Historical Performance

• Orchestral opportunities include:

– termly performances by the RCMBaroque Orchestra within theCollege plus externalperformances at festivals inLondon and around the UK

– historically informed performancesof Classical and Romanticrepertoire directed by Sir Roger Norrington

– Bach Cantata projects directed by Ashley Solomon

• Chamber music opportunities

include:

– high profile internal and externalchamber music opportunitiesincluding the Handel Festival,Hatchlands Concert Series,London Organ Forum and theBritish Library

– coaching of 18th centuryrepertoire available fromprofessors and Florilegium - theRCM’s Ensemble in Association

– the RCM Cornett and SackbutEnsemble are regularly directed by David Staff (from HMSC)

Historical Perform

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FACULTIES62



Composition

Head of Historical PerformanceAshley Solomon ARAM, HonRCM

Prince Consort Professor of HistoricalPerformanceSir Roger Norrington CBE, FRCM

Chair of Historical PerformanceProfessor Colin Lawson MA(Oxon), MA, PhD, DMus, FRCM, FRNCM, FLCM

Ensemble in AssociationFlorilegium

RCM Baroque Orchestra TutorsAdrian Butterfield MA, ARCM

Gary Cooper BA, FRCO

Christian Curnyn

Paul Goodwin

Catherine Mackintosh FRCM

Ashley Solomon ARAM, HonRCM

Visiting ProfessorsMichael Chance voice

Gary Cooper BA, FRCO fortepiano

Kenneth Gilbert FRCM harpsichord

Dame Emma Kirkby OBE, FRCM voice

Catherine Mackintosh FRCM baroque and classical violin

Andrew Manze baroque and classical violin

David Owen Norris MA, FRAM, FRCO fortepiano

Walter van Hauwe recorder

KEYBOARD

Jane Chapman BA, HonRCM, ARCM harpsichord

Terence Charlston MA, MMus, FRCO, ARAM harpsichord, clavichord, continuo organ

Geoffrey Govier DMA, MMus, ARCM fortepiano

Margaret Phillips GRSM, FRCO, ARCM organ

David Ward ARCM, LRAM fortepiano

Robert Woolley GRSM, ARCM harpsichord, clavichord, continuo organ ++++

STRINGS

Richard Boothby BMus viola da gamba

Claire Bracher viol consort coach

Peter Buckoke HonRCM, ARCM baroque double bass

Adrian Butterfield MA, ARCM baroque and classical violin ****

William Hunt MA violone +++

Reiko Ichise viola da gamba

Annette Isserlis ARCM, DipEd baroque and classical viola * ***

Jakob Lindberg ARCM lute, archlute, theorbo,baroque guitar

Rodolfo Richter ARAM baroque and classical violin ***

Catherine Rimer MMus, GRNCM, LRAM baroque and classical cello * **

Lucy Russell MA baroque and classical violin +

Richard Tunnicliffe baroque and classical cello, cello continuo * +++

www.rcm.ac.uk 63Historical Perform

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• Historical keyboard studies include:

– performance on and study ofhistorical keyboard instrumentsand their playing styles within theCollege and in collaboration withother institutions

– access to unique collections ofinstruments and primary sourcematerials through the RCMLibrary, RCM Museum of MusicalInstruments and the Centres forPerformance History andPerformance Science, guided byinternationally recognised expertsin their field

– concerts, workshops, conferencesand other events


HISTORICALPERFORMANCE PROFESSORS ARE CURRENTLY PLAYING WITH…

• Orchestra of the Age

of Enlightenment *

• English Baroque Soloists **

• Academy of Ancient Music ***

• Hanover Band ****

• English Concert Orchestra *****

• Fitzwilliam String Quartet +

• Florilegium ++

• Fretwork +++

• Purcell Quartet ++++

• His Majesty’s Sagbutts and

Cornetts +++++


Historical Performance alumnicurrently hold positions with:

• Academy of Ancient Music

• English Baroque Soloists

• English Concert

• Florilegium

• Orchestra of the Age of

Enlightenment

Historical Perform

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FACULTIES64


WOODWIND

Lisa Beznosiuk GGSM, HonRCM baroque and classical flute * *****

Rachel Brown baroque and classical flute *** ****

Julien Feltrin recorder

Jane Gower baroque and classical bassoon ++

Nancy Hadden MA, BMus renaissance flute

Gail Hennessy baroque and classical oboe

Colin Lawson MA(Oxon), MA, PhD, DMus, FRCM, FRNCM, FLCM classical clarinet ****

Anthony Robson baroque and classical oboe *

Barnaby Robson classical clarinet *

Ashley Solomon ARAM, HonRCM, recorder ++

BRASS

Susan Addison ARCM sackbut ** +++++

Julian Baker HonRCM natural horn

Neil Brough cornett, natural trumpet * *****

Timothy Brown BA, HonRCM natural horn *

Susan Dent ARCM, DipRCM natural horn **

Anthony George BA, ACPS, AGSM ophicleideand serpent

Peter Harvey ARCM, sackbut **

David Staff cornett +++++

ACADEMIC STUDIES

Richard Lyne BMus, MA, GRSM, ARCM,

ARCO, FRSA editing



• Annual Bach Cantata projects at

St. John’s, Smith Square with the

RCM Baroque Orchestra

• 24 Violons du Roi project with the

Centre Baroque Musique de

Versailles, France

• A performance of Purcell’s Dioclesian

by the RCM Baroque Orchestra,

complete with baroque dance

sequences

• Masterclasses with Rachel Podger

and Andrew Manze, plus

videoconference sessions with the

Eastman School, New York

• The annual International

Festival of Viols featuring lectures

and masterclasses with Richard

Boothby, Professor Lawrence Dreyfus,

Dr Lucy Robinson, Charles Medlam,

Reiko Ichise and Hille Perl, as well

as performances by Fretwork

and Phantasm

www.rcm.ac.uk 65Historical Perform

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Isobel Clarke

STUDENT CASE STUDY

ISOBEL’S STORY...

Isobel Clarke is in her first year of a Masters Programme inPerformance following the successful completion of her BMus.

“In the Historical Performance department we are fortunate in being ableto receive chamber music coaching from many professors in thedepartment as well as our principal study tuition. For those of us who aimto make a career in chamber music, it is a fantastic opportunity to learnfrom some of the best period instrument performers in Europe today.

As well as having numerous concerts within College, ensembles and theRCM Baroque Orchestra often perform at other venues around London andbeyond. In spring we will do concerts in the London Handel Festival and at St Martin-in-the-Fields, which I am really looking forward to - it gives us agreat taste of what it’s like to be a professional musician!

As a recorder player, it is great to study in London. There are greatconcerts happening almost every week, and I don’t think there is any othercity where you can find so many recorder and historical performancerelated events going on! I have also been able to get quite a lot ofperforming work through the Woodhouse Professional Development Centreand as a result I have had the opportunity to play in some beautiful venuesaround London and beyond.”


Our current degree programmes aim to create

professional musicians with high-level practical skills

who are flexible, thoughtful and well-informed about

music and the opportunities available within the

profession. Your development as a performer or

composer lies at the heart of these programmes.

We have shaped these in ways that allow scope for

both flexibility and specialisation to help you prepare

for the ever widening demands of the music profession.

ACADEMICPROGRAMMES

68 Undergraduate School - Undergraduate Programmes - Experience Programmes in London71 Graduate School - Programmes for Instrumentalists - Programmes for Composers - Programmes for Singers - Other Programmes - Academic Programmes Staff77 Doctoral Programmes

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ACADEMIC PROGRAMMES66


www.rcm.ac.uk 67Academ

ic Programmes


UNDERGRADUATE SCHOOLThe RCM’s undergraduate programmes include the BMus(Hons) degree, a BSc in Physics with Musical Performance and a range of ExperienceProgrammes. The BMus(Hons) balances training in solo, chamber andorchestral performance with critical enquiry into music past and present.Special features include an emphasis on studies within your individualfaculty, Alexander Technique and health awareness courses for youngmusicians, and community outreach projects.

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UNDERGRADUATE PROGRAMMES

Bachelor of Music:BMus(Hons)• Weekly lessons on your Principal

Study – your main instrument, voice,

or composition

• Opportunities for instrumentalists to

undertake Related Study on an

instrument related to your Principal

Study (e.g. cor anglais or baroque

oboe for oboists)

• Second Study tuition is available

(audition at start of programme

necessary) and students with an

equally high level of ability in two

areas may undertake Joint

Principal Studies

• Faculty-based activities, including

chamber music and duo performance

coaching, an orchestral training

programme, performance classes,

language classes (singers), music

technology (composers) and

improvisation (organists)

• Orchestral and choral projects,

workshops and masterclasses in all

areas including period instruments

• A range of core units in historical,

technical, practical and vocational

subjects to provide breadth and

depth to your study and help develop

key skills such as oral and written

communication, team working and

problem solving

• A comprehensive range of options in

Years 3 and 4, allowing you to

specialise in particular areas of

interest and expertise

• Exchange opportunities, as part of

your RCM studies, with leading

international conservatoires.

BMus(Hons) students can take a

junior year (third year) exchange to

the USA or to Australia. Year 3 and 4

students often study in Europe for a

term. For full details see page 25.

• The award, to successful students at

the end of the programme, of the

internationally recognised

BMus(Hons) degree under the RCM’s

own Royal Charter. The RCM is the

only English conservatoire entrusted

to create and award its own degrees


Composition

Historical Performance

Undergraduate School www.rcm.ac.uk 69

Years 3 and 4:• Continuing work in performance

studies (Principal, Related andSecond Study instruments)

• Creation of a personalisedprogramme of study from thefollowing options (offered on either a yearly or two-yearly basis):

duo performancechamber musicconductingimprovisationaccompaniment (on piano, organ,early keyboard and guitar)orchestration and arrangementstylistic studiesaural in professional contextscomposition (includingcomposition for screen)music therapyhistorical studies (includinginterdisciplinary and researchproject options)jazz historyjazz harmony, composition andarrangingpsychology of music andperformanceeducation and outreachinstrumental teachingclassical CD productionstudio musicianshipelectroacoustic musiccomposing with the sequencerAlexander Techniquespecialist vocal performance (insong classes and opera, actingand movement)

STUDENT ASSOCIATESSCHEME

Funded by the Training andDevelopment Agency this schemeprovides bursaries forundergraduate and postgraduatestudents who want to experiencework as a secondary school classmusic teacher. Part of theWoodhouse ProfessionalDevelopment Centre, studentsfollow a programme that includesan induction process and a 15-day placement in a London-based school.

BSc(Hons) in Physicswith Studies in MusicalPerformance• 4 years full-time

• Taught jointly with Imperial

College London

This programme combines advancedperformance training and relatedmusical studies with all thecomponents of an honours degree inphysics. See page 88 for theapplication procedure or visitwww3.imperial.ac.uk/physics/courses/ug

Years 1 and 2:• Performance studies in Principal

and Related instruments, withregular workshop opportunities forperformance

• A range of practical faculty-basedactivities

• Training in education outreach andinstrumental teaching

• Courses in history and performancepractice, practicalmusicianship/stylistic studies, auralawareness, study skills, AlexanderTechnique and health awareness

• Options in history and stylisticstudies topics in Year 2

• Opportunity to fast track to higherlevels of study in aural awarenessand practical musicianship


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The purpose of these programmes isto provide an opportunity for intensivepractical work in London, enablingthose who have already achieved ahigh standard to consolidate theirtechnique and to widen their musicalexperience. Places are offered only tothose who show high levels of ability,potential and motivation. Applicantsmust be able to meet BMus(Hons)entry requirements (see page 87).Successful Experience Programmestudents are provided with a fulltranscript at the end of their studies,together with a certificate of study,and can attend the RCM GraduationCeremony in July.

Foundation ProgrammeThis one-year programme is forinternational students who showconsiderable promise as performersand who wish to improve their Englishin the year before starting their BMusor Masters in Performance/Compositionprogramme. It offers intensive Englishlanguage study combined with solo,chamber and orchestral training.Special features include lessons onEnglish for Musicians and theopportunity to perform at a Londonconcert venue. For more details seethe RCM website atwww.rcm.ac.uk/Studying/Courses/Foundation+Programme

EXPERIENCE PROGRAMMES IN LONDON

Gap Year ExperienceProgrammeThis flexible programme is intendedfor talented young musicians who wantto take a gap year before commencingan undergraduate programme. Forsuitable students, the programme canthen be used to transfer direct to Year2 of the BMus(Hons).

Junior Year or SemesterExperience ProgrammeThis programme is ideal for Junior YearNorth American students and Asian orother overseas students who want toexperience studying and living inLondon for either a semester or awhole year. Most international highereducation institutions will give creditfor Junior Years or semesters abroad.

Gap Year and JuniorYear/SemesterExperience ProgrammeContentEach programme is arranged on anindividual basis, according toinstrumental and personal priorities,and within an articulated creditstructure. It provides:

• Individual lessons on Principal Study

• Opportunities for involvement inorchestras, ensembles, choralgroups and chamber music

• Participation in core academicclasses (for example, auralawareness, historical studies),according to need, and a range ofBMus options appropriate to thelevel of the student

• Concerts, masterclasses, seminarsand workshops

• Access to RCM resources (Library,Museum of Instruments, Studios,Centre for Performance History,Centre for Performance Science,practice facilities)


Graduate School www.rcm.ac.uk 71

WHAT PROGRAMMES DOES THE GRADUATE SCHOOL OFFER?

In September 2010 the RCMcommences a new set ofpostgraduate programmes. In additionto our existing well-established MMus,the College will be adding the degreesof MPerf (Master of Performance) andMComp (Master of Composition).These new Masters degrees aredesigned specifically for performersand composers who would previouslyhave taken postgraduate diplomas.

The aim of the programmes is to allowflexibility and choice, and to providean education that prepares you for themusic profession. Combining a strongemphasis on Principal Study with theopportunity to take a Second Studyand electives, the programmes equipyou with the range of skills you willneed to succeed, and a portfolio ofillustrated promotional material, bothweb- and print-based, to support yourcareer. You can participate in the fullrange of opportunities for solo,chamber, opera and orchestralperformance available at the RCM, aswell as a rich programme of faculty-based activities, including facultyclasses and masterclasses frominternational artists.

Students who wish to can alsospecialise in one of the RCM’srecognised strengths throughspecialist degrees: OrchestralPerformance, Historical Performance,Conducting, Accompaniment orComposition for Screen.

The RCM’s MMus continues to beavailable for students who have astronger academic focus, especiallythose who are aiming for careerswhich require more extensiveacademic experience alongside high level performance or composition skills. It also provides a solid grounding for those aiming for further study to doctoral level.

GRADUATE SCHOOL

Characterised by a lively community of students and staff, the GraduateSchool promotes the ethos of the informed musician who works acrosspractice and theory. Currently some 300 students are registered for taughtpostgraduate programmes, and approximately 30 students are studying fordoctorates. As well as encouraging study relevant to performers andcomposers, the Graduate School programmes actively foster critical skills.


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PROGRAMMES FORINSTRUMENTALISTS

MPerf (Master of Performance) • Two years full-time/three years

part-time

• Students who leave at the end of

Year 1 are eligible for the award of

a PGDip (Postgraduate Diploma)

This programme concentrates on thedevelopment of practical skills throughone-to-one lessons in Principal Studywhile also offering the opportunity toundertake a Second Study: such asthe historical equivalent of thePrincipal Study (e.g. baroque bassoonor natural trumpet), anotherinstrument from the same family (e.g.bass clarinet or cor anglais), or anentirely different area of study.

In addition, there are unparalleledopportunities for solo, chamber and orchestral performance, inrepertoire ranging from medieval tocontemporary. With unlimited coachingin chamber music available andopportunities to rehearse, record andperform in the RCM Studios, you willdevelop and refine the necessaryspecial skills and awareness requiredfor a career in music.

You can also take electives such as:Studio Experience; HistoricalPerformance; Conducting; DuoPerformance; Performance Case-history; Recital Accompaniment;Continuo Accompaniment; Composition;Electro-acoustic Composition; Pop-song Writing; Jazz Arrangement;Orchestration and many others.

There is the opportunity for somestudents to undertake a three monthexchange visit to another Europeaninstitution (see page 25).

All students prepare a professionalportfolio – options include a PersonalDevelopment Plan, a sound recording,and a promotional website – tosupport them in their subsequentcareers.

Assessment of practical work is byrecital and assessed concerts; otherelectives are mostly examined bysubmitted portfolios of work.

Specialist degrees available are:

MPerf in Orchestral PerformanceThis provides orchestral training through specialist units in the skills neededfor orchestral work, including orchestral sit-ins, sectional coaching and groupseminars. There are opportunities for side-by-side work with the BBCSymphony Orchestra and the London Symphony Orchestra: admission tothese schemes is by competitive audition.

Exceptional Year 2 students will also participate in the BBC SymphonyOrchestra’s “Pathways” scheme, where they are assigned a dedicatedmentor from the orchestra, take part in rehearsals across the year (includingrehearsals for the BBC Proms) and perform in a special concert at BBCMaida Vale Studios.

All students will perform in the RCM’s own orchestras and ensembles, withguest conductors such as Esa-Pekka Salonen, Vladimir Jurowski, Sir RogerNorrington, Gordan Nikolitch, Vladimir Ashkenazy and Roy Goodman.Specialist assessment methods are mock auditions and continuousassessment of orchestral participation.

MPerf in Historical PerformanceThis provides an intensive study of Historical Performance whichsupplements Principal Study in a historical instrument with extended projectson various eras, nationalities and genres. There is also scope for a SecondStudy. The programme is delivered by the Historical Performance team,headed by Ashley Solomon, Director of the period-instrument ensembleFlorilegium. Recent contributors to the programme have included Walter van Hauwe, Malcolm Bilson, Laurence Dreyfus, Rachel Podger andDame Emma Kirkby. Specialist assessment methods are assessed concertwork and some written assignments.

MPerf in Accompaniment This programme offers intensive training in the accompaniment of bothinstrumental and vocal music. There are regular classes by internationallyrenowned pianist Roger Vignoles, focussing on vocal repertoire, plusopportunities in instrumental duo performance. Students work on pianotechnique and on further development of accompaniment repertoire. Otherprovision includes duo repertoire and chamber music; sight-reading andtransposition; fortepiano, harpsichord, continuo playing and figured bass;techniques for the repetiteur, and basic conducting. There are close links withthe College’s other faculties, especially the Vocal Faculty and Opera School.This gives students access to classes in languages for singers, French andGerman song, and oratorio. Specialist assessment methods are continuousassessment and participation in recitals.

MPerf in Conducting Exploring a variety of repertoire, this programme includes one-to-oneconducting lessons and provides opportunities for the direction of varioussizes of orchestra and ensemble. Training also involves taking rehearsals for,and the shadowing of, visiting conductors. There are classes in MusicAnalysis, and scope for a Second Study. Specialist assessment methods arecontinuous assessment and a final concert assessment.



Master of Music: MMus in Performance• Two years full-time/three years

part-time

• Exceptionally can be taken fast-track

in one intensive 12 month year

The MMus is a flexible degree that, inaddition to your Principal Study, offersyou a wide range of electives to matchyour interests and, if you wish, aSecond Study. Practical work isunderpinned by the musical disciplinesthat inform performance. Theseinclude theoretical and musicologicalapproaches, aesthetics, analysis, thestudy of recordings, collaborationswith composers, performance practiceand composition. Students on theMMus can also elect to take elements of the specialist HistoricalPerformance, Accompaniment andConducting pathways (see left).

All students take two MMus unitstaught through lectures, small-groupseminars and one-to-one tuition.These units involve both written andspoken tasks. Normally taken in Year 1 of full-time study, the first unitis assessed by a portfolio of writtenwork together with a short spokenpresentation. In the second unit,normally taken in Year 2, studentschoose between a LecturePresentation or the submission of a Critical Project.

Artist Diploma: • One year full-time only

This programme is for advancedinstrumentalists providing a finalpreparation for professional life. TheArtist Diploma offers students whohave already demonstrated a high-level of Principal Study achievement atpostgraduate level to engage in afurther year of concentrated PrincipalStudy, culminating in assessment by ajuried public recital.


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orchestral workshops; sessions withresident professional ensembles andmany other projects and showcaseevents.

One-to-one tuition by one of the RCM’sComposition professors issupplemented by weekly seminars andregular faculty classes which MMusstudents attend alongside MCompstudents. The faculty regularlywelcomes internationally recognisedcomposers (see left). Assessment for the composition element is by the submission of a portfolio ofcompositions at the end of the year as well as by a take-awayset paper. For the academic workstudents submit a portfolio ofacademic assignments together with a short spoken presentation in Year 1 of study, and one of three options inYear 2: either a Critical Project, a Lecture Presentation or a ComposerCommentary.

Master of Music:MMus in Composition for Screen• Two years full-time only

The Masters Programme inComposition for Screen prepares youfor submission of a portfolio ofcompositions and includes a PracticalSkills unit, addressing all aspects ofthe craft of screen music composition.Academic work includes a portfolio ofessays and presentations and aCritical Studies Portfolio on filmmusic. Teaching is both through groupseminars and one-to-one tutorials andthere are close links with the musicindustry. In addition, you can choosefrom a broad range of electives,including practical elements, as partof your provision. You will have yourworks performed both by fellowstudents and professional ensemblesand receive tuition from active screencomposers and experts, emphasizinga practical approach to compositionfor screen. There are also networkingevents and workshops with film,television, and new mediaprofessionals as well ascollaborations with students fromLondon-based film schools.

Where can I find further information?Further information about the Graduate School and its programmes can be found on the RCM website at www.rcm.ac.uk/graduateschool, which includes Frequently Asked Questions.

PROGRAMMES FORCOMPOSERS

MComp (Master ofComposition)• Two years full-time/three years

part-time


Year 1 are eligible for the award of a

PGDip (Postgraduate Diploma)

This programme provides theopportunity for you to develop yourcompositional technique and individualvoice in the outstandingly richperforming environment of the RCM.There are opportunities for you to hearyour work performed by your fellowstudents (collaboration betweenstudent composers and studentperformers is central to the trainingthe RCM offers) and by professionals.These opportunities include regularcomposers’ orchestral workshops,sessions with resident professionalensembles, as well as other projectsand showcase events.

One-to-tuition by one of the RCM’sComposition professors issupplemented by weekly seminars andregular faculty classes. The facultyregularly welcomes internationallyrecognised composers: recent visitorshave included Helmut Lachenmann,Louis Andriessen, Hanspeter Kyburz,Frederic Rzweski, Kaija Saariaho,Helen Grime and Liza Lim. Theprogramme also includes sometraining in the professional skillsnecessary for the composer settingout on a career. Students may takeelectives relevant to their activities ascomposers, for example,Orchestration and Composition forScreen, or can choose from a range ofother electives that match theirinterests and experience. You mayprepare a professional portfolio ofpromotional material to support you inyour subsequent career, and will enjoythe opportunity to make high-qualityrecordings of your work. Assessmentis by the submission of a portfolio ofcompositions as well as by a take-away set paper.

MComp in Compositionfor Screen

• Two years full-time/three years

part-time


Year 1 are eligible for the award

of a PGDip (Postgraduate Diploma)

Taught by staff active as screencomposers, this programmeemphasises a practical approach toscreen music. A practical skills unitaddresses all aspects of the craft ofscreen music as well as somereflective work on pre-existentexamples of film and screen music.Students will have their workperformed throughout the course andthere is interaction with industryprofessionals including composers,orchestrators and music supervisors.The programme is closely linked to theCentre for Music and Multimedia andutilises the state-of-the-art RCMstudios. Assessment methods includecontinuous assessment of setassignments, some more substantialprojects and the submission of aportfolio of screen-music compositions.You may prepare a professionalportfolio of promotional material tosupport you in your subsequentcareer, and will follow a programme ofbusiness skills tailor-made for screencomposers.

Master of Music: MMus in Composition• Two years full-time/three years

part-time

• Exceptionally can be taken fast-track

in one intensive 12 month year

This programme provides theopportunity for you to develop yourcompositional technique and individualvoice while undertaking academic workspecifically geared to ContemporaryComposition. This includes theoreticaland musicological approaches,aesthetics and analysis, mainly on themusic of the 20th and 21st centuries.In addition, you have the option ofwriting a critical commentary on yourown work in Year 2. MMus studentswill enjoy similar opportunities to thoseon the MComp, including composers’



MPerf in VocalPerformance• Two years full-time/three years

part-time




The MPerf in Vocal Performanceprovides an opportunity for theaccomplished singer to concentrate onthe development of their voice and theacquisition of both vocal and operatictraining. Skills essential to thesinger’s craft, acting and movementtraining and language work aresupplemented by some elementswhich are designed to help studentsprepare for the professional world. All students participate in fully-stagedopera scenes. Second Study is notavailable. Assessment is by recital, by continuous assessment and by theassessment of an operatic scene orrole. All students prepare aprofessional portfolio that will equipthem with skills to support them intheir subsequent careers.

Master of Music:MMus in VocalPerformance • Two years full-time/three years

part-time




The MMus specialising in VocalPerformance is a two-year programmewhich underpins practical work withthe various musical disciplines whichinform performance in general andvocal performance in particular. Thesewill include theoretical approaches,musicological aspects, aesthetics;analysis, the study of recordings, andthe study of artistic movementsunderlying both opera and song.Principal Study and Electives arecombined with two MMus units similarin format to those offered toinstrumentalists but geared towardsspecialisms relevant to singers.Second Study is not available. Taughtthrough lectures, small groupseminars and one-to-one tuition, theseunits involve both written and spokentasks. Normally taken in Year 1 of full-time study, the first unit consistsof an academic portfolio together witha short spoken presentation. In thesecond unit, normally taken in Year 2,students choose between a LecturePresentation or the submission of aCritical Project. Students are alsoassessed by a recital, by continuousassessment and by the assessmentof an operatic scene or role.

Artist Diploma in Opera• One or two years full-time

The Artist Diploma in Opera offers themost advanced level of postgraduatevocal study and is available to studentswho have already demonstratedexcellence at postgraduate level eitherat the RCM or elsewhere. Applicantswith suitable alternative previousexperience may also enter thisprogramme. Singers on the ArtistDiploma in Opera study for a minimumof one year and a maximum of two. Inaddition to postgraduate vocalprovision, students receive individualsessions with coaches from the majorBritish opera companies and theNational Opera Studio, masterclassesand career guidance. Assessment takesplace either on the basis of a role in oneof the RCM opera productions or througha substantial contribution to the operascenes performed during the year.

PROGRAMMES FOR SINGERS

Graduate Diploma• One year full-time/two years

part-time

The GradDip is a one-year programmethat provides a bridge betweenundergraduate and postgraduate study for singers without previousconservatoire experience. The course provides the additionalspecialist vocal and additional trainingnecessary for singers to match therange of skills and experience ofconservatoire graduates. Thisexperience aims to equip them tooperate more effectively in aprofessional environment and enablethem to embark successfully upon apostgraduate course. For example,successful completion of the GradDip,with a sufficiently high Principal Studyresult, may enable progression ontothe Masters programme, completingeither the MPerf or MMus. It isassessed by recital-examination andcontinuous assessment.

RCM International Opera School

Postgraduate vocal study takes place within the RCM International OperaSchool and its teaching and rehearsal spaces. Three fully-stagedproductions are mounted annually. The school is truly international, interms of the range of nationalities of singers who study with us as wellas the high profile its productions enjoy.

Most singers admitted to postgraduate study at the RCM will study for atleast two years, developing skills under the guidance of the College’sprofessors as well as visitors from the professional world of opera.

All postgraduate vocal courses provide individual Principal Study tuition,opera and repertoire coaching as well as classes in acting, movement,stagecraft and language coaching. Special projects are initiated andopportunities are provided for students to appear in opera scenes andaudition for roles in the College full-scale productions staged in ourbespoke Britten Theatre.

Vocalists within the programmes may be called to audition for roles inthe RCM’s critically-acclaimed opera productions. Repertoire is generallychosen with the balance of voices of those on the Artist Diploma inOpera in mind. There are many opportunities for singers wishing to gainexperience of other repertoire, for example, Lieder and art-song, earlyand contemporary music. Large vocal ensembles include a Chorus and aChamber Choir.



ACADEMIC STAFF

Head of Undergraduate ProgrammesDr Elisabeth Cook BMus, MBA, PhD,

HonRCM, PGCE, FRGS

Deputy Head of UndergraduateProgrammesDr Natasha Loges BMus, MMus, PhD

Head of Graduate SchoolRichard Langham Smith BA(Hons),

Chevalier de l'ordre des arts et des lettres, FRSA

Deputy Head of Graduate SchoolDr Ingrid Pearson BMus, PhD, DipEd, LTCL,

LMusA

Mark Armstrong BA, LGSM

David Bahanovich BMus, MMus, MBA

Professor Paul Banks BA, DPhil, HonRCM

Andrew Bottrill GGSM

Peter Buckoke HonRCM, ARCM

Dr Jean-Philippe Calvin MM, DMA

Dr Jonathan Cole MMus, PhD

Ben Connellan

Ian Curror GRSM, FRCO(CHM), ARCM

Dr Andrew Earis BSc, PhD, ARCO, FTCL

Miranda Francis BMus, LRAM, ARCM, PGCE

David Graham BMus, ARCM, ARCO

Kenneth Hesketh DipRCM, MMus, ARCM(PG)

Ivan Hewett MMus

Vasco Hexel BM, MMus

Dr Edward Jessen BFA, MA, PhD

Dr Alison Kay BA, ARCM, MMus, DPhil

Dr Haris Kittos BMus, BA, MMus, PGA

Judith Kleinman STAT, GRSM

Professor Colin Lawson MA(Oxon), MA, PhD, DMus, FRCM, FRNCM, FLCM

Dr Tania Lisboa BMus, PGDip, MA, PhD

Natalia Luis-Bassa BMus, PGDip, MMus

Richard Lyne BMus, GRSM, MA, FRSA, ARCO, ARCM

Dr Robert Manning BMus, PhD, HonRCM, ARCO, CertEd(FAE)

Andrew McCrea BMus, MMus, ARCM, ARCO

Dr Anna McCready GRSM, MMus, PhD

Madeleine Mitchell GRSM, MMus, FRSA, ARCM

William Mival MMus, FRCM

Jenny Nex BMus, MA

Michael Oliva BA, MA

Jonathan Pitkin MA, MMus

Dr Paul Robinson BA, MA, PhD

Dr Jane Roper MMus, PhD

Gary Ryan GRSM, HonARAM, LRAM, LGSM

Timothy Salter MA, FRCM, LRAM, ARCO, MTC

Dr Matthew Shlomowitz BMus, MMus, DMA

Rosanne Tyas BMus

Tim Watts MA, MMus

Dr Aaron Williamon BA, BSc, PhD

Eric Wilson

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OTHER PROGRAMMES

MSc in PerformanceScience • One year full-time/two years

part-time

Drawing on the expertise and facilitiesof the RCM Centre for PerformanceScience (see page 81) – as well asthe lively performance environment ofthe College and of London — the aimof this newly designed and innovativeprogramme is to enable you todevelop a robust understanding of thescience of musical performance, whilegaining the critical and analytical skillsnecessary to conduct high qualitypractical work and independentresearch in this field.

The programme benefits anyone whois motivated to gain a scientificunderstanding of how music isperformed, taught, created, andperceived, including performers andeducators aiming to progress theircurrent careers through continuedprofessional development. Equally, theprogramme serves as an ideal basefor those wishing to pursue doctoralresearch and/or teaching inperformance science, musicpsychology, or musicians’ health, or inany area in which knowledge ofscientific methods and techniqueswould be an advantage.

The programme challenges studentsto examine the physical and mentaldemands of practising and performingin real-world performance, educationaland professional contexts throughtaught units on the Psychology ofPerformance, Musicians' Health andWellbeing, and Musical Development.There are also units on ResearchMethods and a seminar series whichkeeps abreast of the latestdevelopments in performancescience. Assessment will be by acombination of coursework essays,oral presentations, writtenexaminations, and an in-depthindependent research project.


www.rcm.ac.uk 77

Doctor of Music (DMus)• Three or four years full-time, five or

six years part-time

The RCM Doctoral Programmecombines practice and theory at thehighest level. It culminates in theaward of the DMus, a specialistresearch degree which particularlyencourages practice-based research inthe areas of performance,composition, musicology and thepsychology of music. Applicants forthe DMus seek to develop, in greaterdetail, both scholarly and practicalareas of study. For admission to theprogramme applicants will need todemonstrate a familiarity with existingtheoretical and, where appropriate,practical aspects of their intendedfield. There should also be a closematch between the intended projectand expertise of staff at the RCM.(see page 83 for a summary of staffspecialisms).

DMus candidates work with a team ofat least two supervisors and this teamsupervision is supported by a seriesof group tutorials and seminars whichare led by active researchers drawnfrom the RCM staff and from visitingspeakers. Doctoral students areencouraged to attend the Grove Forum(see page 81) and are closely involvedin the presentation of these publiclectures where the RCM’s researchimpacts on the wider musicalcommunity. RCM doctoral studentshave been consistently successful ingaining external funding, includingawards from the AHRC Block Grantscheme. Each year the College offersa small number of bursaries to DMus students.

DOCTORAL PROGRAMMES

DMA (Doctor of Musical Arts) and PhD• Three or four years full-time, five or

six years part-time

A DMA (Doctor of Musical Arts) and aPhD programme starts in September2011. The DMA will be a professionaldoctorate that equips students forinternational careers in highereducation. The PhD will provide anopportunity to recognise research ininter-disciplinary areas taught by theRCM or covered by its researchcentres, such as PerformanceScience. At the time of writing, theprogramme is in development - moredetails will be available in summer2010 at www.rcm.ac.uk.

Doctoral Programmes


Research

RESEARCH78

Originality and innovation are key elements in the RCM’s

musical and academic profile. Our broad definition of

research across theory and practice encompasses and

ground-breaking investigation that leads to enhanced

knowledge and new insights.

RESEARCH

80 Research at the RCM - Research Centres - The Grove Forum - Heritage - Fields of Research - Research Specialisms - People


Research www.rcm.ac.uk 79


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RESEARCH80

RCM SUCCESS IN THE 2008 RESEARCH ASSESSMENT EXERCISE

In the Higher Education FundingCouncil’s 2008 review of theRCM’s research (the ResearchAssessment Exercise or RAE)over 40 compositions weresubmitted, as well as over 25performances, six authoredbooks and over 50 otherarticles, chapters andeditions. As a result of theassessment of the quality ofthis research, the RCM wasawarded a higher amount ofQuality-related (QR) fundingthan any other institution inthe UK Conservatoire sector.The panel commented on theCollege’s ‘impressive’research ‘suggestive of a livelyand sustainable researchculture’. For staff andstudents alike, research is anessential feature of Collegelife, leading to new ways ofthinking reflectively andcritically about music, music-making and the professionalcareers that our graduatespursue. In the GraduateSchool, research-led teachingis an indelible principleinforming all courses.

RESEARCH AT THE RCM

The RCM has a vigorous researchculture embracing a particularly widerange of areas. Although its primaryemphasis has been on Performanceand Composition it is also active invarious fields of Musicology, theSociology of Music, Music Education,Music Psychology and PerformanceScience among others. In learningfrom the past, the RCM cherishes andcelebrates its rich heritage of musicalexcellence and its internationally-significant collections that bothdocument that heritage and form partof it. Creativity and innovation incomposition, widening repertoireboundaries, as well as understandingthe processes of music-making areessential elements of the RCM’sresearch culture.

There are several ways to become involved in the research activities at theRCM. Research degrees are listed on page 77. Information on conferencesand our regular lecture series (including the Grove Forum – see page 81)can be found at www.rcm.ac.uk/events

The RCM supports work that bringsnew insights by crossing traditionalgenre boundaries within music, ordiscipline boundaries between musicand the wider cultural environment.Work in this area assists the RCM inmaintaining its core emphasis uponthe music of the Western Europeantradition whilst ensuring that itsapproach to this repertoire isconstantly re-invigorated and keptrelevant and vital within a diverse andrapidly changing cultural landscape.


www.rcm.ac.uk 81Research at the RCM

RESEARCH CENTRES

At the core of the RCM’s researchactivities are three named centres: theCentre for Performance History, theCentre for Music and Multimedia, andthe Centre for Performance Science.These centres, together with theRCM’s substantial Library, provideresources and materials fosteringdetailed study and research bystudents, staff and visiting scholars.

The Centre for Performance History,led by Professor Paul Banks, housesextensive research collections and,working in collaboration with AshleySolomon, the Head of HistoricalPerformance, promotes research intoall aspects of performance throughthe ages, from the development ofmusical instruments to the study ofconcert-going and performancepractice. Other research areas include the social history of music,manuscript studies and thepreparation of scholarly editions(see also page 19).

The Centre for Music and Multimedia,headed by Professor David Burnand,provides a research context forcomposition for film, television andother multimedia forms;electroacoustic composition andperformance; music research andpractice exploiting audio and videorecording; research and practicekeeping abreast of state-of-the-artdevelopments in music technology.

HERITAGE

Thanks partly to the vision of itsfounders, particularly Sir GeorgeGrove, the RCM holds researchcollections of internationalsignificance. This rich heritageincludes a wealth of material datingfrom the 15th century onwards as wellas autographs such as Haydn’s StringQuartet op 64 no 1, Mozart’s PianoConcerto K491 and Elgar’s CelloConcerto. More extensive collectionsfeature the music of Herbert Howellsand Frank Bridge, as well as filmscores by Malcolm Arnold, JamesBernard and Stanley Myers. Amongstover 350 original portraits are JohnCawse’s 1826 painting of Weber (thelast of the composer), Haydn byThomas Hardy (1791) and BartolomeoNazari’s painting of Farinelli at theheight of his fame. The RCM’s600,000 concert programmesdocument concert life from 1730 tothe present day, and the collection of25,000 prints and photographscomprises the most substantialarchive of images of musicians in theUK (see also page 19).

The Centre for Performance Science,headed by Dr Aaron Williamon,promotes collaborative researchamong musicians and scientists at theRCM and leads applied,interdisciplinary investigations ofperformance in real-world educationaland professional contexts (see alsopage 82).

THE GROVE FORUM

The Grove Forum is the RCM’s publicforum for the dissemination ofresearch. Normally held on a Thursdayafternoon, events range from lecturesand round-table discussions to lecture-recitals and media presentations.Increasingly, these are linked to otherinstitutions across the world via ourstate of the art videoconferencingfacilities.

Named after Sir George Grove, whose passion for the arts andmusical inquisitiveness wasunbounded, the series follows his lead in covering a wide range oftopics. Its aim is to foster livelydebate on issues of interest both toperformers and composers, as well as nurturing interdisciplinary researchinvolving music.


RESEARCH82

FIELDS OF RESEARCH

Complementing the RCM’s ResearchCentres are the following keyspecialist fields:

CompositionComposers, as creators, areintrinsically involved in work thatdemands originality and innovation.RCM composers maintain anoutstanding national and internationalprofile. Recent commissions fromRCM composers include a new operafor the Royal Opera House and worksfor the Chicago Symphony Orchestra,London Philharmonic Orchestra, RoyalLiverpool Philharmonic Orchestra,Ensemble Intercontemporain, BBCProms, London ContemporaryOrchestra and the Nash Ensemble.

Electroacoustic MusicBased in the RCM’s state-of-the-artStudios, current interdisciplinaryprojects include opera andmultimedia; microtonality andcontemporary repertoire for alto andbass flute, MIDI search engines andaudio restoration as a creative tool.

Music for ScreenResearch in this area includes studiesin European film music; contemporarySouth African film music in theory andpractice; the integration of music andsound design in cinema and television;issues of identity and the portrayal ofhistory in film music; multimedia; filmscoring processes and theirdocumentation, film score reconstructionand screen composition pedagogy.

PerformanceResearch in performance at the RCMfocuses on those questions that aremost relevant to performersthemselves. Practice-based work is atthe core of studies, including explorationof unfamiliar repertoire; the nature ofthe score; measuring and analysingexpression in recorded performances;new approaches to canonic repertoireand the recreation of historical styles.A significant number of RCMprofessors are involved in innovativeperformance and recording projects.

Performance ScienceOngoing research and teaching fallsinto the following specialist areas:applied psychology and physiology,music education and development,skill acquisition and expertise, andmusicians’ health and wellbeing. Theoverarching aim of this work is toassist musicians in understanding andenhancing the mental and physicalskills that underpin performance.

MusicologyEnhanced by the RCM’s remarkablecollections, musicological workencompasses analytical, theoretical,historical, textual, iconographical,cultural, archival and contemporarystudies. Close links betweenpractitioners and scholarscomplement the large corpus ofpractice-based researchers at theRCM. Of particular prominence is theorganological research based largelyin the RCM’s own Museum ofInstruments, including joint projectson the acoustics of the harpsichord(with Imperial College London).In addition to studies concerningindividual makers represented in themuseum, current projects investigateaspects of design, construction,repertoire and the historicalsignificance of musical instruments.

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Research at the RCM www.rcm.ac.uk 83

PEOPLE

The RCM has a range of staff whohold dedicated research appointmentsand several distinguished visiting andhonorary researchers, as well asteaching and other staff who areactive researchers:

Personal Chairs

Professor of Historical MusicologyPaul Banks BA, DPhil, HonRCM

Professor of Music and MultimediaDavid Burnand BMus, MA

Professor of Historical PerformanceColin Lawson MA(Oxon), MA, PhD, DMus,

FRCM, FRNCM, FLCM

Senior Research Fellowsand Readers

Fellow and Professor of CompositionMark-Anthony Turnage FRCM

Senior Research Fellow inComposition for Screen Dr Edward Jessen BFA, MA, PhD

Senior Research Fellow inPerformance ScienceDr Aaron Williamon BA, BSc, PhD,

HonRCM, FRSA

Reader in the Social History of MusicDavid Wright BMus, MMus, GTCL, FTCL, ARCM

Research Fellows,Associates and Officers

Research Fellow in Music & VisualImpairmentJackie Clifton HonRCM

Research Fellow in Performance ScienceTânia Lisboa BMus, PGDip, MA, PhD

Research AssociateGiulia Nuti BMus, MPhil, ARCM, DipRCM

Academic, library andcuratorial staff withactive research interestsRachel Brown BMus, GRNCM, PPRNCM

Baroque Flute Professor

Terence Charlston MA, MMus, FRCO, ARAM Harpsichord Professor

Jonathan Cole MMus, PhD Composition Professor

Elisabeth Cook BMus, MBA, PhD, HonRCM, PGCE, FRGS Head of Undergraduate Programmes

Angela Escott BA, MA, PhD, ARCM, HonRCM, DipLib, MCLIP, GRSM Librarian (Orchestral & Choral)

David Graham BMus, ARCM, ARCO Organ Professor

Kenneth Hesketh MMus, DipRCM, ARCM Composition Professor

Ivan Hewett MMus Academic Programmes Professor

Vasco Hexel BM, MMus Area Leader in Composition for Screen

Peter Horton MA, DPhil, DipLib, ACLIB, HonRCM Deputy Librarian (Reference & Research)

Niel Immelman LRAM, ARCM Piano Professor

Alison Kay BA, ARCM, MMus, DPhil Composition Professor

Richard Langham Smith BAHons, Chevalier de l'ordre des arts et des lettres, FRSA Head of Graduate School

Professor Colin Lawson MA(Oxon), MA, PhD, DMus, FRCM, FRNCM, FLCM Professor of Historical Performance

Natasha Loges BMus, MMus, PhD Deputy Head of Undergraduate Programme

Giuseppina Mazzella BA, BMus, MA Librarian (Books & Journals)

Andrew McCrea BMus, MMus, ARCM, ARCO Academic Programmes Professor

Anna McCready MMus, PhD, GRSM Academic Programmes Professor

William Mival MMus, FRCM Head of Composition

Jenny Nex BMus, MA Curator of Musical Instruments

Michael Oliva BA, MA Area Leader in Electroacoustic Music

Ingrid Pearson BMusHons, PhD, DipEd, LTCL, LMusA Deputy Head of Graduate School

Jane Roper MMus, PhD Academic Programmes Professor

Timothy Salter MA, FRCM, LRAM, ARCO, MTC Composition Professor

Ashley Solomon HonRCM, ARCM Head of Historical Performance

Pam Thompson BA, HonRCM Chief Librarian

Huw Watkins MA, MMus Composition Professor

Robert Woolley GRSM, ARCM Harpsichord Professor

RESEARCH SPECIALISMS

Amongst the community of RCMresearchers are scholars andpractitioners of international standing,many of whose work focuses on theinterrelation of theory and practice.Potential research students may liketo peruse the following list but shouldbear in mind that it is not exhaustive.Current specialisms include:

16th century German music; 17thcentury Italian music; 18th centurykeyboard instruments; 18th centuryFrench music; 18th century Englishtheatre; 19th century English music;19th century Lieder; 19th centuryEastern Europe; 19th and 20thcentury French music; 20th centuryconcert life; performance practice;spectral composition; history andaesthetics of film music; earlyrecordings; electroacoustic andacousmatic music; organology;iconography; woodwind performingpractices; historic organs of the Balticstates; composition; music and theEnlightenment; music in Paris 1814–1833; performance history; operahistory; music education; orchestralperformance; music libraries; choralmusic; performance science; musicpsychology; modernism andpostmodernism; Neoclassicism;Adorno; the Second Viennese School;Spanish Music; Berlioz; Bizet;Debussy; Ravel; Frank Bridge; Britten;Busoni; George Dyson; HerbertHowells; Mahler; Schoenberg; SamuelSebastian Wesley.


This section takes you through, in chronological order,

everything you need to think about when you consider

applying to the RCM, from coming along to an open day

to raising funds when you’ve been offered your place.

You should find answers to most of your questions here,

but if you need to know anything else please contact us

on 020 7589 3643 or at [email protected], and we’ll be

very pleased to hear from you.

HOW TO APPLY

86 Open Days and Tours87 Entry Requirements - Undergraduate School - Graduate School - English Language Requirements88 Applying to the RCM - CUKAS Applications - Non-CUKAS Applications - Application and Audition Fees89 Special Requirements90 Auditions - Audition Format - Audition Pieces - When and Where - Auditions by DVD for International Applicants91 What Happens Next? - Consultation Lesson92 Money Matters - Tuition Fees - Scholarships, Study Awards and Bursaries - Other Sources of Financial Assistance94 Application Checklist

How to

App

lyHOW TO APPLY84


How to Apply

www.rcm.ac.uk 85


Open

Days an

d Tours

HOW TO APPLY86

Our prospectus and website will tellyou everything you need to knowabout studying at the RCM, but thebest way to discover what life is trulylike here is to visit us.

Join us each April for our free annualOpen Day, designed to giveprospective students, parents andteachers the chance to ‘access allareas’ and experience all kinds of livemusic, introductions to the faculties,plus a wide range of open lessons andrehearsals. The day starts at11.00am and we encourage you tocome from the start.

OPEN DAYS AND TOURS

Our 2010 Open Day is on Wednesday21 April. Information on our 2011Open Day will appear atwww.rcm.ac.uk/openday fromsummer 2010.

If you can’t come to Open Day, youmay like to consider a personal tour.Tours are held throughout term-timeexcept in examination weeks, andmust be booked in advance. Theyusually last an hour and precede orfollow one of our regular lunchtimeconcerts. The tour telephone bookingnumber is +44 (0)20 75914867/4310. There is no charge fortours, but places are subject toavailability.

Regular tour days are:Tuesdays 2.00pm - 3.00pm: You can also attend the regularTuesday lunchtime chamber concert at1.00pm before a tour.

Thursdays 12.00pm - 1.00pm: Youcan also attend the regular Thursdaylunchtime chamber concert at 1.00pmafter a tour.


Entry Requirements

www.rcm.ac.uk 87

GRADUATE SCHOOL

Masters Programme inPerformance, VocalPerformance or Composition

• A first degree or diploma, or anequivalent internationalqualification, usually in music.

Students who wish to take the MMusmay be requested to demonstrateappropriate knowledge and ability aspart of the admissions process (see page 89).

Artist Diploma in Performance

• A postgraduate diploma or Mastersdegree in music performance orequivalent experience.

Artist Diploma in Opera

• A postgraduate diploma or Mastersdegree in vocal performance orequivalent experience.

Graduate Diploma, Singer

• A first degree or diploma orequivalent internationalqualification, or equivalentexperience.

MSc in Performance Science

• A first degree with a 2:1 class orabove (or equivalent internationalqualification) in music or a relatedsubject such as education,psychology or biology. Otherdegrees, professional qualifications,or experience may be considered.

ENGLISH LANGUAGEREQUIREMENTS

If your first language is not English,you must achieve a satisfactorystandard in an approved test in English.

International English LanguageTesting Service (IELTS) Certificate

• The IELTS Level 6 is acceptable formost programmes. Applicantswishing to pursue the MMus or MScqualification will require Level 7.Your local British Council Office willhave details. Acceptable alternativesto the IELTS are:

University of Cambridge LocalExamining Syndicate

• Certificate of Advanced English (for BMus)

• Grades A or B in the First Certificateof English (for Masters Programme)

• Certificate of Proficiency in English(for MMus)

Pearson Test of English (PTEAcademic)

• Minimum score of 50 for mostprogrammes; 65 for MMus and MSc applicants

TOEFL IBT (Internet-based Test)

• Minimum score of 79 for mostprogrammes; 90 for MMus and MSc applicants.

English language requirements needto be met by 1 May precedingcommencement of studies.

Whilst the above English languagerequirements must be met prior toadmission, special English supportclasses for musicians are alsoavailable at the RCM.

ENTRY REQUIREMENTS

Applicants should be aware that if they hold a qualification that is eitherequivalent to or higher than the RCM programme they are commencing,they will not be eligible for Home/EU tuition fees and will be required to paythe relevant overseas tuition fee. Please see the Fees & Funding section ofthe RCM website for further details.

Other qualifications may be accepted:for information please contact theRegistry Officer on +44 (0)20 75914362 (email: [email protected]).

UNDERGRADUATE SCHOOL

BMus (Hons) and ExperienceProgrammes

UK students

• A level Music at grade C or above(most students achieve grade A orB), and either

• a second A level at grade E orabove, or

• two AS levels both at grade C orabove (not including Music)

Music Technology is not accepted as asubstitute for A level Music, but canbe your second A level or one of yourAS levels.

If you are not taking A level Music, butstill wish to apply to the Royal Collegeof Music, you may still be consideredif you can demonstrate an appropriatelevel of musical knowledge andliteracy. You may be tested orinterviewed at audition or during theadmissions process to ascertain this.

Alternative entrance qualifications whichare accepted instead of A levels are:

• three SCE Higher Grade passes, one of which should be in Music

• Cambridge Pre-U

• Advanced GNVQs

• BTec qualifications

International Students

• European or InternationalBaccalaureate or other equivalentinternational qualifications sufficientfor university entrance in your owncountry. For details visitwww.rcm.ac.uk/international

Students transferring from otherinstitutions

BMus or Experience Programmeapplicants wishing to enter Year 2 or 3of the Undergraduate Programmeshould provide full transcripts fromtheir current university or college todemonstrate successful progressionthrough their course of study.


Applying

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MHOW TO APPLY88

NON-CUKAS APPLICATIONS

BSc Physics with Studies inMusical Performance

• You must apply to Imperial CollegeLondon through UCAS for thisprogramme. It is not necessary to apply separately to the RCM through CUKAS

• Auditions are held in February

• This programme is available toinstrumentalists and composers only

Doctoral Programmes

• Applications should be made directlyto the RCM. You cannot use theCUKAS online application service for this programme

• The deadline for applications is 31January 2011. Successful applicantsare expected to commence theirdoctoral studies in September

• There is an application fee of £75which must be paid upon submissionof application

• To apply, contact the DMusAdministrator on +44 (0)20 75914377 or [email protected].

APPLICATION AND AUDITION FEES

The following application and auditionfees must be paid when making youronline application. The fee covers thecost of administering youraudition/interview, and is non-returnable.

On time applications, received by 1October 2010

• Auditions in London or Asia or byDVD:

– for single study with or withoutsecond study: £75– for joint principal study oralternative study: £90

• Auditions in the USA: £130

• Late applications (received after 1October 2010) for auditions inLondon and by DVD are subject toan additional fee of £10.

• All applicants applying via CUKAS must also pay the £15application fee

In most cases applications to study at the RCM should be made onlinethrough CUKAS (Conservatoires UKAdmissions Service) atwww.cukas.ac.uk. However for some programmes this is not thecase – see right.

CUKAS APPLICATIONS

• The online application is forpostgraduate as well asundergraduate applications

• To create an application go towww.cukas.ac.uk (If you are anapplicant for the DoctoralProgramme or BSc Physics withStudies in Musical Performanceplease refer to the Non-CUKASApplications section - see right)

• You can apply simultaneously to upto six conservatoires that aremembers of Conservatoires UK viaone online application. Note thatthere is no obligation to use all sixchoices

• You can check the progress of yourapplication, accept offers andconfirm decisions online

• With your unique ID and password,you can work on your applicationfrom anywhere with internet access,and at any time

• You can make an undergraduate orpostgraduate application easily andspeedily from anywhere in the world

• You pay your application andaudition fees online

• You can submit your application forentry in 2011 to CUKAS after 2 July2010

• CUKAS applicant helpline: 0871468 0470; or from overseas: +44 (0)1242 222444

• RCM admissions: +44 (0)20 75914362 or [email protected]

APPLYING TO THE RCM


Special Requirements

www.rcm.ac.uk 89

MMUS

In order to demonstrate appropriateknowledge and ability, you may berequested to submit two examples ofrecent written work, such as essays,directly to the RCM as part of theadmissions process. You may alsohave an interview to discuss your workeither on the day of audition, or at analternative mutually convenient time.You will be told if you need to do this.

OPERA

Opera applicants must audition inperson in London.

ACCOMPANISTS ANDREPETITEURS

Postgraduate repetiteurs should applyfor Principal Study accompanimentand may take a repetiteur specialismin their second postgraduate year.

COMPOSITION ANDCOMPOSITION FOR SCREEN

Composition at all levels (undergraduateand postgraduate) is available aseither Composition – the broad-basedstudy of compositional technique asboth art and craft – or as Compositionfor Screen – which focuses on thespecific discipline of writing music forfilm, television and other media.

In addition to completing your CUKASapplication all composers must submitexamples of their compositionsdirectly to the RCM. You must submita portfolio of at least two, but notmore than five, contrasting examplesof your compositions. Please submityour portfolio to ‘Admissions’ at theRCM by 31 October 2010. You maysubmit your work as written scores,recordings or a combination of thetwo. Please note that we are notnecessarily looking for a fully formedcompositional voice. However, we arelooking for evidence of both a talentfor composition and, depending on thelevel at which you wish to study, theability to realise effectively, or to startto realise, your ideas in a variety offorms and media.

Please ensure that written music isclear and legible and that you includefull details, where necessary, ofinstrumentation, scoring andperformance details. You may alsosubmit your portfolio electronically.Written scores may be submitted asPDF files. Please do not send Sibeliusfiles unless they are accompanied byPDF files of the same material. All electronic submissions should be sent as attachments [email protected].

Recordings should be either on CD,DVD or in a file format that can beread in VLC or Windows Media Player.Individual works should be clearlyindexed on both the disc and on theaccompanying docu mentation. Allrecordings should be clearly labelledwith your name and the title of thepiece on both the container and the disc.

Portfolios are returned to youimmediately at the end of the auditioninterview or can be mailed back to youafter the audition period upon request.

In addition to the normal academicand musical standards expected forentry to the RCM’s MastersProgramme, Composition for Screenapplicants will be expected todemonstrate:

• a command of musical gesture andexpression

• instrumentation and orchestral skills• proficiency in music technology

applications such as sequencingand score processing

• experience in the use of Logic orsimilar software

• a keen awareness of music’snarrative and dramatic functionswithin and beyond film, televisionand multimedia

Prior to interview, postgraduateComposition for Screen applicantsmay be asked to complete a set ofdiagnostic tasks – for example, anumber of short compositions to awritten brief. Further details areavailable on the RCM website.

CONDUCTORS

Conducting is available atpostgraduate level only, althoughundergraduate students can choosethis as an option in Years 3 and 4.

In addition to completing your CUKASapplication you must submit a DVD ofa recent performance which youconducted to ‘Admissions’ at the RCMby 31 October 2010. Shortlistedcandidates will be invited for anaudition which may include:

• Aural tests, including rhythm tests

• Tests on knowledge of orchestralmusic, instrumentation andtransposition

• A viva voce on orchestral repertoireand the instruments of the orchestra

• Conducting a College instrumentalensemble in a rehearsal of excerptsfrom one or more works, as directedby the audition panel, to include apiece of sight-reading with a 10minute preparation period.

All candidates are expected to play aninstrument or sing to a high standardand will be asked to demonstrate thatat audition.

Conductors must audition in person in London during the February auditionperiod. Details of the set pieces willbe sent with audition timetables. All candidates are expected to show a detailed knowledge of orchestralrepertoire and to prove a genuinecommitment to, and interest in,conducting as a significant part oftheir professional career. Shortlistedcandidates may be required to stay inLondon for a second day.

SPECIAL REQUIREMENTS


Auditio

nsHOW TO APPLY90

AUDITION FORMAT

• Auditions/interviews at the RCM areapproximately 15-20 minutes long

• For some instruments and for voiceyou may be asked to perform at asecond audition on the same day

• For set pieces see the audition pieces online atwww.rcm.ac.uk/auditionpieces.Technical work (scales, arpeggiosetc) may be required of someinstrumentalists – details can alsobe found online. Sight-reading maybe required of all performers

• The RCM does not require advancenotice of your audition programme

• You are advised to bring your ownaccompanist, with whom you willhave worked in preparation for youraudition. However, if you are unableto do so, an accompanist can beprovided by the RCM if required

• The RCM does not need to know inadvance whether you will beaccompanied by your ownaccompanist or by an RCMaccompanist

AUDITION PIECES

For details of audition pieces andinformation on how to prepare for youraudition please visit the RCM website– www.rcm.ac.uk/auditionpieces

WHEN AND WHERE

Auditions in London

• Applications should be submitted by1 October 2010

• Late applications will be acceptedonly if there is space in the auditionschedule

• Most auditions will be held inLondon between 29 November and15 December 2010, although someapplicants may be asked to auditionin February 2011

• If you are auditioning in theDecember audition period, you willbe notified of your audition date and time in mid-November and youwill be told the result of youraudition in late December via theCUKAS Track system

• If you are auditioning in February2011 you will be notified of youraudition date and time in Januaryand you will be told the result ofyour audition in late February via theCUKAS Track system

Auditions in the USA

• The RCM holds auditions in NewYork and Boston in February orMarch

• Applications should be submittedthrough CUKAS by 5 January 2011

• Applicants auditioning in the USAcan be considered for scholarshipsas well as places

• USA auditions are not available foropera, conducting, repetiteur, lute,percussion or organ. Auditions forthese principal studies are held onlyin London

• For more information, [email protected], ortelephone +44 (0)20 7591 4362

Auditions in Asia

• The RCM holds auditions inNovember in Taipei, Seoul, andTokyo and in January in Beijing,Hong Kong and in Singapore

• Applications should be submittedthrough CUKAS by 31 October 2010

• Applicants auditioning in Asia can beconsidered for scholarships as wellas places

• Auditions in Asia are not availablefor opera, conducting, repetiteur,lute or percussion. Auditions forthese principal studies are held onlyin London

• For more information email:[email protected], ortelephone +44 (0)20 7591 4377

AUDITIONS BY DVD FORINTERNATIONAL APPLICANTS

The RCM prefers you to audition inperson, but international applicantsfrom outside the European Union mayaudition by DVD, unless they areconductors, repetiteurs, operasingers, organists, percussionists orlute applicants. Applicants who areauditioned by DVD cannot normally beconsidered for RCM scholarships.If you wish to be auditioned by DVD,please complete the online applicationat www.cukas.ac.uk. Once you havesubmitted your online application youshould then send the following directlyto the RCM:

• A DVD recording of yourperformance of the prescribedpieces for your instrument or, whereapplicable three contrasting piecesof a similar standard. For set piecessee the audition pieces online atwww.rcm.ac.uk/auditionpieces.The recording should be of goodquality and must be an uneditedsingle performance of your auditionpieces. Your recording will not bereturned to you

• A letter that states that theperformance is your own unaidedwork, signed by the recordingengineer, your Principal Studyteacher, Head of Department orHead Teacher

• A photocopy of the marks andexaminer’s comments in the highestexamination that you have taken ofthe Associated Board of the RoyalSchools of Music (ABRSM) or otherinternationally recognisedexaminations body

AUDITIONS


What Happens Next?

www.rcm.ac.uk 91

• Offers are made to successfulapplicants via the CUKAS Tracksystem, which outlines details of the programme offered with any conditions

• You will need the login details youused to make your application

• You will receive an email notificationto inform you that updatedinformation is available on theCUKAS Track system

• The RCM aims to inform applicants of the outcome of theaudition as soon after the auditionperiod as possible. Applicants whoaudition in London in Decembershould hear before Christmas.Applicants auditioning overseas or inFebruary should hear within twoweeks of audition

• In addition to the offer posted onthe CUKAS Track system, the RCMwill send a confirmatory letter bymail with accompanying information

• Applicants being offeredscholarships will receive notification from the RCM with this confirmatory letter

• Successful applicants can accept their offer via the CUKASTrack system

• To ensure we can reach you by mail, email or telephone (includingover the Christmas period), it isimportant that you update yourcontact details via the CUKAS Track system if they change

• Successful applicants who haveaccepted offers of places will thenbe contacted again in the Augustpreceding commencement ofstudies. In the meantime, furtherinformation about the RCM, eventsand concerts is available on ourwebsite, or you are free to contactus at any time

WHAT HAPPENS NEXT?

CONSULTATION LESSON

If you are offered a place by the RCMand would welcome guidance aboutyour choice of professor, pleasecontact the relevant Head of Faculty atthe RCM who will be happy to advise(see page 32 onwards for facultyinformation). You may also wish tohave a consultation lesson with aprospective professor. Your Head ofFaculty is best placed to advise you onthis and will be able to put you intouch with the relevant professor.There is normally a charge of £50 fora consultation lesson (but this mayvary), which is conducted in theprofessor’s own time. This charge ispayable directly to the professor.

The RCM offers online consultationlessons for prospective applicants tothe Masters Programme inComposition for Screen and to thosewho are re-applying. Further detailsare available from the Composition forScreen Area Leader, Vasco Hexel [email protected].


Mon

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HOW TO APPLY92

TUITION FEES

Tuition fees are revised annually so please check the website atwww.rcm.ac.uk/moneymatters forthe latest information.

An up-to-date full list of fees for allprogrammes can be found there.Study at a world-class conservatoirecan be expensive, but the mosttalented students have all their feescovered by scholarships and almosthalf of RCM students receive somefinancial support from the College. As a guide only, fees for the academicyear 2010/11 were:

Students from the UnitedKingdom and EU

• BMus £3,290

• Masters Programme £7,600

• Masters Programme part-time£5,100

• Intensive MMus £10,100

• DMus £5,100

• DMus part-time £2,600

• Gap Year and Junior Year ExperienceProgramme £7,600

Students from Other Countries

• BMus, Experience Programmes andMasters Programme £17,700

• Intensive MMus £23,550

• DMus £11,950

Postgraduate Vocal Programmes

Postgraduate vocal provision at theRCM is generous and intensive. As aresult, fees for singers are higher thanthose for instrumentalists andcomposers. The RCM is fortunate tohave generous scholarship fundswhich means that almost all vocalstudents receive a scholarship thatcovers some or all of their fees. Fees for 2009/10 were:

• Grad Dip/Masters Programme inVocal Performance £8,200 (UK andEU); £18,250 (other countries)

• Artist Diploma in Opera £10,100(UK and EU); £19,100 (other countries)

US Students

The RCM is designated as an eligible institution for Americanstudents to apply for US FederalStudent Loans or for deferment ofpayment on an existing US StudentLoan. For more detailed informationon US loans and how to apply, visitwww.rcm.ac.uk/moneymatters

Overseas Students (Non EU)

If you are an overseas student, it isessential that you have the means topay your fees and living expenses forthe duration of your course beforeleaving your own country. Minimumliving expenses are estimated at over£9,000 – most students spendapproximately £11,000 per year onliving costs. There may be a smallnumber of grants and awards availablein your home country for study abroad.Consult your local British Councilrepresentative for details.

MONEY MATTERS

Applicants should be aware that if they hold a qualification that is eitherequivalent to or higher than the RCM programme they are commencing,they will not be eligible for Home/EU tuition fees and will be required to paythe relevant overseas tuition fee. Please see the Fees & Funding section ofthe RCM website for further details.


Money M

atters www.rcm.ac.uk 93

SCHOLARSHIPS, STUDYAWARDS AND BURSARIES

RCM Scholarships and StudyAwards

• RCM scholarships and study awards are available to home/EUand overseas applicants at both undergraduate andpostgraduate levels

• RCM scholarships and study awardsprovide support for tuition fees (upto full fees)

• At the time of your audition, you willautomatically be considered for anRCM scholarship provided youaudition in person and are applyingfor an eligible course. They areawarded on merit as part of theaudition process. No separateapplication is needed

• Applicants who receive a highaudition mark will be considered foran award either during their PrincipalStudy audition, or at a secondaudition the same day

• RCM scholarships and study awardsare not normally awarded toapplicants who apply by DVD or forExperience Programmes (Gap Year,Semester/Year Experience,Foundation Programme)

• BMus UK or EU students who areoffered scholarships have the optionto use their scholarship to offseteither their tuition fees or CollegeHall accommodation rent, or forliving costs

Special External Awards: ABRSMInternational Scholarships

The Associated Board of the RoyalSchools of Music offers twoscholarships each year for overseasstudents to study at the RCM. Oneaward is for an undergraduate, one fora postgraduate (doctoral students arenot eligible).

• These scholarships cover full tuitionfees and provide assistance withliving costs

• All overseas applicants are eligibleto apply for these scholarships

For further details and an applicationform, please contact:ABRSM 24 Portland Place, London W1B 1LU, UKTel: +44 (0)20 7636 5400www.abrsm.org

Bursaries for UK BMus Students

In addition to the scholarships andstudy awards described above, theRCM will fund bursaries for many UKstudents, based on their financial need.

The College offers two types ofbursary (listed below) – which areaimed at removing financial barriers tostudy at the RCM and to help with theextra living costs in London:

RCM bursaries:

• £700 per year (worth £2,800 in total across the four years of the BMus)

• These bursaries will be awarded toall UK students assessed to receiveat least 85% of the maximummaintenance grant

• You can have both a scholarship and a bursary

More details about these bursaries and the costs of study at the RCM can be found atwww.rcm.ac.uk/moneymatters

OTHER SOURCES OFFINANCIAL ASSISTANCE

Our handy Scholarships and FundingGuide is full of useful information forstudents seeking financial assistance,including advice for UK andinternational students, a list of keyexternal funding organisations andhelpful tips on how to approach them.

Copies of the guide can bedownloaded from the RCM website atwww.rcm.ac.uk/moneymatters


Appl

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Chec

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tHOW TO APPLY 94

�Been to an Open Day or tour, orvisited the RCM website and foundout all you need to know about yourfaculty and programme of study?

�Checked that you meet the entryrequirements? See page 87 fordetails.

�Submitted your application online?Remember to check whether youneed to apply via CUKAS or anothermethod – see page 88 for details.

�Paid your application and audition fees online? See page 88 for details.

�Checked the special requirements? See page 89 for details.

APPLICATION CHECKLIST

Decided the Royal College of Music is the place for you? Make sure your application runs smoothly by following our simple checklist below.

Have you...

�Made a note of your audition dateand time (available on the CUKASTrack system) and checkedwww.rcm.ac.uk/auditionpieces fordetails of your audition pieces?

�Impressed us with a greataudition? International studentsmay apply by DVD if you can’tattend in person – see page 90 for details.

�Checked our websitewww.rcm.ac.uk/moneymattersfor up-to-date information on ourtuition fees and secured thenecessary funding? Help andadvice on financial matters canalso be found online.

�Checked the CUKAS Track system to see if your applicationwas successful? See page 91 for details.

�Accepted your offer via the CUKASTrack system? You may also wishto book a Consultation lesson todiscuss your choice of Professor –see page 91 for details.

If you have any other queries aboutthe application process please visitthe RCM website atwww.rcm.ac.uk or contact theCollege on +44 (0)20 7589 3643 or via [email protected].

Good luck with your application! We hope to see you in September 2011.Design: Splash of Paint. General photography: Chris Christodoulou

Additional photography: Sheila Burnett - pages 5 (middle left), 26-27, 28 (right)Marcus Ginns – page 11, bottom left, John Offenbach, page 11, top leftBen Rice - pages 13; 15 (middle and bottom right), 18, 19, 36 (left)Philip Thorne - page 17 www.photoeverywhere.co.uk - page 25


www.rcm.ac.uk 95


Royal College of Music, London

Prince Consort RoadLondon SW7 2BS United Kingdom

Tel +44(0)20 7589 3643 Fax +44(0)20 7589 7740

Email [email protected]

www.rcm.ac.uk

Patron Her Majesty The Queen

President His Royal Highness The Prince of Wales

Chairman Professor Lord Winston

Director Professor Colin Lawson MA(Oxon) MA PhD DMus FRCM FRNCM FLCM

The Royal College of Music is a registered charity. No. 309268

The Royal College of Musicprospectus is printed on Heaven 42.

It is fully recycled, biodegradableand Elemental Chlorine Free.

royal college of music prospectus

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