Masters Programmes in Performance HANDBOOK 2010-2011: Royal College of Music Graduate School

Royal College of Music
Graduate School
MASTERS PROGRAMMES IN PERFORMANCE
HANDBOOK 2010–2011
Master of Performance (MPerf)
CONDUCTING,
INSTRUMENTAL PERFORMANCE
and
VOCAL PERFORMANCE
If you would like any material
from this document
in larger print,
please contact the
Registry Programmes Team
e-mail:
registryprogrammes@rcm.ac.uk
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1. The Masters Programmes in Performance
2. Aims and Learning Outcomes
3. Structure of the programmes
4. Progression
5. Assessment
6. Unit Descriptions
7. Programme Management
8. Appendices
1. Programme Specification for the Masters Programmes in

Performance
2. General Information
3. Who’s Who on the Masters Programmes
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1. The Masters Programmes in Performance
Welcome to the Royal College of Music Graduate School. The Graduate School was established in
2003 as the conceptual locus for both taught and research postgraduate programmes.
There are currently six postgraduate programmes available at the RCM:
• Masters Programmes in Performance (incorporating PGDip, MPerf and MMus awards)

• Masters Programmes in Composition (incorporating PGDip, MComp and MMus awards)
• Graduate Diploma in Vocal Studies (GradDip)
• Artist Diploma in Opera (Art Dip)

• Artist Diploma in Performance (Art Dip)
• Doctor of Music (DMus)
As articulated in the College’s current Mission Statement, the Graduate School seeks to provide
‘specialised musical education and professional training at the highest international level for
performers and composers, within an environment that stimulates innovation and research’. Through
its programmes the Graduate School encourages all students to ‘understand the nature of music as
an art and a science, comprehend the position of music in cultural and spiritual life, demonstrating a
love of music that can be readily articulated’. In particular, Graduate School programmes foster ‘self-
critical, independent musical leaders’, across both theory and practice, ‘showing initiative, taking
musical risks and solving problems’.
Within the framework of the Graduate School, many diverse activities undertaken by advanced
students provide paths for exploring new ideas in composition, performance and vocal performance
and other modes of practice-based research. We believe that this is most easily achieved in an
environment that facilitates the exchange of knowledge and skills, underpinned by programmes that
give you flexibility and inspire you to work to your full potential.
One of the central precepts of the Graduate School is the idea of the ‘informed musician’ and it
aims to nurture not only students’ ability but also their musical intelligence. It is based on the
premise that postgraduate students are best served by programmes that can be adjusted to
individual needs. Accordingly, you will find that you have some choices to make in the devising of
your course of study. This Handbook is specifically designed as your guide in that process and may
also be found on MUSE, the College’s web portal.
The Masters Programmes in Performance present a range of course options designed to enable you
to employ your time at the RCM in ways that you feel most appropriate. There are two named
degrees, the Master of Performance (MPerf) and the Master of Music in Performance (MMus). This
handbook refers to the MPerf.
The MPerf allows students to study for a generic degree, or to specialise in:
• Conducting
• Historical Performance
• Orchestral Performance
• Piano Accompaniment/Repetiteur
• Vocal Performance
This degree has been designed as two-year programme of full-time study but can also been taken
across three years of part-time study.
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The MPerf is practical in its focus and designed to help you reach the highest standards. It also aims
to help you to become self-sufficient, self-critical as well as to equip you for the profession as it is now
and to prepare you for the changes that you will undoubtedly encounter in your career.
Students normally enter Year One of the MPerf. Successful completion of this year enables you to
progress to Year Two. Further details of this process appear later in this Handbook. Students who
leave at the end of Year 1 are eligible for the award of a PGDip (Postgraduate Diploma) in
Performance. At the end of each year of study, you receive a transcript showing the units you have
successfully completed.
All students receive practical tuition, as either a Single or Shared Principal Study. If you are following
one of the specialisms listed above you will be taking the corresponding specialist unit as part of your
studies. MPerf students not undertaking a specialism take elements from the Professional Portfolio in
both years of study. Additionally, some students will have some space left for further units to bring
them up to their full quota (normally 120 credits for each year of the MPerf). If so, you will choose
from a range of other Elective units.
At the back of this handbook are three appendices. The first of these is the mandatory Programme
Specification. It is a useful summary of the programme, written in a standard format used by most UK
Higher Education Institutions, including Conservatoires. The second appendix concerns important
generic sources of information and a third appendix details the key staff concerned with the
programmes.
In the sections of the main handbook that follow, you will find the aims and learning outcomes of the
programmes stated, their structure set out as well as the arrangements for progression and
assessment. Then there are descriptions of each of the units from which the programme is made up.
The final section deals with the management of the programme.
We wish you every success with your postgraduate studies in Performance at the Royal College of
Music.
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2. Aims and Learning Outcomes
The Masters Programmes in Performance have the following overall aims:
• to provide advanced musical training at postgraduate level in which a fundamental emphasis

upon practical attainment is complemented by the encouragement of preparedness for the
profession while nonetheless developing critical self-awareness, a capacity for reflective insight
and the ability to formulate discriminating musical judgements
• to offer to graduate musicians the opportunity to enhance their skills, broaden their
knowledge of repertoire, refine their interpretational and/or creative abilities and thereby
develop their musical talents
• to provide a training and education whose own internal standards mirror as closely as
possible those demanded within the profession. In doing so to seek the fullest involvement of
musicians active within the profession, whether professors of the College or visiting
individuals and groups
• to acknowledge and reflect leading trends in musical thinking within the profession and
demonstrate facility across both practice and theory
• to produce musicians capable of contributing to the development of the profession and of
participating in its future shaping through their insights and understanding, as well as their
practical abilities
The PGDip in Performance, MPerf and MMus in Performance have been designed to generate the
learning outcomes listed below.
Skills and other attributes
Practical Skills – to be able to:

(1) perform at a level expected of a front-rank professional musician in terms of technique, musical
interpretation and communication
(2) apply personal research, analysis, reflection, listening and the application of theory to practice in
the process of forming a musical interpretation
(3) use a thorough understanding of the components of music and their underlying structures to
inform musical performance
(4) memorise and reconstruct sound
(5) conceive, manipulate and develop musical ideas and apply aesthetic/stylistic principles to
performance
Cognitive skills – to be able to:

(1) research, synthesise and evaluate information from a variety of sources, text-based, aural and oral
(e.g. the testimony of teachers and fellow-performers, information carried in both live performance
and recording)
(2) apply theory to practice in the preparation of performance
(3) exercise significant judgement and apply artistic/intellectual perspectives
(4) carry out projects, across written and verbal presentation, as well as for musical performance
Transferable skills – to be able to:

(1) approach and solve problems in a flexible, open and creative way
(2) work as part of a team, often in a leadership role, taking spontaneous decisions and responding to
the decisions of others
(3) improvise, manage risk and cope with the unexpected
(4) be self-motivated and disciplined, and promote projects/performances with critical self-
awareness;
(5) understand work regimes and professional protocols
(6) work independently
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Knowledge and understanding of:
(1) the full range of technical and expressive capabilities of one’s instrument or voice
(2) the instrument’s or voice’s repertoire and that of any related historical or modern equivalents, as
appropriate, similarly for conductors
(3) how to assimilate less familiar repertoires and associated performing conventions
(4) the current state and likely direction of development of the profession, the range of
competencies needed to enter it and the ways in which one’s skills may continuously be enhanced to
keep pace with rising challenges in a developing career
These learning outcomes are derived from the standard Credit and HE Qualifications: Credit Guidelines
for HE Qualifications in England, Wales and Northern Ireland (CQFW/NICATS/NUCCAT/SEEC,
November 2001), and are taken in application to all component units within the Masters
Programmes in Performance. However, students obtaining the MPerf or the MMus in Performance
will have deepened their skills and knowledge in their Principal Study area and broadened them in
relation to the range of other units taken. Descriptions for Principal Study and Specialist units
articulate how the second-year units build upon their equivalents in the first year.
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3. Structure of the programmes
The Masters Programmes contain degree courses leading to the award of Master of Music in
Performance (MMus) or a Master of Performance (MPerf). Students who leave either programme
after successfully completing one year of full-time or two years of part-time study will be awarded a
Postgraduate Diploma in Performance (PGDip) subject to satisfactory completion.
All students undertaking the MPerf study a generic programme or specialise as follows:
MPerf degree
generic programme
Conducting
Historical Performance
Orchestral Performance
Piano Accompaniment/Repetiteur
Vocal Performance
All courses are built from a range of units, with many units shared amongst them. These units are
classified as Principal Study Units, Specialist Units and Elective Units. Units are built up into
patterns of study which normally occupy the period from September to June (10 months) and
correspond to 120 credits.
Students may broadly choose units as they wish within the MPerf programme. However, units for
each year of study must normally be selected such that they have a total credit value of 120.
Elective units include those at Level 3, forming part of the College’s BMus(Hons) programme, may be
taken as part of the MPerf.
The pages that follow present the overall templates for the generic MPerf then each of the
specialisms.
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Master of Performance (MPerf) – generic
two academic years, 120 credits per year
PRINCIPAL STUDY PROFESSIONAL PORTFOLIO ELECTIVE UNITS

UNITS
2 items per year from Level M
SINGLE Concerto Competition, 10 credits
Principal Study Professional Skills
(90 mins per week, (compulsory) plus one of: Conducting, 20 credits
39 hours p/a)
80 credits Studio Experience Contemporary Music in Action, 10 credits
New Media
Programme Notes Continuo Accompaniment, 10 credits
OR Spoken Presentation
Duo Performance, 20 credits
(all 10 credits)
SHARED Experimental Music, 10/20 credits
Principal Study
(60 mins per week, Historical Performance, 10/20 credits
26 hours p/a)
60 credits Keyboard Improvisation, 20 credits
plus Music, Culture & Contemporary Media,

10/20 credits
Second study
(30 mins per week, Repertoire Project, 10 credits
13 hours p/a)
30 credits Sources of Performance History, 10 credits
Level 3
Alexander Technique, 20 credits
Chamber Music, 20 credits
80 or 90 credits per 20 credits per year 10 or 20 credits per year

year
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Master of Performance (MPerf) - Conducting
PRINCIPAL STUDY SPECIALIST UNIT ELECTIVE UNITS

UNITS all at 10 credits
Conducting Seminars
SINGLE Continuo Accompaniment
Principal Study including classes in
(90 mins per week, Analysis, Specialist Experimental Music
39 hours p/a) Techniques and
80 credits Repertoire classes etc., Music, Culture and Contemporary Media
plus rehearsals and
performances item from Professional Portfolio:
OR Professional Skills
New Media
Programme Notes
SHARED Spoken Presentation
Principal Study (all 10 credits)
(60 mins per week,
26 hours p/a) Repertoire Project
60 credits
Sources of Performance History
plus
Second study
(30 mins per week,
13 hours p/a)
30 credits
80 or 90 credits per year 30 credits per year 10 credits per year (for SINGLE PS
candidates only)
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Master of Performance (MPerf) - Historical Performance
PRINCIPAL STUDY SPECIALIST UNIT ELECTIVE UNITS

UNITS all at 10 credits
SINGLE projects Concerto Competition
Principal Study
(90 mins per week, Contemporary Music in Action
39 hours p/a)
80 credits Continuo Accompaniment
Music, Culture & Contemporary Media

OR
item from Professional Portfolio:
Professional Skills
SHARED Studio Experience
Principal Study New Media
(60 mins per week, Programme Notes
26 hours p/a) Spoken Presentation
60 credits (all 10 credits)
plus Repertoire Project
Second study Sources of Performance History

(30 mins per week,
13 hours p/a)
30 credits
80 or 90 credits per 30 credits per year 10 credits per year (for SINGLE PS
year candidates only)
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Master of Performance (MPerf) - Orchestral Performance
PRINCIPAL SPECIALIST UNIT ELECTIVE UNITS

STUDY UNITS all at 10 credits
SINGLE Concerto Competition
Principal Study (Orchestral skills group teaching
(90 mins per week, and seminars) Contemporary Music in Action
39 hours p/a)
80 credits Continuo Accompaniment
Experimental Music
OR
SHARED Music, Culture & Contemporary Media

Principal Study
(60 mins per week, item from Professional Portfolio:
26 hours p/a) Professional Skills
60 credits Studio Experience
New Media
plus Programme Notes
Spoken Presentation
Second study (all 10 credits)
(30 mins per week,
13 hours p/a) Repertoire Project
30 credits
Sources of Performance History
80 or 90 credits 30 credits per year 10 credits per year (for SINGLE PS

per year candidates only)
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Master of Performance (MPerf) - Piano Accompaniment/Repetiteur
PRINCIPAL STUDY UNITS SPECIALIST UNITS ELECTIVE UNITS

all at 10 credits
SINGLE Skills for the accompanist
Concerto Competition
(90 mins per week, 10 credits
39 hours p/a) Contemporary Music in Action
80 credits
Continuo Accompaniment
OR plus
Experimental Music
Vocal repertoire
SHARED accompaniment Historical Performance
Piano Accompaniment or 20 credits Music, Culture & Contemporary Media

Repetiteur
or item from Professional Portfolio:
(60 mins per week, Professional Skills
26 hours p/a) Studio Experience
60 credits Introduction to operatic New Media
conducting for Programme Notes
plus repetiteurs Spoken Presentation
(all 10 credits)
Second study 20 credits
Harpsichord/fortepiano/solo Repertoire Project
or orchestral piano/*voice
(30 mins per week, Sources of Performance History
13 hours p/a)
30 credits
*by audition
80 or 90 credits per year 30 credits per year 10 credits per year (for SINGLE PS
candidates only)
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Master of Performance (MPerf) – Vocal Performance
PRINCIPAL STUDY UNITS SPECIALIST UNITS PROFESSIONAL PORTFOLIO
Vocal Principal Study Repertoire Coaching 2 items per year from

(90 mins per week, (10 credits)
42 hours p/a) Professional Portfolio core unit
60 credits Opera Coaching (compulsory) plus one of:
(20 credits)
Studio Experience
Interpretation and New Media
Artistry Programme Notes
(10 Credits) Spoken Presentation
(all 10 credits)
60 credits per year 40 credits per year 20 credits per year
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The generic MPerf degree also offers students the choice of studying part-time. A part-time option
allows the possibility of combining study with other activities. Although this configuration reduces
the overall level of weekly commitment and lowers the annual fee, the individual units taken are
delivered identically as they are to full-time students and, pro rata, are charged at the same level. With
this in mind, the College has designed a part-time configuration. Part-time students take units
totalling 80 credits in each of the three years of study. This totals 240 credits, the same as the number
taken by students on the two-year full-time course.
The first of two Principal Study units is assessed by a diagnostic examination at the end of the first
year. Whilst this diagnostic exam does not affect the final mark gained, it may be used to judge
whether it is in the student’s interests to proceed to the second year of study. In the second year, this
first Principal Study unit is assessed for credit, according to the examination pattern laid out in the
relevant syllabus. The credits associated with the first unit Principal Study are apportioned between
the two years, according to the templates below. The credits are awarded on successful completion of
the examination at the end of the second year. In the third year, students undertake the second level
of Principal Study, i.e. that taken by full-time students in their second year. Elective units totalling 40
credits must be taken in at least two of the three years.
Here is the template for part-time study across three years:
Master of Performance (MPerf) – generic
Year Principal Study units Elective units CREDITS
1 Year One, 40 credits worth 80

40/80 credits, (40 awarded at end of year)
diagnostic exam only
2 rest of Year One, 40 credits worth 80
i.e. remaining 40/80 (120 awarded at end of year
credits, plus full-length including remaining 40 from Year 1)
exam
3 Year Two,
80 credits n/a 80
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4. Progression
Students wishing to progress from the first year of their programme will need satisfactorily to
complete their total credits of study for that year. In the case of full-time students this is 120, and 80
for part-time students.
Those who fail a unit or who have to defer assessment in a unit until September, must pass the unit
before the start of the new academic year. Provided that they do pass, they are then treated as above.
The Regulations and Overall Credit Framework for taught Postgraduate Programmes are available on
MUSE, and contain further statements about progression, deferred assessments and reassessments.
5. Assessment
Each unit of the Masters Programmes has its own associated element of assessment. The majority of
units are assessed in a single event, of which most require either a practical or a written response.
Where units are of a practical nature, assessments also take the form of practically-based events.
These range from specially-organised repertoire examinations to public performances at an
examining panel is present.
Some units employ written and spoken submissions for their assessed component. These may take
the form of a portfolio or a single extended assignment. Written and spoken assessments are usually
double-marked. Major practical assessments usually have at least three examiners, a generalist Chair
and two specialists. Usually one of the two specialists is internal and one external. Where this is not
the case, two external specialists are employed.
The Masters Programmes in Performance have two External Examiners who moderate the work of
the examining panels, rather than participating directly in the examining process.
Results are ratified and any necessary moderating adjustments made by the Masters Programmes
Board of Examiners. This meets in full session twice a year, in June for the main set of results and in
September to consider deferred assessments, re-assessments and October for assessments submitted
at the end of the Fast-track Masters. In addition to these meetings, there may be various interim and
internal meetings of the Board to consider interim results for various elements of the course.
A student’s result in each unit is weighted according to the credit volume of the unit and the results
combined to arrive at an overall mark.
The Regulations and Overall Credit Framework for Taught Postgraduate Programmes describes the
three routes by which a student may obtain an overall Distinction. Essentially, they are as follows:
• An aggregate mark of 70% or above

• A mark of 70% or above in 75% of the credits for the award
• A mark of 70% or above in 50% of the credits for the award and an overall aggregate mark of
at least 68%
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6. Unit Descriptions
The following pages contain unit descriptions for the MPerf degree. Each unit description begins
with statistics about the unit. It then provides brief details of unit objectives and learning
outcomes, content and assessment. Unit descriptions are deliberately broad in their description of
content. They are supplemented, where appropriate, by syllabus booklets which detail the unit
content and, for 1-to-1 practical units, the examination requirements, to be varied from year to
year within the parameters defined by the unit description.
The unit descriptions are presented in the following order:
YEAR 1
Principal Study units Single

Shared
Specialist units Conducting

Vocal Performance
YEAR 2
Principal Study units Single

Shared
Specialist units Conducting

Vocal Performance
BOTH YEARS
Professional Portfolio units Professional Skills

Studio Experience
New Media
Programme Notes
Spoken Presentation
Elective units Level M then Level 3

(except Vocal Performance)
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YEAR 1
SINGLE PRINCIPAL STUDY
Generic, Historical Performance, Orchestral Performance and Piano
Accompaniment/Repetiteur
Conducting
Vocal Performance
18
YEAR 1
Unit Leader: various
Level Credits Prerequisite Unit Code

M 80 N/A tbc
Delivery
90 minutes per week (39 hours per annum) of individual lessons, supported by Faculty classes,
Masterclasses and other events
Unit objectives
• enhance your performing skills, broaden your knowledge of repertoire and refine your
interpretational abilities
• enrich your understanding of musical genres and styles, and the ways in which these affect
performance
• develop maturity and individuality as a performer
Unit content
• guidance tailored to individual needs and repertoire as per syllabus

• participation in Faculty classes, Masterclasses, College concerts
• solo performance as well as performance as appropriate in ensembles and orchestras
• independent practice and rehearsal to support all these activities
• continued exploration of Principal Study repertoire, not only in performance but also
through self-directed listening, to both live and recorded music
Method of assessment
• Refer to the individual Syllabus for the relevant instrument
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YEAR 1
Conducting
Unit Leader: Stephen Johns

M 80 n/a Tbc
Delivery
90 minutes per week (39 hours per annum) of individual lessons, supported by classes, Masterclasses
and other events
Unit objectives
• enhance your performing skills, broadened your knowledge of repertoire, refine your
performance
• develop maturity and individuality as a conductor
Unit content

• participation in Masterclasses, College concerts
• opportunities for shadowing and deputising
• intensive technical work
• continued exploration of repertoire, not only in performance but also through self-directed
listening, to both live and recorded music
• Refer to the Principal Study Conducting Syllabus
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YEAR 1
Vocal Performance
Unit Leader: Nick Sears
Level Credit Rating Prerequisite Unit Code

M 60 N/A tbc
Delivery
Unit objectives and learning outcomes
• enhance your performing skills, broaden your knowledge of repertoire, refine your
• enrich your understanding of musical genres and styles and the ways in which these affect
performance
• enrich your understanding of the nature of relationship between text and music
• develop maturity and an individuality as a vocalist
Unit content
• guidance tailored to individual needs and repertoire, as per syllabus

• participation in Faculty classes, masterclasses, College concerts
• solo performance as well as performance as appropriate in ensembles, opera etc.
• exploration of Principal Study repertoire, not only in performance but also through self-
directed listening, to both live and recorded music
• Repertoire Recital of between 30-35 minutes

• For further requirements, refer to the Principal Study Vocal Syllabus
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YEAR 1
SHARED PRINCIPAL STUDY
Conducting
22
YEAR 1

M 90 n/a tbc
Delivery
Principal Study: 60 minutes per week (26 hours per annum) of individual lessons, supported by
Faculty classes, Masterclasses and other events (60 credits)
Second Study: 30 minutes per week (13 hours per annum) of individual lessons, supported by Faculty
classes, Masterclasses and other events (30 credits)
Unit objectives
• enhance your performing skills, broaden your knowledge of repertoire, refine your
interpretational abilities, in both areas of study
performance
• develop maturity and individuality as a performer in both areas
Unit content

• performance as appropriate ensembles and orchestras
• Principal Study: Refer to the individual Syllabus for the relevant instrument
• Second Study: Refer to the individual Syllabus for the relevant instrument
23
YEAR 1
Conducting

M 90 n/a Tbc
Delivery
Unit objectives
• enhance your performing skills, broadened your knowledge of repertoire, refined your
performance
• develop maturity and individuality, in both areas of study
Unit content

• Principal Study: Refer to the Principal Study Conducting Syllabus

• Second Study: Refer to the Principal Study Conducting Syllabus
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YEAR 1
SPECIALIST UNITS
Conducting
Vocal Performance
25
CONDUCTING SPECIALIST UNIT
YEAR 1
Level Credits Delivery Unit Code

M 30 26 x 90 minute classes plus podium time tbc
for rehearsals and performances
Unit Objectives
• develop an advanced knowledge of the techniques of conducting

• refine skills in the communication of musical ideas
• develop advanced strategies required for directing rehearsals and performances
• extend your knowledge of orchestral and large ensemble repertoire
• observe and, if appropriate, shadow, other conductors in rehearsal and performance
Unit content
• specialist technique and repertoire sessions in conducting

• individual conducting coaching
• podium time with College ensembles
• classes focussing on techniques of studying scores
Method of Assessment
• rehearsal with College ensemble, 30%

• concert performance with a College ensemble, 40%
• viva voce including the presentation of a prepared score, in relation to the assessed
performance, 30%
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HISTORICAL PERFORMANCE SPECIALIST UNIT
YEAR 1
Unit Leader: Ashley Solomon

M 30 2 x 15 hours project work and attendance Tbc
at Historical Performance activities,
including performance platforms, concerts
Unit objectives
• enhance your skills and confidence as an historically-informed performer

• undertake comprehensive study of appropriate repertoire incorporating documentary source
materials, including manuscripts, editions and treatises
• develop your skills and ability to work both independently and collaboratively
Unit content
• classes exploring repertoire, in theory and practice

• preparation, rehearsal and presentation of ensemble projects
• College Historical Performance concerts
• assessed participation in two performance projects during the year, 75% total (35% each)
• a 15-minute spoken presentation or a 1500-2000 word written project, exploring in greater
detail, aspects of one of the performance projects, 30%
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ORCHESTRAL PERFORMANCE SPECIALIST UNIT
YEAR 1

M 30 8 x 2 hour seminars plus general College tbc
ensemble and orchestral activity including
sectionals, performance platforms, concerts
Unit objectives
• enhance skills and confidence as an orchestral performer in breadth and depth

• undertake a comprehensive study of the orchestral repertoire for your instrument
• develop rehearsal skills and the ability to work with conductors, section coaches and
performing colleagues
Unit content
The core content of this unit is provided through repertoire seminars, usually in small groups,
exploring orchestral repertoire as well as a discussion of the interaction between and within
orchestral sections. In addition, students are expected to draw upon the more general College
activities in the development of their individual and collective experience and understanding of
orchestral performance.
• Continuous assessment of rehearsal, ensemble and concert activities, as detailed in the Unit
syllabus, 100%
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PIANO ACCOMPANIMENT/REPETITEUR SPECIALIST UNIT
YEAR 1
Unit Leader: John Blakely

M 30 Group classes and seminars tbc
Unit objectives
• study core accompanimental repertoire

• develop an understanding of languages in relation to vocal repertoire
• enhance either your portfolio of skills as an accompanist of both singers and instrumentalists,
or develop operatic conducting skills
• develop skills in working with players of wind, brass and string instruments
• refine skills in rehearsal and performance
Unit content
• Classes in accompanimental techniques such as for rapid learning, score reading, working with
conductors, continuo and recitative accompaniment etc.
• Specialist classes in the accompaniment of vocal repertoire or operatic conducting
• Preparation of a themed project
• Continuous assessment in skills for the accompanist, 30%

• Performance in a themed performance project, 70%
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VOCAL PERFORMANCE SPECIALIST UNIT
Repertoire Coaching, Opera Coaching and Interpretation & Artistry
YEAR 1
Unit Leader: Nick Sears and Michael Rosewell
Level Credit Rating Delivery Unit Code

M 40 Coaching in Repertoire: 10hrs/year AND Opera: tbc
15 hrs/year
Classes in Movement: 19hrs/year,

Acting and Stagecraft: 28hrs/year and Languages:
60hrs/year
Classes in Lieder and Mélodie: 60 hrs/year and

Oratorio/English song: 22.5 hrs/year
Unit objectives
• enhance your performing skills, broadened your knowledge of vocal and operatic repertoire,
honed your interpretational abilities
• enrich your understanding of musical genres and style, and the relationships between these
and the meaning conveyed in musical texts
• enrich your understanding of the musical and dramatic elements of operatic repertoire and of
the relationships between these in the formation of an operatic performance
• enrich your awareness of the ways in which these impinge upon the formation of a
performance
• develop your linguistic skills in the key languages of European Art music and use these to
develop a true poetic and musical understanding of representative works of the art song
repertoire
• apply these languages in the context of acquiring the skills of the operatic actor
• synthesise the experiences gained across the unit into a deepening of your understanding of
interpretation and artistry
• develop maturity and an individual voice as a dramatic performer
Unit content
• guidance tailored to individual needs, focussing on upon the exploration of new repertoire
and preparation for specific performances
• participation in the following classes as appropriate: Movement, Acting and Stagecraft,
Languages, Lieder and Mélodie, Oratorio/English song, Recitative
• Repertoire Coaching: two assessed presentations from the following: Song class recital, College
Concert, Song competition (students must display proficiency in French and German), 20% each
• Opera Coaching: assessed performance in two Opera scenes, 20% each
Interpretation and Artistry: assessed performance in an Opera Scene or Song Class recital of 20
minutes, 20%
30
YEAR 2
Conducting
Vocal Performance
31
YEAR 2

M 80 Principal Study Year 1 tbc
Delivery
Unit objectives
• further enhance your performing skills, broaden your knowledge of repertoire and refine your
• further enrich your understanding of musical genres and styles, and the ways in which these
affect performance
• further develop maturity and individuality as a performer
• deepen your awareness of the current state of the profession and develop contacts with your
future professional colleagues
• demonstrate the ability to act in complex, unpredictable and/or specialised contexts
• manifest the ability to adapt acquired skills independently and develop new skills
Unit content

• solo performance as well as performance as appropriate in ensembles and orchestras
• Refer to the individual Syllabus for the relevant instrument
32
YEAR 2
Conducting

M 80 Principal Study Tbc
Year 1
Delivery
90 minutes per week (39 hours per annum) of individual lessons, supported by classes, Masterclasses
and other events
Unit objectives
• further enhance your performing skills, broadened your knowledge of repertoire and refine
your interpretational abilities
affect performance
• further develop maturity and individuality as a conductor
• deepen your awareness of the current state of the profession and develop your contacts with
your future professional colleagues
• demonstrate the ability to adapt acquired skills independently and develop new skills
Unit content

• continued exploration of repertoire, not only in performance but also through self-directed
listening, to both live and recorded music
• Refer to the Principal Study Conducting Syllabus
33
SINGLE PRINCIPAL STUDY UNIT
YEAR 2
Vocal Performance
Unit Leader: Nick Sears
Level Credit Rating Prerequisite Unit Code

M 60 Vocal Principal Study Year 1 tbc
Delivery
Unit objectives
• further enhance your performing skills, broaden your knowledge of repertoire and refine your
affect performance
• further develop maturity and individuality as a vocalist
• further enrich your understanding of the nature of relationship between text and music
• deepen your awareness of the current state of the profession and develop contacts with
• manifest the ability to adapt acquired skills independently and develop new skills
Unit content
• guidance tailored to individual needs and repertoire, as per syllabus
• participation in Faculty classes, masterclasses, College concerts
• solo performance as well as performance as appropriate in ensembles, opera etc.
• Repertoire Recital (38-45 minutes)
• For further requirements, refer to the Principal Study Vocal Syllabus
NB: With the permission of the Head of Vocal Studies and the Director of Opera, students may
substitute a major Opera Role for the Repertoire Recital
34
YEAR 2
Conducting
35
YEAR 2

Year 1
Delivery
Unit objectives
• further enhance your performing skills, broadened your knowledge of repertoire, refined your
affect performance
• further develop maturity and individuality as a performer in both areas
• deepen your awareness of the current state of the profession and develop contacts with your
• demonstrate the ability to adapt acquired skills independently and develop new skills
Unit content

• performance as appropriate in duos, chamber ensembles and orchestras
• Principal Study: Refer to the individual Syllabus for the relevant instrument
• Second Study: Refer to the individual Syllabus for the relevant instrument
36
YEAR 2
Conducting

Year 1
Delivery
Unit objectives
• enhance your performing skills, broadened your knowledge of repertoire, refined your
interpretational abilities , in both areas of study
performance
• further develop maturity and individuality, in both areas of study
• deepened your awareness of the current state of the profession and developed your contacts
with your future professional colleagues
• brought all of these qualities to the level of full professional readiness
• demonstrated the ability to act in complex, unpredictable and/or specialised contexts
• demonstrated the ability to adapt acquired skills independently and develop new skills for
new situations.
Unit content

• Principal Study: Refer to the Principal Study Conducting Syllabus

• Second Study: Refer to the Principal Study Conducting Syllabus
37
YEAR 2
SPECIALIST UNITS
Conducting
Vocal Performance
38
CONDUCTING SPECIALIST UNIT
YEAR 2
Level Credits Delivery Prerequisite Unit Code

M 30 26 x 90 minute classes plus podium time Conducting tbc
for rehearsals and performances unit Year 1
Unit Objectives
• further develop an advanced knowledge of the techniques of conducting

• continue refining skills in the communication of musical ideas
• further develop advanced strategies required for directing rehearsals and performances
• further extend your knowledge of orchestral and large ensemble repertoire
• observe and, if appropriate, shadow, other conductors in rehearsal and performance
Unit content
• specialist technique and repertoire sessions in conducting

• individual conducting coaching
• podium time with College ensembles
• classes focussing on techniques of studying scores
Method of Assessment
• rehearsal with College ensemble, 30%

• concert performance with a College ensemble, 40%
• viva voce including the presentation of a prepared score, in relation to the assessed
performance, 30%
39
HISTORICAL PERFORMANCE SPECIALIST UNIT
YEAR 2

M 30 2 x 15 hours project work and Historical tbc
attendance at Historical Performance Performance unit
activities, including performance Year 1
platforms, concerts
Unit objectives
• further enhance your skills and confidence as an historically-informed performer

• undertake comprehensive study of appropriate repertoire incorporating documentary source
materials, including manuscripts, editions and treatises
• further develop your skills and ability to work both independently and collaboratively
Unit content
• classes exploring repertoire, in theory and practice

• preparation, rehearsal and presentation of ensemble projects
• assessed participation in two performance projects during the year, 75% total (35% each)
• a 15-minute spoken presentation or a 1500-2000 word written project, exploring in greater
detail, aspects of one of the performance projects, 30%
40
ORCHESTRAL PERFORMANCE SPECIALIST UNIT
YEAR 2

M 30 8 x 2 hour seminars plus general Orchestral tba
College ensemble and orchestral Performance unit
activity including sectionals, Year 1
performance platforms, concerts
Unit objectives
• further enhance skills and confidence as an orchestral performer in breadth and depth
• undertake further comprehensive study of the orchestral repertoire of your instrument
• further develop rehearsal skills and the ability to work with conductors, section coaches and
performing colleagues
Unit content
The core content of this unit is provided through repertoire seminars, usually in small groups,
exploring orchestral repertoire as well as a discussion of the interaction between and within
orchestral sections. In addition, students are expected to draw upon the more general College
activities in the development of their individual and collective experience and understanding of
orchestral performance.
• Continuous assessment of rehearsal, ensemble and concert activities, 50%

• Mock orchestral audition, 50%
41
PIANO ACCOMPANIMENT/REPETITEUR SPECIALIST UNIT
MPERF YEAR 2
Level Credits Delivery Prerequisite Unit

Code
M 30 Group classes and seminars Piano tbc
Accompaniment/Repetiteur unit
Year 1
Unit objectives
• continue to study core accompanimental repertoire

• further develop an understanding of languages in relation to vocal repertoire
• further enhance either your portfolio of skills as an accompanist of both singers and
instrumentalists or your operatic conducting skills
• understand the peculiarities of wind, brass and string instruments
• further refine skills in rehearsal and performance
Unit content
• Classes in accompanimental techniques such as for rapid learning, score reading, working with
conductors, continuo and recitative accompaniment etc.
• Specialist classes in the accompaniment of vocal repertoire or operatic conducting
• Preparation of a themed project
• Continuous assessment in skills for the accompanist, 30%

• Performance in a themed performance project, 70%
42
VOCAL PERFORMANCE SPECIALIST UNIT
Repertoire Coaching, Opera Coaching and Interpretation & Artistry
YEAR 2
Unit Leader: Nick Sears and Michael Rosewell
Level Credit Rating Delivery Unit Code

M 40 Coaching in Repertoire: 10hrs/year AND Opera: tbc
15 hrs/year
Classes in Movement: 19hrs/year,

Acting and Stagecraft: 28hrs/year and Languages:
60hrs/year
Classes in Lieder and Mélodie: 60 hrs/year and

Oratorio/English song: 22.5 hrs/year
Unit objectives
• enhance your performing skills, broadened your knowledge of vocal and operatic repertoire,
honed your interpretational abilities
• enrich your understanding of musical genres and style, and the relationships between these
and the meaning conveyed in musical texts
• enrich your understanding of the musical and dramatic elements of operatic repertoire and of
the relationships between these in the formation of an operatic performance
• enrich your awareness of the ways in which these impinge upon the formation of a
performance
• develop your linguistic skills in the key languages of European Art music and use these to
develop a true poetic and musical understanding of representative works of the art song
repertoire
• apply these languages in the context of acquiring the skills of the operatic actor
• synthesise the experiences gained across the unit into a deepening of your understanding of
interpretation and artistry
• develop maturity and an individual voice as a dramatic performer
Unit content
• guidance tailored to individual needs, focussing on upon the exploration of new repertoire
and preparation for specific performances
• participation in the following classes as appropriate: Movement, Acting and Stagecraft,
Languages, Lieder and Mélodie, Oratorio/English song, Recitative
• Repertoire Coaching: two assessed presentations from the following: Song class recital, College
Concert, Song competition (students must display proficiency in French and German), 20% each
• Opera Coaching: assessed performance in two Opera scenes, 20% each
• Interpretation and Artistry: assessed performance in an Opera Scene or Song Class recital of 20
minutes, 20%
43
BOTH YEARS
PROFESSIONAL PORTFOLIO UNITS
Professional Skills
Studio Experience
New Media
Programme Notes
Spoken Presentation
44
PROFESSIONAL PORTFOLIO: PROFESSIONAL SKILLS
Unit Leader: David Bahanovich
Level Credits Unit Code

M 10 M1E05
Delivery
9 hours of lectures supported by 6 hours of group seminars, plus an hour’s individual tutorial
support
Unit objectives
• enhance your understanding of the structures, management and financing of the

professional world of music
• identify ways in which your own career can be enhanced by entrepreneurial skills
• plan strategies for your own career management in a Personal Development Plan (PDP)
• reflect upon and document short-, medium- and long-term career strategies
Unit content
Lectures including following topics: Introduction to the situation and status of Western Art music
in the twenty-first century; promotional material, public relations and marketing; changing
patterns in the recording industry; internet and digital opportunities; professional decision making;
Introduction to business plans and an entrepreneur’s toolbox
Seminars for planning and writing the PDP, supported by an individual tutorial.
• Completion of a PDP, according to the given template, 40%

• Either a 1500-2000 word written critical evaluation of issues raised in lectures or a
business/marketing plan, 60%
45
PROFESSIONAL PORTFOLIO: STUDIO EXPERIENCE
Unit Leader: Timothy Salter

M 10 6 hours studio time for recording, producing M1E11
and editing, plus introductory session and 1-1
support (total 9 hours)
Unit objectives
• gain some first-hand recording experience in the roles both of performer and producer
• acquire an insight into the requirements and pressures of these roles and an understanding of
the ways in which they interact
• produce a tangible outcome in the form of a high-quality audio recording of your own
performance
Unit content
• Supervised work in the studio environment complemented by unsupervised access to

complete assessment tasks
• Performing in the studio environment
• Acting as producer for student performers
• Selecting takes for inclusion in the final submission
• Preparing clear packaging for the final CD
The assessment is based on a mark agreed between the unit leader and the studio producer who is
the sound engineer at the recording sessions. It reflects your attainment as a recording artist as
evidenced by the CD that is the product of this unit as well as your performance during the session, as
a producer and an editor in your post-session work.
46
PROFESSIONAL PORTFOLIO: NEW MEDIA
Unit Leader: David Rees

M 10 3 x 2 hr classes introducing practical ways tbc
of constructing a website followed by 4
hours ‘drop-in’ development workshops
Unit objectives
• become aware of the possibilities for career enhancement offered by emerging digital
technology
• make use of this technology in a way tailored to your own portfolio of skills and career
objectives
• learn to assess the effectiveness of digital tools and how their impact might be improved in
future
Unit content
• Assistance with establishing how using online technology might enhance your work and
career objectives
• Reviewing different strategies for engaging people online
• Guidance through the planning and development of a personalised set of digital tools.
• Learning to assess and strengthen the effectiveness of your work using analytics tools.
• Written proposal and plan for deployment, c. 1500 words, including where appropriate,
illustrative material, 30%
• Portfolio of resources and report on their impact c. 1500 words, including where appropriate,
47
PROFESSIONAL PORTFOLIO: PROGRAMME NOTES
Unit Leader: Ingrid Pearson

M 10 Lectures, workshops and individual tutorial tbc
support
Unit objectives
• learn and employ strategies for communicative writing

• develop a style of writing separate from academic or scholarly writing
• examine and employ varied approaches to note writing
• learn and employ strategies for refining first drafts
• produce two sets of notes suitable for professional use
Unit content
• training in general principles of communicative writing

• examination of models of excellence and successful strategies in writing programme notes
• examination of strategies for increasing vocabulary and checking drafts
• submission of formative set of programme notes according to the distributed template, 50%
• submission of summative final programme notes, modelled on the student’s Principal Study
repertoire, 50%
48
PROFESSIONAL PORTFOLIO: SPOKEN PRESENTATION

M 10 Lectures, workshops and individual tutorial tbc
support
Unit objectives
• demonstrate the ability to work effectively and flexibly across the areas of performance and
scholarship
• learn methods of combining printed, visual, recorded and live-performance materials into a
short but coherent spoken presentation
• develop a style of scripting distinct from printed material
• develop strategies for communication without recourse to a verbatim script
• acquire strategies for dealing with questions effectively and succinctly
Unit content
• participation in classes devoted to appropriate methodologies and modes of presentation

• tutorial support tailored to individual needs
• independent supporting research
• guidance concerning effective spoken presentation
• elementary elocution and voice training
• Delivery of a spoken presentation (15 minutes, plus 5 minutes for open questions from Panel
and audience) on a specialist topic
49
BOTH YEARS
ELECTIVE UNITS
Level M
Concerto Competition, 10 credits
Conducting, 20 credits
Contemporary Music in Action, 10 credits
Continuo Accompaniment, 10 credits
Duo Performance, 20 credits
Experimental Music, 10/20 credits
Historical Performance, 10/20 credits
Keyboard Improvisation, 20 credits
Music, Culture & Contemporary Media, 10/20 credits
Professional Portfolio: Professional Skills, 10 credits
Professional Portfolio: Studio Experience, 10 credits
Professional Portfolio: New Media, 10 credits
Recital Accompaniment, 10 credits
Repertoire Project, 10 credits
Sources of Performance History, 10 credits
Level 3
Alexander Technique, 20 credits
Chamber Music, 20 credits
50
CONCERTO COMPETITION
Unit Leader: Head of Faculty

M 10 3 hours individual coaching, M1E06
included in Principal Study
allocation
Unit objectives
• prepare and perform a concerto in a faculty Concerto Competition

• show the potential, in a performance with piano accompaniment, to deliver a performance as
a soloist, with conviction and authority
Unit content
The coaching for this unit is intended to complement and augment preparation undertaken as part
of the Principal Study lesson. This may be given by the Principal Study professor or by a different
professor. Content will focus upon the special performing qualities required of concerto soloist.
• the performance of a Concerto during the Faculty-stage round of the Concerto Trials, 100%
This may be undertaken in the Autumn, Spring or Summer Terms, although the Spring Term is
recommended.
51
CONDUCTING
Unit Leader: Peter Stark
Level Credits Prerequisite Delivery Unit

Code
M 20 Level 3 Conducting or 12 x 90 minute group seminars plus tbc
equivalent observation of College rehearsals (18 hrs
plus observations)
Unit objectives
• develop knowledge of the techniques of conducting

• refine skills in the communication of musical ideas
• develop strategies required for directing rehearsals and performances,
• extend your knowledge of orchestral and large ensemble repertoire
• develop strategies based on analysis of the preparation of interpretations
• observe and other conductors in rehearsal and performance
Unit content
• time beating, tempos and the indication of tempo variation

• score reading, including a knowledge of transposing instruments; instrumental capabilities
including details of bowing, phrasing, articulation and tone production, instrumental balance and
intonation
• rehearsal preparation, planning and techniques; consideration of the role of a conductor in
rehearsals and performance; practical experience of conducting
• techniques of developing personal interpretations and the ways of communicating this
through rehearsal
• rehearsal and performance of 10-15 minutes of music, 60%

• observed ensemble rehearsal of a short section of a set prepared work (approx 5 minutes)
followed by viva voce examination, 40%
52
CONTEMPORARY MUSIC IN ACTION
Unit Leaders: Timothy Salter and Jean-Philippe Calvin

M 10 Coaching as required, up to a M1E12
maximum of 3 hours
Unit objectives
• develop skills in the process of collaboration in the creation of new repertoire

• explore possibilities of collaboration in the creation of new repertoire
• gain experience in articulating the detailed process involved in performing on your
instrument
Unit content
Collaboration between solo or ensemble performers and composers, with initial introductions
facilitated by unit leaders. Your work as performer or composer will be monitored, but you will also
work independently with your composer(s) or performer(s). Activities will comprise:
• Meeting your assigned or chosen composer(s) and performer(s) in preparatory sessions

• Advising each other in approaches to writing for the medium
• Writing, rehearsing, performing and recording the work(s)
• Writing a 1000-word commentary on a collaboration
• a short written account of at least 1000 words reporting on the collaborative process, 30%
• performance(s), live in concert and recorded (on CD) of the works that are the products of
your collaboration, totalling a minimum of five minutes. For composers your work is assessed
by score-reading supported by performance, 70%
53
CONTINUO ACCOMPANIMENT
(bassoon, cello, double bass, harpsichord, lute, organ, theorbo, viola da gamba)

M 10 6 hours of lessons plus group M1E14
seminars as appropriate
Unit objectives
• develop the ability to play a continuo realisation from a realised continuo part as a starting point, in a
stylistic informed manner appropriate to the national style and period of the work performed;
• practise figured bass reading using historical source material;
• show the ability to complement the performance of a soloist colleague, adopting a prominence
appropriate to the nature of the repertoire
Unit content
• lessons with a specialist professor

• study of changing styles of continuo accompaniment and their application in practice
• participation in selected repertoire classes or coaching sessions exploring appropriate repertoire
• participation in selected rehearsals and performances
• Performance of between 10-15 minutes, of at least two contrasting movements, 100%
54
DUO PERFORMANCE
Unit Leader for Duo Performance: John Blakely
Level Credits Prerequisite Delivery Unit Code

M 20 Part of an established duo, both of 10 hours coaching tbc
whom should be taking this unit
NB Both members of the Duo must elect to take this option since the coaching provision is in
addition to Principal Study entitlements. There should be no duplication of repertoire
between the Duo Performance unit and the Principal Study recital examination in the year in
which both units are taken.
Learning outcomes
• demonstrate a high level of rapport with your duo partner, enabling work towards the
creation of unified, well-balanced performances in which the personal convictions and
views of the two partners are successfully blended
• perform, to a high standard, significant examples from the repertoire and be aware of
the overall extent and character of this repertoire, the contexts in which it has
developed and any issues regarding performance practice, historical or contemporary
• demonstrate strong inter-personal skills and the organizational and entrepreneurial
initiative required to secure external engagements and develop the duo’s professional
profile
Unit content
• selection, under the guidance of the duo tutor, of appropriate repertoire for detailed
preparation at this level
• coaching on issues of duo playing – balance, intonation, ensemble, interaction, rehearsal
protocols – as prompted by the repertoire covered
• exploration of wider repertoire: study of scores and some brief play-through exercises
• supervised preparation of 30 minutes’ music to concert standard
• Performance of a Duo Recital, usually held in May, during the Summer Term.
55
EXPERIMENTAL MUSIC
Unit Leader: Matthew Shlomowitz

M 10 or 20 10 x 2 hour seminars plus up to tbc
3 hours 1:1 supervision
Unit objectives
• refine skills as a solo and ensemble performer in contemporary music that encompasses
theatrical, multimedia and collaborative dimensions
• develop an understanding of historical, practical and aesthetic issues relating to
contemporary music composition and practice
Unit content
• Lecture and group discussions

• Individual supervision, largely responsive to individual plans and projects
• Preparation of solo and ensemble projects
This course combines practice and theory. Students will study and perform several works that relate
to these themes. Better to understand why such work is being created, students will read texts by
practitioners and theorists from the fields of dance, music and drama addressing practical and
aesthetic concepts.
10 credits:
• 1000-word summary of one set reading, 40%
• Preparation and performance of short solo and ensemble pieces, 60%
20 credits:
• Two 1000-word summaries of set readings, 40%
• Preparation and performance of short solo and ensemble pieces, 60%
56
HISTORICAL PERFORMANCE
Level Credits Delivery Unit

Code
M 10 or 20 1 or 2 x 15 hours project work and group M1E08 or
classes and seminars in Historical M2E15
Performance
Unit objectives
• enhance your skill and confidence as an ensemble performer of early music, especially
Baroque repertoire
• study this repertoire in some breadth and depth, including discussion of sources, editions and
performance treatises
• develop your rehearsal skills and ability to work quickly and professionally, directed or
undirected, with performing colleagues
Unit content
• classes exploring repertoire, in theory and practice;

• preparation, rehearsal and presentation of ensemble projects;;
10 credits:
• Assessed participation in either one performance project during year, 100%
20 credits:
• Assessed participation in two performance projects during year, 50% each
57
KEYBOARD IMPROVISATION
Unit Leader: David Graham

M 20 12 hours of individual lessons M3E09
Unit objectives
• enhance your improvising and performing skills on your Principal Study,

• broaden your knowledge of different styles associated with this skill
• gain performing experience in this activity
Unit content
• guidance tailored to individual needs – this is likely to focus upon those technical and
theoretical aspects which are distinctive to this activity but will also be concerned with the
exploration of the ways this skill and can be used in a wide variety of musical situations and
how it can be used for educational purposes
• performance as appropriate
• independent practice to support all these activities
• continued exploration of this skill , not only in performance but also through self-directed
listening to both live and recorded music
• Practical Exam of 15 minutes duration, 100%
58
MUSIC, CULTURE & CONTEMPORARY MEDIA
Unit Leader: David Burnand

M 10 or 20 1 or 2 x 10 hours of project tbc
work, class attendance and
individual tutorials
Unit objectives
• develop the skills and methods necessary to promote a more informed awareness and
appreciation of Western Art music, using contemporary media;
• develop techniques in audio and video podcasting, microphone and camera use;
• display an awareness of copyright and intellectual property issues
Unit content
The course will begin with group discussions of these media and their potential to communicate
ideas about performance and composition. Students will then be introduced to the techniques of
audio and video podcasting, as well as presentation skills with microphones and cameras, in order to
develop programmes based on individual musical interests. Copyright issues will also be considered,
where necessary. Some podcasts may be broadcast on the RCM website.
10 credits:
• Designing a 9-10 minute audio podcast for uploading to YouTube, Vimeo, iPhone and/or
embedding in a web page, 100%
20 credits:
• Designing a 9-10 minute audio podcast for uploading to YouTube, Vimeo, iPhone and/or
• Designing a 5-6 minute video podcast for uploading to YouTube, Vimeo, iPhone and/or
59
PROFESSIONAL PORTFOLIO: PROFESSIONAL SKILLS
Unit Leader: David Bahanovich

M 10 8 x 60-minute lectures/seminars, plus up M1E05
to 2 hours individual tutorial support
for PDP
Unit objectives
• enhance your understanding of the structures, management and financing of the professional
world of music
• identify ways in which your own career can be enhanced by entrepreneurial skills
• plan strategies for your own career management in a Personal Development Plan (PDP)
• reflect upon and document short-, medium- and long-term career strategies
Unit content
Lectures including following topics: Introduction to the situation and status of Western Art music in
the twenty-first century; promotional material, public relations and marketing; changing patterns in
the recording industry; internet and digital opportunities; professional decision making; Introduction
to business plans and an entrepreneur’s toolbox
Seminars for planning and writing the PDP, supported by individual tutorials.
• Submission of a PDP according to the given template, 40%

• 1500-2000 word written critical evaluation of issues raised in lectures, 60%
60
PROFESSIONAL PORTFOLIO: STUDIO EXPERIENCE
Unit Leader: Timothy Salter

M 10 6 hours studio time for recording, producing M1E11
and editing, plus introductory session and 1-1
support (total 10 hours)
Unit objectives
• gain some first-hand recording experience in the roles both of performer and producer
• acquire an insight into the requirements and pressures of these roles and an understanding of
the ways in which they interact
• produce a tangible outcome in the form of a high-quality audio recording of your own
performance
Unit content
• Supervised work in the studio environment complemented by unsupervised access to

complete assessment tasks
• Performing in the studio environment
• Acting as producer for student performers
• Selecting takes for inclusion in the final submission
• Preparing clear packaging for the final CD
The assessment is based on a mark agreed between the unit leader and the studio producer who is
the sound engineer at the recording sessions. It reflects your attainment as a recording artist as
evidenced by the CD that is the product of this unit as well as your performance during the session, as
a producer and an editor in your post-session work.
61
PROFESSIONAL PORTFOLIO: NEW MEDIA
Unit Leader: David Rees
Level Credits Unit Code

M 10 tbc
Delivery
3 x 2 hr classes introducing practical ways of using emerging digital technology followed by 4 hours
‘drop-in’ workshops
Unit objectives
• become aware of the possibilities for career enhancement offered by emerging digital
technology
• make use of this technology in a way tailored to your own portfolio of skills and career
objectives
• learn to assess the effectiveness of digital tools and how their impact might be improved in
future
Unit content
• Assistance with establishing how using online technology might enhance your work and
career objectives
• Reviewing different strategies for engaging people online
• Guidance through the planning and development of a personalised set of digital tools.
• Learning to assess and strengthen the effectiveness of your work using analytics tools.
• Written proposal and plan for deployment, c. 1500 words, including where appropriate,
• Portfolio of resources and report on their impact c. 1500 words, including where appropriate,
62
RECITAL ACCOMPANIMENT

M 10 3 hours individual M1E07
coaching
Unit objectives
• perform as an accompanist at a College Chamber Concert, Recital examination or Concerto

Competition
• show the ability to complement the performance of a soloist colleague, adopting a
prominence appropriate to the nature of the repertoire
• demonstrate the reliability, sensitivity and musical awareness essential to a fine accompanist
Unit content
Coaching which complements and augments preparation undertaken as part of the Principal Study
lesson. It may be given by your own Accompaniment professor, by the soloist’s Principal Study
professor or by another professor. Content focuses upon the special performing qualities required of
the pianist in duo and chamber situations.
• Performance of a minimum of 12 minutes of accompanimental material, 100%
63
REPERTOIRE PROJECT

M 10 3 x 90-minute seminars plus up to 3 tbc
hours individual supervision
Unit objectives
• map the history of one musical composition in detail and, in the process, gained knowledge
and confidence in researching the background to musical works in general
• enrich your understanding of the relationship between the identity of a work and any one of
its published editions or recorded performances
• develop the ability to make interpretational judgements based on this knowledge and
understanding
• experience the impact of this approach upon your preparation of a performance of the work
in question
Unit content
• Gathering information on sources, publications, recordings, etc

• Collating and evaluating this information
• Presenting the material using the template
• Providing a rationale for performance decisions based upon this material and possibly your
own preparation and performance of the chosen piece
• Submission of a completed template, of between 2000 and 2500 words, 100%
64
SOURCES OF PERFORMANCE HISTORY
Unit Leader: Paul Banks

M 10 4 x 1.5 hour introductory lectures tbc
followed by up to 3 hours individual
supervision
Unit objectives
• gain an overview of the collections in the RCM Centre for Performance History (CPH)
• display a mastery of a complex and specialised area of knowledge and skill
• employ advanced skills to conduct research
• develop awareness of best practice in handling rare documents and/or objects
• gain insights into the ways in which documents and artefacts can enhance our understanding
of performance history
• attain a high degree of fluency in written expression
Unit content
This unit offers an introduction to aspects of the history of music performance from 1700, and to
some of the unique items in the CPH (the Museum of Instruments and the Portraits and Performance
History Collection) that provide evidence of that history. Lectures cover four broad areas: organology,
iconography, concert programmes and sound recordings. This will be followed by a specialised
project in a chosen area. Both theoretical and practical issues surrounding the interpretation of such
objects and documents are explored, and you will have opportunities to use them in your own work.
Students develop written presentational skills, and gain experience in self-directed individual research
working with rare historical documents or objects.
You will receive:
• supervision tailored to individual needs

• development of research skills intrinsic to topic development
• independent research to support all these activities
• Completion of a written project (2500-3000 words) or equivalent on a specialist topic related

to the collections of the Centre for Performance History, 100%
This might take the form of a study of one of the instruments or paintings in the CPH collections
and its significance for performance history, an essay drawing on evidence from the programmes
collection at the CPH collections, or a study of one or more historic recordings.
65
ALEXANDER TECHNIQUE
Unit Leader for Alexander Technique: Peter Buckoke
Level Credits Prerequisite Delivery Unit

Code
3 20 Level 2 Alexander Technique 75-minute weekly group 32A28
or equivalent seminars over 22 weeks
Learning outcomes
• recognise performance anxiety and know how to deal with it

• apply the Alexander technique to playing your instrument and decision making
• identify habitual emotional responses to everyday stimuli through awareness of verbal
and body language
• understand how to achieve real spontaneity in performance
Unit content
• performing to the group on video with supportive group analysis

• techniques for dealing with performance anxiety
• good use of the eyes in performance
• presentation skills for auditions and the concert platform
• awareness of the moment of choice in decision making
• exploration of the use of language and body language in communication
• a cooperative research project
• individually appropriate hands-on Alexander work from the professor
• Collaborative research project (with one/two other students in the group) selection of a topic
and exploration of issues relating to this including formulation of questionnaire for
circulation among RCM student body. Individual written report produced as final outcome
(2,000 words excluding appendices), due in January, 50%
• 2,000-word reflective report: critical evaluation of the effects of having followed the course,
due in Summer term, 50%
For full details see the Alexander Technique syllabus, available on MUSE.
66
CHAMBER MUSIC
Area Leader for Ensemble Activities: Elisabeth Cook
(Head of Undergraduate Programmes)
Level Credits Prerequisite Delivery Unit Code

3 20 Part of an established group, the 12 hours coaching 32B28
majority of whom should be
taking this unit
Learning outcomes
• perform with a high level of rapport with your ensemble, creating a unified, well-blended
and balanced performance in which subtle nuances of ensemble playing are evident
• perform significant works from the repertoire for your chosen ensemble
• draw on a robust knowledge of the overall extent and character of this repertoire
• demonstrate good inter-personal skills and the beginnings of the organisational and
entrepreneurial initiative required to secure external engagements
Unit content
• selection, under the guidance of the coaching tutor, of appropriate repertoire for detailed
work at this level
• coaching on issues of chamber playing – balance, intonation, ensemble, interaction,
rehearsal protocols – as prompted by the repertoire covered
• exploration of wider repertoire: study of scores and some extended play-through
exercises
• supervised preparation of c30 minutes’ music to concert standard
• all of the above are to be supplemented by a schedule of regular and committed rehearsal
subscribed to by all members of the group.
• preparation of 50 minutes of music, of which 30 will be chosen by the examiners for

performance in Week 3 of the Summer Term, 100%.
• the repertoire list outlining the material presented to the examiners must be submitted to
the exam panel before the start of the exam
For full details, see the Chamber Music syllabus, available on MUSE.
67
7. Programme Management
The Masters Programmes are managed through a team led by the Director of Programmes &
Research. Key members of this team are the Deputy Head of Graduate School and the staff who
oversee the various specialisms. In addition, the Heads of Faculty have considerable input, including
oversight of practical syllabuses and assessment of these components, coordinating the processes
whereby students are allocated to professors for individual practical lessons and, where appropriate,
transferred from one professor to another during the course of their studies. Administrative support
for management of the Masters Programmes is provided by the Registry Programmes Team.
Two key committees deal with matters relating to the running of the Masters Programmes. The
Artistic and Academic Management Group (AAMG), which meets fortnightly, deals with issues such
as admissions, management of student numbers at admissions, and the annual review of guidelines
for auditioning and examining panels. It also acts in the role of a steering committee when periodic
reviews take place. The Graduate School Committee (GSC) deals with all operational matters relating
to the MMus and MPerf degrees as well as the Masters Programmes as a whole, including minor
modifications that arise as part of the process of ongoing curriculum development. It meets once a
term and receives reports from key teaching staff. The GSC also receives and approves annual
monitoring reports. There is student representation on the Committee.
Details of membership and terms of reference of the AAMG and the GSC, and all College Committees
reporting to the Senate, and are available on the RCM website. A hard copy appears in the College’s
Committee Handbook, copies of which are readily available, including a reference copy in the Library.
The results of students’ assessment and their final awards are approved by the Masters Programmes
Board of Examiners. This Board meets twice a year to consider such matters, in addition to further
internal meetings to consider students’ project proposals, etc. At its meeting in July, it deals with the
majority of results; in September, it considers Fast-track MMus completions, deferred results and
reassessments. The membership and terms of reference of this Board are published in the same
manner as indicated above.
As well as representation on the GSC, students have regular access to key teaching staff. Student
feedback informs reports made to the GSC. The primary opportunity for student feedback, however,
comes through the annual questionnaire, completed by all students in the Summer term. As well as
contributing to ongoing modifications to the Masters Programmes, this feedback is used to set key
agenda issues for periodic review.
68
APPENDIX 1
Programme Specification for the Masters Programmes in Performance
NB: This specification provides a concise summary of the main features of the programme and
learning outcomes that a typical student might reasonably be expected to achieve and demonstrate if
s/he takes full advantage of the learning opportunities that are provided. The accuracy of the
information contained in this document is reviewed by the College and by the Quality Assurance
Agency.
1. Awarding Body and Teaching Institution Royal College of Music

2. External Accreditation by n/a
3. Final Award Postgraduate Diploma (RCM); Master of
Performance (RCM); Master of Music in
Performance (RCM)
4. Programme Title Masters Programmes in Performance
5. CUKAS code tbc
6. Relevant QAA Subject Benchmarking Group n/a
7. Date of production/revision April 2010
8. Educational Aims
The Masters Programmes in Performance aim to:
• provide advanced musical training at postgraduate level in which a fundamental emphasis

upon practical attainment is complemented by the encouragement of preparedness for the
profession while nonetheless developing critical self-awareness, a capacity for reflective insight
and the ability to formulate discriminating musical judgements
• offer to graduate musicians the opportunity to enhance their skills, broaden their knowledge
of repertoire, refine their interpretational and/or creative abilities and thereby develop their
musical talents
• provide a training and education whose own internal standards mirror as closely as possible
those demanded within the profession. In doing so to seek the fullest involvement of
musicians active within the profession, whether professors of the College or visiting
individuals and groups
• acknowledge and reflect leading trends in musical thinking within the profession and
demonstrate facility across both practice and theory
• produce musicians capable of contributing to the development of the profession and of
participating in its future shaping through their insights and understanding, as well as their
practical abilities
69
9. Outcomes – the programmes provide opportunities for students to develop and demonstrate
knowledge and understanding, qualities, skills and other attributes in the following areas:
Skills and other attributes
Practical Skills – to be able to:

(1) perform at a level expected of a front-rank professional musician in terms of technique, musical
interpretation and communication
(2) apply personal research, analysis, reflection, listening and the application of theory to practice in
the process of forming a musical interpretation
(3) use a thorough understanding of the components of music and their underlying structures to
inform musical performance
(4) memorise and reconstruct sound
(5) conceive, manipulate and develop musical ideas and apply aesthetic/stylistic principles to
performance
Teaching/learning methods and strategies

Practical skills are developed through individual instrumental, voice and conducting lessons as
appropriate, specialist seminar-style classes, ensemble and orchestral coaching, Faculty classes,
masterclasses and College concerts. Many of the core-course activities and electives supplement this
approach. The degree of choice offered within the programme structure itself encourages students to
use reasoning to select the most advantageous pattern for their personal needs and professional
aspirations. Formative feedback is provided throughout the programme of study, e.g. advice from
College staff as well as visiting specialists and Principal Study professors. Most formal assessments are
summative. These predominantly take the form of recital-style examinations but may also involve
continuous assessment, assessment of operatic and concert performances and rehearsals.
Cognitive skills – to be able to:

(1) research, synthesise and evaluate information from a variety of sources, text-based, aural and oral
(e.g. the testimony of teachers and fellow-performers, information carried in both live performance
and recording)
(2) apply theory to practice in the preparation of performance
(3) exercise significant judgement and apply artistic/intellectual perspectives
(4) carry out projects, across written and verbal presentation, as well as for musical performance

Cognitive skills are promoted through individual instrumental lessons, small group seminars and a
range of solo, ensemble, and where appropriate, operatic or orchestral performance opportunities.
Many of the core-course activities and electives supplement this approach. The variety offered within
the programme structure itself encourages students to use reasoning to select the most
advantageous pattern for their personal needs and professional aspirations
Transferable skills – to be able to:

(1) approach and solve problems in a flexible, open and creative way
(2) work as part of a team, often in a leadership role, taking spontaneous decisions and responding to
the decisions of others
(3) improvise, manage risk and cope with the unexpected
(4) be self-motivated and disciplined, and promote projects/performances with critical self-
awareness
(5) understand work regimes and professional protocols
(6) work independently
70
Acquisition of these skills is encouraged across many elements of the programme but also through
private practice/study for individual and collective performance projects (practical examinations, solo
appearances in concerts, masterclasses and competitions, and appearances with chamber groups, as
well as larger ensembles).
Knowledge and understanding
Knowledge and understanding of:

(1) the full range of technical and expressive capabilities of one’s instrument or voice
(2) the instrument’s or voice’s repertoire and that of any related historical or modern equivalents, as
appropriate, similarly for conductors
(3) how to assimilate less familiar repertoires and associated performing conventions
(4) the current state and likely direction of development of the profession, the range of
competencies needed to enter it and the ways in which one’s skills may continuously be enhanced to
keep pace with rising challenges in a developing career

Core knowledge and understanding of the instrument or voice and its repertoire is communicated
primarily through the individual lessons. The pattern of these reflects the relative importance of
related practical work to a given principal instrument/voice type. Repertoire seminars, chamber
coaching, vocal coaching, orchestral sectionals and concert programmes in general all contribute to
the expansion of repertoire knowledge and are supplemented by non-Principal Study activities. A
proportion of these deal specifically with less familiar repertoire and the assimilation techniques
required. Where appropriate, this is supplemented by attendance at video-conference seminars and
Grove Forum. Professional Skills units offer specific insights into the profession. The latter are
primarily aimed at MPerf students but MMus students may additionally undertake some of these
components.
11. Structure and features; curriculum units, credit and award requirements
Whilst the Postgraduate Diploma is offered as a full-time, one-year programme leading to the award
of PGDip (RCM), the majority of students will stay to complete another year, exiting with either the
Master of Performance (RCM) or Master of Music (RCM). In some cases, the Master of Music is
offered as a full-time, 12-month, Fast-track programme, leading to the award of MMus (RCM). The
PGDip, MPerf and MMus are offered as generic courses, or with the opportunity to specialise in one
of the following:
• Conducting
• Historical Performance
• Orchestral Performance (MPerf only)
• Piano Accompaniment/Repetiteur
• Vocal Performance
Principal and Second Study units, specialist units, MMus units (for MMus only) and electives are
selected to accumulate the required number of credits. Unit sizes vary but are based on multiples of
10, ranging from 10 to 80. The standard number of credits in each year for a full-time student is 120,
of which at least 100 will be at Level M.
71
Year 1
Students enter the Masters Programmes, applying for either the MPerf or MMus. They select from
practical, specialist and elective units to obtain the appropriate number of credits. Those on the
MMus undertake the Academic Portfolio whilst those on the MPerf take units from the Professional
Portfolio. Assessment methods are given in the individual unit descriptions. All units undertaken
must be passed for the award of PGDip to be obtained, although most students will progress to year
2. Reassessment opportunities are offered in September. Where a technical exam has been failed in
the Spring Term, reassessment is normally possible in June. Students may make an inward transfer to
Year 2 if they have gained a minimum of 120 credits elsewhere in subjects correlating to the RCM
Year 1 programme of study. If their previous qualification is equal or higher to a PGDip, however, this
will affect their fee status.
Year 2
Students normally progress to the second year of the same programme on which they were
previously enrolled. Principal Study units may be taken in two consecutive years; their final
assessment varies slightly in the second year. Students taking a Shared Principal Study in Year 1 may
either progress to the next level for Year 2 or change to single Principal Study. Specialist units are
similarly taken in both years since they are repertoire-based and designed to facilitate progression
from one year to the next. In Year 2 students normally select different elective units from those
undertaken in Year 1 although some may be taken in both years. As a result of the above, students are
deemed to have achieved greater depth in their core units at the end of Year 2 and greater breadth in
their electives. MMus students must elect either the Lecture Presentation unit or the Critical Project
unit. All units undertaken must be passed for the award to be obtained. Reassessment opportunities
are offered in September. Students successfully completing a second full-time year will be awarded
either an MPerf or an MMus.
12. Support for students and their learning

• RCM Masters Programmes Handbooks
• Individual syllabuses for all Principal and Second Study practical units
• Individual syllabuses for MMus units and where appropriate, specialist units and electives
• Induction talks and meetings during the first weeks of the Autumn term, and, where appropriate,
at other stages throughout the year
• Support from Director of Programmes & Research, Deputy Head of Graduate School, Faculty
Heads and specialism unit leaders, including face-to-face access during office hours and after
hours email support
• Student Services Manager and Student Counsellor
• The Woodhouse Centre, a support unit offering advice in career and professional development
etc.
• College Hall, the hall of residence plus support for finding private accommodation
• centralised Registry, open 9am to 5pm throughout the year
• Concert and Recital Halls, opera theatre, practice facilities, electronic keyboard skills laboratory
• Library for research, listening, reference and lending, containing over 400,000 items; the Museum
of Instruments (housing 600 instruments) and the Centre for Performance History (housing over
300 original paintings, 10,000 prints/photographs and 750,000 concert programmes, with a
research space at College Hall)
• RCM Studios, providing digital recording, post-production and editing facilities and a composers’
studio) and the Centre for Music and Multimedia (CMM)
• Centre for Performance Science (CPS) which promotes collaborative research and teaching
among musicians and scientists, from the investigation of music cognition and perception to
the study of expert performance
• Piano workshop, resident luthier and instrument loan fund
72
• IT facilities with a portal (MUSE) giving access to email, internet (including an internet café),
course-specific learning resources, forms, handbooks an and documents, and access to specialist
score-writing software on computers equipped with music keyboards
• Dining Room and Student Common-room/bar
• Students’ Association representation on Programme and Faculty committees, and feedback
opportunities during the year
• Facilities for photocopying and printing
13. Criteria for admission
Applicants for Year 1 of the Masters Programmes should have a first degree or equivalent. While this
will normally be in music, applications from graduates of other disciplines are considered. All eligible
applicants are invited for audition in December and must pass this at a required level to be offered a
place. In many cases demand exceeds the number of places available. Therefore the cut-off point for
offers may be significantly higher than the pass mark for the auditions. First-year students indicate in
the Spring Term whether they wish to be considered for a further year of study. Provided that they
meet the deadline for this notification, they will be given a provisional acceptance for the second year,
subject to their successfully completing Year 1.
14. Methods for evaluating and improving the quality and standards of learning and teaching
Mechanisms for review and evaluation of teaching, learning and assessment, curricula and outcome
standards
• Annual Monitoring report
• reports from RCM External Examiners
• quinquennial programme review and validation by a panel of internal and external specialists
• ongoing programme of staff development
• use of external specialist assessors in practical examinations; internal monitoring of
performance standards through feedback from external assessors and masterclass presenters;
• peer observation and mentoring
• periodic institutional audit by QAA
Committees responsible for monitoring and evaluating quality and standards

• Graduate School Committee and working groups
• Masters Programmes Board of Examiners
• Masters Programmes Sub-Board of Examiners
• Senate
• Learning Resources Group
Mechanisms for gaining student feedback on the quality of teaching and their learning experience
• Annual student course evaluation questionnaires
• student representation on College committees
• meetings between Students’ Association representatives and the Director of Programmes &
Research and Deputy Head of Graduate School
• Director’s surgeries
• Student/staff forums
73
15. Regulation of assessment
The pass mark is 50% for all units. The overall marks required for the various classifications are as
follows:
70–100% Distinction
50–69% Pass
0–49% Fail
Role of External Examiners

The two External Examiners (drawn from HEIs in the UK and Europe) are nominated by the Director
of Programmes & Research and approved by the Senate. External Examiners normally serve for four
years. Their role is that of moderator and in order to do this they:
• attend Principal Study practical examinations observing the operation of examining panels and,
where appropriate, suggesting possible moderation of the panels’ verdicts
• approve examination papers (where applicable)
• review coursework (where applicable)
• view, or have access to, all examination scripts and coursework assignments (where applicable)
• attend the Masters Programmes Board of Examiners
• complete a written report in a prescribed format to College
74
APPENDIX 2
General Information
Vital and comprehensive details about most facets of College life are found on MUSE, the College’s
web portal, including:
• Absences
• Additional Studies
• Changing Professor or Mode of Study
• Competitions
• Course Documents & Forms
• Deferring Examinations
• Fees and Funding
• General Information for Students
• Information Communications Technology (ICT)
• International Exchanges
• Interrupting Studies or Leaving
• Opening Hours
• Performance Management Department
• Planning & Review Week
• Practical Examination Procedures
• Principal Study Syllabuses
• Procedures for Submission and Assessment of Postgraduate Written Work
• RCM Students’ Association
• Registration
• References
• Registry
• Regulations for Students
• Room booking procedures
• Studios
• Submission of assignments
• Travel and Student Oyster Card
• Virtual Learning Environment (vle)
All students are required to activate their College email account at the start of the academic year.
This is the primary means of communication between you and the College.
Access to Learning Fund (ALF)

ALF provides a limited amount of government money to assist undergraduate and postgraduate
UK students who are suffering financial hardship. The conditions and application forms are
available from Registry Services or Student Services. Application forms may be submitted to the
Welfare Officer. Meetings are held five times during the academic year. The Access to Learning
Fund is not available to Artist Diploma students. Students are advised to look out for the notices
inviting students to apply for Hardship Fund grants, or see the Welfare Officer. Application
deadlines are communicated to students via their RCM email address.
75
Appointments with Graduate School staff
Dr. Amanda Glauert, Director of Programmes & Research (Room G11) and Dr. Ingrid Pearson, Deputy
Head of Graduate School (Room 117) welcome regular contact with students. You can sign-up for a
time to see Ingrid on the noticeboard outside her office door, Room 117, on the first floor of the
Blomfield Building. Ingrid can be contacted at iepearson@rcm.ac.uk and tel. 020-7591 4364. Persons
wishing to see Amanda should arrange this with her assistant, Rebecca Mair, in Secretariat,
rmair@rcm.ac.uk tel. 020-7591 4312.
Centre for Music and Multimedia (CMM)

A development of the RCM’s Centre for the Study of Composition-for-Screen, the CMM
encompasses the following areas:
• composition for film, television and other multimedia forms,
• electroacoustic composition and performance,
• audio and video recording as tools for composition and performance,
• the use of other applications of music technology
A feature of the centre is interaction between composers and performers. Many postgraduate
students present work developed through the CMM. For further information, contact Professor
David Burnand dburnand@rcm.ac.uk
Centre for Performance History (CPH)

Formed in 2004, the CPH incorporates important collections that together offer unique insights
into the history of musical performance. The Museum of Instruments (in the East Quadrangle)
houses an internationally renowned collection of instruments, associated documentation and
some of the most famous images from the College’s collection of nearly 400 original works of art
relating to music and musicians. The CPH’s other collections are mostly housed in a new facility at
College Hall, among them 10,000 prints and photographs of musicians, 600,000 concert
programmes from 1736 to the present day, press-cuttings and memorabilia. The Museum is open
to staff and students of the RCM and the public on four afternoons a week (Tuesday-
Friday) during term time, and during the summer vacation, or you may make an appointment to
visit the Museum at other times. You may also book appointments to consult the collections at
College Hall. Specialist members of staff are available to offer help and advice and during the later
stages of your degree you may opt for an elective in Performance History. For further details of the
collections and numerous images, see the CPH website www.cph.rcm.ac.uk.
Centre for Performance Science (CPS)

The CPS promotes collaborative research and teaching among musicians and scientists at the
Royal College of Music, London. From the investigation of music cognition and perception to the
study of expert performance, the CPS benefits from its position within a vibrant musical
environment. As such, the Centre is particularly well placed to explore the interface between
skilled artistry and scientific discovery. A number of postgraduate students are actively involved in
the work of the CPS. For further information see the CPS webpages at
www.cps.rcm.ac.uk/CPS/Home
76
Grove Forum
Staff and students at the College are involved in a wide range of research activity. Grove Forums are
held on most Thursdays during term from 5:15pm, and offer an opportunity for all members of the
College to hear the fruits of research by colleagues and by a wide range of guest speakers. The format
of the meetings is flexible – including concerts, lecture-recitals, discussions and scholarly papers – and
the atmosphere is informal and friendly. Proposals for presentations from post graduates are
welcomed, and can be emailed to grove@rcm.ac.uk
Library
The Library is open from 9am to 7pm from Monday to Thursday, and from 9am to 5:30pm on
Friday. and offers a comprehensive service for advice, lending, reference, listening and research.
One of the world’s major collections, it offers a comprehensive service for advice, lending,
reference and listening. A wide range of reference material (dictionaries, encyclopaedias,
catalogues, bibliographies, collected editions and journals) is maintained, and an increasing
number of works can be consulted on CD-ROM or via the internet. There is a reading room for 40,
a listening room for 20 and an IT room with 11 computers (additional computer access is provided
in a multimedia room with Sibelius score-writing facilities, one floor above). Audio-visual facilities
include CDs, LPs, cassettes, tapes, DAT, mini-disc, videos and DVDs. Postgraduates are strongly
encouraged to make use of the excellent general humanities library in neighbouring Imperial
College for wider, interdisciplinary reading, and to join the public music libraries in Kensington and
Westminster. New postgraduates should attend a library induction session during their first weeks
at College. This vast resource will open many doors for you and may well lead to life-changing
experiences!
Noticeboards
The College has a range of noticeboards on which important information is posted. It is essential
that you locate those relevant to you and that you consult these on a regular basis.
Postgraduate Noticeboards Registry corridor (Registry side)
Faculty Noticeboards
Keyboard Registry corridor (side opposite Registry)
Strings Registry corridor (side opposite Registry)
Brass Walkway between Blomfield and South buildings
Woodwind Walkway between Blomfield and South buildings
Vocal Top of stairs leading to library
Composition Top of stairs leading to library
Historical Performance Top of stairs leading to library
Percussion Percussion Suite
Other Noticeboards
Chamber Music Registry corridor (side opposite Registry)
Competitions Registry corridor (Registry side)
Orchestral Registry corridor (Opposite side), also in Orchestral office
corridor
Alexander Technique Blomfield building 2nd floor corridor
External Engagements Blomfield building 2nd floor corridor
Students’ Association South end of walkway between Blomfield and South
buildings
77
Questions and Problems
As a general rule, you can follow these lines of enquiry in order to find solutions to queries or
problems that arise:
activity (i) first step (ii) if not resolved (iii) finally
1-to-1 lessons Individual professor Head of Faculty Deputy Head of Graduate

School/ Director of
Programmes & Research
Classes/lectures Individual lecturer Deputy Head of Director of Programmes

Graduate School & Research
Ensemble Individual professor Head of Faculty Artistic Director and

activities or Director of Programmes
coach & Research
Option choices Deputy Head of Director of

Graduate School Programmes &
Research
General matters Registry Deputy Head of Director of Programmes

Programmes Team Graduate School & Research
If you have a personal matter you wish to discuss, you should speak first to the Counsellor.
If your complaint is about a general programme matter and involves several students, you may
wish to take it first to the Students' Association to request that they take forward the complaint.
If the complaint is about the conduct of a member of staff, you should address it to the Registry
Manager, Elly Taylor, etaylor@rcm.ac.uk
Advice on College regulations and procedures may also be obtained from Rebecca Mair, in
Secretariat.
If you wish to appeal an examination decision refer to the procedure for a Review of a Decision by
a Board of Examiners in the College General Regulations for Students, available on the website.
If your complaint is about a serious disciplinary matter refer to the Student Code of Conduct in
the College General Regulations for Students.
The steps outlined above should be used for any problem or complaint you have. See also the
steps in the College's Complaints Procedure for students, in the College General Regulations for
Students.
If you wish to use any of these procedures, you are asked to contact the Registry Manager.
Pigeonholes
All students have a pigeonhole situated half-way down the stairs leading to the Library. It is essential
that student check their pigeonhole daily whenever they are in College.
78
Woodhouse Professional Development Centre
The Woodhouse Professional Development Centre is on the second floor of the 1895 building.
It provides support and guidance to all RCM students and recent graduates, in preparation for a
lifelong career in music. This unique facility was established in 1999 and continues to thrive.
The Woodhouse team provide a range of performance opportunities, including education and
outreach work, and supports musicians through these experiences, encouraging them to develop
the initiative, flexibility and imagination required to thrive in an ever-changing profession. New
postgraduates are strongly advised to visit the Centre during their first few weeks in College.
The Department is open from 9.30am to 5.30pm (closing at 2pm on Wednesdays) and the
following resources are available:
• performance opportunities in a wide range of venues and situations

• education and outreach project work
• instrumental and vocal teaching experience
• advice on self promotion including CV, biography, publicity materials, and photography
• volunteering opportunities
• guidance and support in making job and trust applications
• funding advice including sponsorship, grants and trusts
• external competitions and scholarship information
• a weekly email jobs bulletin listing current work vacancies in music
• Library resources and information
• access to useful contacts throughout the music business
79
APPENDIX 3
Who’s Who on the Masters Programmes in Performance
Graduate School
Amanda Glauert, MA, PhD, ARCM, HonARAM Director of Programmes & Research
Ingrid Pearson, BMusHons, PhD, DipEd, LTCL, LMusA Deputy Head of Graduate School
Ashley Solomon, ARAM, HonRCM Head of Historical Performance
Faculty Heads
Nigel Black, FRCM Head of Brass
Simon Channing, BA, PGCert Head of Woodwind
David Hockings, DipRCM, ARCM Head of Percussion
Vanessa Latarche, HonARAM, FRCM, FTCL, LRAM, ARCM Head of Keyboard
Mark Messenger, LRAM, FRCM, FRAM Head of Strings
William Mival, MMus, FRCM Head of Composition
Nicholas Sears, MA Head of Vocal Studies
Research Centre Heads

Paul Banks, BA, DPhil, HonRCM Centre for Performance History,
David Burnand, BMus, MA Centre for Music & Multimedia,
Aaron Williamon, BA, BSc, PhD, HonRCM Centre for Performance Science
80

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Royal College of Music

MASTERS PROGRAMMES IN PERFORMANCE

Master of Performance (MPerf)

2. Aims and Learning Outcomes

3. Structure of the programmes

1. Programme Specification for the Masters Programmes in

3. Who’s Who on the Masters Programmes

There are currently six postgraduate programmes available at the RCM:

• Masters Programmes in Performance (incorporating PGDip, MPerf and MMus awards)

• Graduate Diploma in Vocal Studies (GradDip)

• Artist Diploma in Opera (Art Dip)

• Doctor of Music (DMus)

• to provide advanced musical training at postgraduate level in which a fundamental emphasis

Skills and other attributes

Practical Skills – to be able to:

Cognitive skills – to be able to:

Transferable skills – to be able to:

two academic years, 120 credits per year

PRINCIPAL STUDY PROFESSIONAL PORTFOLIO ELECTIVE UNITS

plus Music, Culture & Contemporary Media,

Alexander Technique, 20 credits

Chamber Music, 20 credits

80 or 90 credits per 20 credits per year 10 or 20 credits per year

two academic years, 120 credits per year

PRINCIPAL STUDY SPECIALIST UNIT ELECTIVE UNITS

two academic years, 120 credits per year

PRINCIPAL STUDY SPECIALIST UNIT ELECTIVE UNITS

Music, Culture & Contemporary Media

plus Repertoire Project

Second study Sources of Performance History

two academic years, 120 credits per year

PRINCIPAL SPECIALIST UNIT ELECTIVE UNITS

SHARED Music, Culture & Contemporary Media

80 or 90 credits 30 credits per year 10 credits per year (for SINGLE PS

two academic years, 120 credits per year

PRINCIPAL STUDY UNITS SPECIALIST UNITS ELECTIVE UNITS

Piano Accompaniment or 20 credits Music, Culture & Contemporary Media

two academic years, 120 credits per year

PRINCIPAL STUDY UNITS SPECIALIST UNITS PROFESSIONAL PORTFOLIO

Vocal Principal Study Repertoire Coaching 2 items per year from

60 credits per year 40 credits per year 20 credits per year

Here is the template for part-time study across three years:

Master of Performance (MPerf) – generic

Year Principal Study units Elective units CREDITS

1 Year One, 40 credits worth 80

• An aggregate mark of 70% or above

The unit descriptions are presented in the following order:

Principal Study units Single

Specialist units Conducting

Principal Study units Single

Specialist units Conducting

Professional Portfolio units Professional Skills

Elective units Level M then Level 3

SINGLE PRINCIPAL STUDY

Generic, Historical Performance, Orchestral Performance and Piano

Level Credits Prerequisite Unit Code

• guidance tailored to individual needs and repertoire as per syllabus

• Refer to the individual Syllabus for the relevant instrument

Level Credits Prerequisite Unit Code

• guidance tailored to individual needs and repertoire as per syllabus

• Refer to the Principal Study Conducting Syllabus

Level Credit Rating Prerequisite Unit Code

Unit objectives and learning outcomes