LRAM Handbook - Royal Academy of Music

LRAM Handbook
2013-14
CONTENTS
Licentiate of the Royal Academy of Music (LRAM) Diploma
Programme Specification
2
Regulations, Entry Requirements, Registration
6
DBS (previously CRB) Checks, External Examiners
7
Key Contact Details
8
PART ONE:
Principles of Teaching
10
PART TWO:
Subject Specialism (inc. Reading Lists)
12
PART THREE: Portfolio
22
LRAM marking descriptors 2013-14
24
General Reading List
25
Part Three: Portfolio Submission Forms
26
1
LICENTIATE OF THE ROYAL ACADEMY OF MUSIC
(LRAM)
The LRAM provides the opportunity for students at the Royal Academy of Music to acquire and have
recognised a set of occupationally relevant skills in one-to-one music teaching as an adjunct to an
undergraduate or postgraduate award. The LRAM gives students a solid foundational knowledge of the
principles of teaching, together with practical skills in teaching an instrument, voice or composition (that of
the student’s principal study) to children or adults within the context of individual tuition. The LRAM is
offered to undergraduate and postgraduates who are enrolled on any of the Academy’s undergraduate or
postgraduate programmes.
Programme Specification
1
GENERAL INFORMATION
1.1
Awarding Institution:
The Royal Academy of Music
1.2
Teaching Institution:
The Royal Academy of Music
1.3
Final Award:
LRAM Diploma
1.4
Title:
Licentiate of the Royal Academy of Music
1.5
Duration:
1 year
1.6
Mode of Study:
Adjunct to a full-time UG or PG programme of study
1.7
FHEQ:
Level 6
1.8
Date of Production:
April 2012
2
AIMS OF THE LRAM
2.1
Rationale
The purpose of the LRAM is to introduce Academy students to best practice in music teaching and
enable them to develop as reflective teachers in the area of their Principal Study.
2.2
Aims
The LRAM aims to develop:
1
2
3
4
Students’ understanding of teaching and learning centred on the development of high standards
in performance and / or composition;
Subject-specific skills in relation to the teaching of music as a practical discipline;
Students’ knowledge of repertoire and teaching materials in their own Principal Study area;
A broad understanding of educational issues and methods within the context of current
educational trends;
2
5
6
7
8
Students’ understanding of how to plan realistic goals for their learners;
Students’ ability to teach in a manner informed by strategies relevant to learners with additional
needs;
Good practice in self-evaluation and professional development through reflective engagement in
one’s own teaching and critical engagement in others’ teaching;
An understanding of the practicalities of building and sustaining a successful teaching practice.
3
Learning Outcomes
3.1
On successful completion of the LRAM students will be able to demonstrate:
A
Knowledge and Understanding of:
1
2
3
B
Subject-Specific Skills; the ability to:
1
2
3
C
A broad range of teaching strategies and current methods in education (Aims 1, 4, 5, 6)
A broad-ranging knowledge of repertoire and teaching materials related to their Principal Study
(Aims 2, 3)
The student’s principal-study discipline and the technical and artistic issues involved in
developing learners’ competence in that discipline (Aim 2)
Choose the type of language appropriate to the age and educational level of the learner (Aims
5, 6)
Structure the lesson to enable learning and to develop musicianship (Aims 1, 2, 3, 4, 5, 6)
Develop and sustain a successful teaching practice (Aims 7, 8)
Key and Transferable Skills; the ability to:
1
2
3
Communicate effectively (Aims 2, 5, 6)
Manage time and prioritise tasks by working to strict deadlines (Aims 5, 6, 7, 8)
Demonstrate responsiveness and flexibility in relation to problem solving (Aims 5, 6, 7)
4
DELIVERY AND ASSESSMENT OF THE LRAM
4.1
Learning and Teaching Processes
4.1.1 The LRAM uses a variety of learning and teaching methods to ensure that students’ learning processes
are stimulating, challenging, and complementary. The principal modes are described below:
4.1.2 Lecture Series. Ten lectures under the heading ‘Principles of Teaching’. The lectures layout a broad
range of teaching strategies suitable for pupils at ‘grass roots’ level; current methodologies and
educational theory; teaching students with additional needs practical strategies and lesson planning;
interpersonal skills.
4.1.3 Lecture/seminars. Ten seminars in Part 2 which teach the application of pedagogical knowledge and
specific repertoire through lectures, teaching observation and practical teaching experience under
supervision.
4.1.4 Personal study. Personal individual study of issues, ideas, and problems raised in the lectures /
seminars and the development of further work and texts (and other materials) as appropriate for the
development of a personal teaching portfolio and in preparation for the submission of the Part 3
Portfolio.
3
4.2
Assessment
4.2.1
Two precepts underpin the LRAM’s assessment strategy: (i). the function of assessment is to enable
students to demonstrate that they have achieved the LRAM’s intended learning outcomes at an
appropriate level; (ii). assessment promotes and supports student learning.
4.2.2
All modules have appropriate descriptive marking guidelines whose function is to ensure comparability
of standards across all levels and activities within the LRAM, to demonstrate these standards to
external bodies, and to promote transparency within the Academy.
4.2.3 The varied assessment methods used in the LRAM are designed to provide the most appropriate
means of evaluating student achievement, to promote different types of learning experience, and to
avoid excessive formal examining.
4.2.4 Written assignments. The written assignments enable students to demonstrate an understanding of
course content and methodology, competence in research methods, ability to marshal information to
construct a cogent and rational argument, communication skills, and self-management skills.
4.2.5 Portfolio. The Portfolio allows students to demonstrate that they have assimilated the content of the
course; drawn on what they have learnt as reflective teachers; and demonstrated that they have
carefully considered the evidence of their own experience.
5
LRAM STRUCTURE
5.1
The LRAM is studied over one year at HE Level 6. As an adjunct, the LRAM is separate from the credit
structure of the accompanying degree. The modules listed below represent the minimum requirement
for the award, which is based on these courses alone. Students who gain marks of 70% or above in
Part 2 and Part 3 are eligible for the award of LRAM with distinction.
Part 1: Principles of Teaching - 33.3%
Part 2: Subject Specialism - 33.3%
Part 3: Portfolio – 33.4%
6
STUDENT SUPPORT
6.1
Students take the LRAM as an adjunct to one of the following programmes:
BMus
PGCert
Advanced Diploma
PGDip
MA
MMus
MPhil/PhD
Students receive an induction programme as part of their main programme of study, which includes:
diagnostic testing for placement in appropriate tutorial; groups; advice on learning support; an induction
into library and IT facilities; guidance on health and safety (including audiometric testing); registration;
international student meetings; introduction to senior staff with programme responsibilities; tutorial
meeting. Students are supported in all aspects of their subsequent life and work at the Academy
throughout the duration of their programme in the following dedicated ways:
4
6.2.1
Designated Year Tutor (with responsibility for academic and pastoral support)
6.2.2
Head of Study (with responsibility for the student’s Principal Study Department and for overseeing the
specific needs of the student in consultation with the Tutor)
6.2.3
Library (staffed by subject specialists who can advise on sheet music, instrumental and vocal parts,
musicological materials, reference works, on-line resources, and materials from the Academy’s Special
Collections)
6.2.4
IT Helpdesk
6.2.5
Counsellor: the Counsellor provides confidential pastoral support as a trained professional
6.2.6
Disability Advisor: the Disability Advisor and support team are responsible for the implementation of the
Academy’s Disability Equality Policy and Action Plan.
6.2.7
Alexander Technique co-ordinator: The Alexander Technique co-ordinator and support team teach
Alexander Technique – an established method to improve posture and prevent repetitive strain injury.
6.2.8
Professional Development Advisor; provides one to one consultations with students and can help with
issues such as creating a biography or CV, writing letters to promoters, sourcing funding, contractual
issues and putting together the Professional Portfolio. Other opportunities within Student Professional
Development include a range of Business Placement schemes, providing students with active work
experience both on the concert platform and behind the scenes, a series of Talking Heads, professional
hints and tips and job and funding opportunities.
6.2.9
International students can also seek advice from undergraduate tutor, Ruth Byrchmore, who will
be offering academic and pastoral support and advice via referral or appointment, from the student
counsellor or from the Registry.
6.2.10 Instrument Technical (repair) services
6.2.11 Chaplain; The Chaplain's task is to serve the pastoral and spiritual needs of all members of the Royal
Academy of Music, whether staff or students, whatever their faith, or none.
6.2.12 Estates Manager: who advises on student accommodation issues
6.2.13 The Royal Academy of Music Student’s Union
5
REGULATIONS
The Regulations for the LRAM, including those in relation to failure and reassessment, are contained
within the Academy’s main Regulations, which is available on AIR.
Students must pass all three parts of the LRAM (Principles of Teaching, Subject Specialism, Portfolio)
in order to qualify for the award of LRAM.
The awards of LRAM will be conferred following the ratification of results by the LRAM Examination Board,
which meets at the end of the autumn term each year. Students will be notified of their results via email.
Students who successfully pass the LRAM will receive a certificate following confirmation of their award by the
LRAM Examination Board.
ENTRY REQUIREMENTS
Students must be enrolled on either an undergraduate or postgraduate programme at the Royal Academy of
Music in order to undertake the LRAM. Undergraduates must have progressed into year three of the BMus
programme.
B3/B4 students must take Principles of Teaching either as an elective or in addition to their electives and must
also fully complete the formal LRAM registration requirements. Taking Principles of Teaching as an elective
does not automatically constitute enrolment onto the LRAM.
REGISTRATION
Online registration will be open from 9 September to 4 October 2013. Late applications will not be
accepted. To register for the LRAM, students must complete the online registration form which can be
found on AIR in the LRAM section (go to Menu/Academic Information/LRAM)
Once you have submitted your registration form, you will need to pay the appropriate fee to the Registry.
Payments can be made by cash, cheque or credit card. A credit card payment form can be found on AIR
in the LRAM section. Payments should be made no later than 8th October. If your payment has not
reached the Registry by 5pm on 8th October, your registration will be cancelled.
An information session for students considering LRAM registration will take place in the Concerts Room on
Tuesday 24 September 12.00-13.00. This will be an informal drop-in event, consisting of a short presentation
followed by a questions and answers session with key staff, with LRAM documentation made available. No
booking required to attend this session.
Fees
All students will pay a fee of £300 inclusive.
Re-take students will pay a fee of £100 per component that needs to be re-taken.
Registration Form
The online registration form is available on the Academy’s internal website AIR.
6
DBS (previously CRB) CHECKS
DBS (Disclosure and Barring Service), previously CRB (Criminal Records Bureau), checks are required by law
if you are employed to teach anyone under 18 in a one-to-one situation in the UK. If you are employed by a
school, or other educational/teaching organisation, the employer will make arrangements for your DBS check.
If you are teaching, or intending to teach, on a self employed/freelance basis you can apply for a ‘basic
disclosure’ in your own name via Disclosure Scotland www.disclosurescotland.co.uk/apply - this applies to any
individual residing and working within the UK. A fee of £25 applies.
Please note, DBS disclosure does not cover teaching outside the UK. If you are teaching in your home country,
you are advised to seek the relevant formal legal equivalent to DBS disclosure before teaching.
Please speak to your Department Administrator if you require more information on DBS checks.
EXTERNAL EXAMINERS
The Academy’s external examining system is one of the most important ways of ensuring that the programmes
we are running are academically sound, that the students are receiving appropriate teaching and that results
are comparable to those in similar higher education institutions.
The LRAM external examiner has the opportunity to see and comment on the Part 3 Portfolios and observe a
selection of viva voce during the examination period to scrutinise the marking process across the different
Principal Study disciplines. External examiners are members of the Examination Boards and their views are
taken extremely seriously.
At the end of the academic year the external examiners each produce a report on the programme for which
they are examiner. These reports are scrutinised by the Programme Boards and by Standing Committee of
Academic Board. Heads of Programme are expected to respond to their external examiners explaining how
points raised are to be addressed. The external examiners' reports are routinely circulated to the Senior
Management Team and other relevant contacts.
External Examiner reports are published on AIR and students may request a copy of any report by emailing the
Academic Secretary [email protected] .
The external examiner for the LRAM for 2013-14 is Louise Gibbs, freelance jazz vocalist, composer/arranger,
educator, and writer.
7
KEY CONTACT DETAILS
Programme Management and support
Name
Dr Anthony Gritten Head of Undergraduate
Programmes
Mr David Piper –
Management Information
and Undergraduate
Programmes Coordinator
Ms Sian Watson –
Registry Services Officer
Mr Paul Harris –
Principles of Teaching
Module Leader
Role
Responsible for overseeing LRAM
operations as a whole
Email
Room
[email protected]
YG343
LRAM Handbook, maintenance of online
resources.
[email protected]
YG347
Coordinates LRAM registration,
assessment scheduling and deals with
withdrawals and payments to teachers.
Responsible for all aspects of the
Principles of Teaching module.
[email protected]
Registry
[email protected]
Subject Specialism Teachers and Department Administrators
Department
Subject Specialism Teacher
Department Administrator
Brass
John Hutchins
Francesca Johnson
Cello
[email protected]
David Smith
[email protected]
Esme Acton-Stewart
[email protected]
Choral Conducting
Contact via pigeonhole or Departmental
Administrator
Esther Jones
[email protected]
Owen Murray
[email protected]
Karen Ingram
Classical Guitar
[email protected]
Michael Lewin
[email protected]
Karen Ingram
Composition
[email protected]
David Knotts
[email protected]
Philip Knight
Double Bass
[email protected].
Rodney Stewart
[email protected]
Esme Acton-Stewart
[email protected]
Harp
Contact via pigeonhole or Departmental
Administrator
Charlotte Seale
Jazz
[email protected]
Nick Smart
[email protected]
Philip Knight
Classical
Accordion
8
Emily Mould
Emily Mould
Musical Theatre
[email protected]
Mary Hammond
[email protected]
Stephen Minay
Organ
[email protected]
Anne Marsden Thomas
[email protected]
Eileen-Rose McFadden
Percussion
[email protected]
Neil Percy
[email protected]
Francesca Johnson
Piano
[email protected]
Pascal Nemirovski
[email protected]
Emily Mould
Violin/ Viola
[email protected]
Diana Cummings
[email protected]
Esme Acton-Stewart
Vocal
[email protected]
Glenville Hargreaves
[email protected]
Chris Loake
Woodwind
[email protected]
Janet Way
[email protected]
Francesca Johnson
[email protected]
[email protected]
9
PART ONE: PRINCIPLES OF TEACHING
(BMus 10 credits, 10 weeks)
15 October 2013 to 14 January 2014
Module Leader: Mr Paul Harris
Module Summary
Principles of Teaching is also offered as an elective for BMus students in Year 3 and Year 4.
It addresses common elements of teaching and learning but with a specific emphasis on instrumental and
vocal teaching. The eight sessions include a consideration of the psychology of teaching, the qualities of an
effective teacher, teaching and learning styles, how to teach, group teaching, practice, assessment, motivation,
music in schools and setting up as an instrumental teacher.
Representative lecture titles: Simultaneous Learning and whole brain teaching; The Virtuoso Teacher;
Teaching beginners; Getting the best out of pupils; Nuts and bolts: teaching aural, sight reading, notation and
theory; Group teaching, including first access and wider opportunities; The trouble with practice; Then, now
and the future.
Assessment
Type of Assessment
2 written essays, each of c. 1200 words
Weighting (%)
50 per essay
Assessment hand-in deadline: 15.00, Monday 20 January 2014, Room 110.
Progression requirements
None
Examinations
None
Intended learning outcomes
A4, A5, B1, B3, B4, B5, B7, C1, C2, C3, C4, C5, C6 and C7.
Bibliography
Richard Crozier Musical Instruments for Children (Hamlyn, 2007) 783.12 CRO
Barry Green The Inner Game of Music (Pan) 782.1 GRE
Susan Hallam Instrumental Teaching (Heinemann) 783.4 HAL
Paul Harris Improve Your Teaching (Faber, 2006) 783.4 HAR
Paul Harris Teaching Beginners (Faber, 2008) 783.4 HAR
Paul Harris and Richard Crozier The Music Teacher’s Companion (ABRSM) 783.4 HAR
10
Paul Harris The Virtuoso Teacher (Faber, 2012) 783.4 HAR
Lucinda Mackworth Young Tuning In (MMM Publications, 2002) 782.3 MAC
Joseph O’Connor Not Pulling Strings (Khan and Averill) 782.1 O’CO
Jaume Llobet & George Odam The Musician’s Body (Ashgate, 2007) 131 ROS
George Odam The Sounding Symbol (Stanley Thornes, 2001) 783 ODA
Sheila Oglethorpe Instrumental Music for Dyslexia (Whurr, 2002) 782.6 OGL
George Pratt Aural Awareness (Open University, 1998) 787.2 PRA
Ed. By Stephens & Pratt Teaching Music in the National Curriculum (Heinemann, 1995) 783.11 NAT
Keith Stanwick Teaching Music Musically (Routledge) 783 SWA
Aaron Williamon Musical Excellence (Oxford) 789 WIL
Shirley Cleave and Karen Dust A Sound Start (NFER Nelson) 783.1 CLE
11
PART TWO: SUBJECT SPECIALISM (inc. READING LISTS)
Commencing January 2014: Department-led, 15hrs
Students are eligible to take Part 2 of the LRAM on condition that they have fully completed the LRAM
registration process. To be examined in this part of the course, students must normally have passed Principles
of Teaching. Attendance is compulsory.
Subject Specialist tuition will normally take the form of weekly seminars. A full timetable of departmental
classes will be sent to you by your department administrator before the Christmas vacation.
The curriculum for Part 2 will usually include the following:

Understanding the teaching of instrumental/vocal/compositional technique

Developing a teaching repertoire from printed source

Identifying and troubleshooting pupil problems

Teaching style and interpretation

Understanding the instrument/voice - brief history, care/vocal health, repair, purchasing

The first few lessons with the young beginner. What to teach, when to teach, how to teach, comparison
with teaching adult beginners

Developing musicianship skills in and out of lessons

Devising curriculum for matching standards to individuals

Producing original materials to support pupil learning where appropriate

Workshop and group teaching

Practice strategies
Assessment
Subject-Specific Essay: one essay, 2,000 words. Essays must be double-spaced and include a bibliography.
Please refer to your programme handbook for Royal Academy of Music style guidelines.
Submission deadline: 17.00 Tuesday 13 May 2014 to Registry, Room 104. Essays must include a completed,
and signed, LRAM Assignment Submission Form (available from AIR).
12
SUBJECT SPECIFIC READING LISTS
Accordion
Bibliography not provided.
Bassoon
Camden, Archie, Bassoon Technique, London, Oxford University Press, 1975. 789.785 CAM
Polk, Janet, Starting a student on the bassoon. 789.786 POL
Brass – general – Updated Library spreadsheet 10/6/13
Frederiksen, Brian, Arnold Jacobs Song and Wind, [USA], Windsong Press, 1996. 785.9 JACOBS/FRE
Jeans, James Hopwood, Science and Music, Cambridge, Cambridge University Press, 1937. 787.1 JEA
Steenstrup, Kristian, Teaching Brass, Aarhus, Det Jyske Musikkonservatorium, 2007. 798.8 STE
Johnson, Keith Brass performance and Pedagog, person education Australia, 2001
Herrigel, Eugen Zen in the Art of Archery, Arkana, 1985
782.1 HER
Gallwey Timothy The Inner Game of Tennis, Pan, 1986
You are Only as good as your last breath; Improving Brass Pedagogy www.midwestclinic.org
Cello
Pleeth, William, Cello, Kahn & Averill, 2001. 789.67 PLE
Choral Conducting
Voice in education (London: Rheingold Publishing, 1999). R783.5 MUS
Blocker, Robert ed The Robert Shaw Reader (USA: Yale University, 2004). 789.48 SHA
Durrant, C. Choral Conducting: Philosophy and Practice (New York: Routledge, 2003). 789.48 DUR
Hill, David, Parfitt, Hilary & Ash, Elizabeth Giving voice (Rattlesden: Kevin Mayhew Ltd, 1995). 789.476 HIL
Lamble, Walter A handbook for beginning choral educators (Bloomington: Indiana University Press, 2004).
789.486 LAM
Smith, Brenda & Salatoff, Robert T. Choral Pedagogy 2nd ed. (San Diego: Plural Publishing, Inc., 2006).
789.475 SMI
Clarinet
Craven, Leslie, Instant help for playing and teaching the clarinet – available to download exclusively as a pdf.
13
Davies, John & Harris, Paul, Essential clarinet technique : tone - intonation - articulation - finger technique,
London, Faber, 1985. 76.01 DAVIES
Pino, David, The clarinet and clarinet playing, Dover, Dover Publications, 1998.
Composition
Composers writing about their own music and other people’s music
Messiaen, Olivier The Technique of my Musical Language (Leduc, 1996) 788.6 MES
Babbitt, Milton Words and Music (University of Wisconsin Press, 1987) 787.41 BAB
Boulez, Pierre Boulez on Music Today (Faber, 1971) 788.6 BOU
Boulez, Pierre Orientations (Faber & Faber, 1986) 781.9 BOU
Carter, Eliott Selected Essays and Lectures (Rochester University Press, 1998) 781.9 CAR
Composers writing about composition
Schoenberg, Arnold Theory of Harmony 787.6 SCH
Hindemith, Paul Craft of Musical Composition (Schott 1945/1948) 788.6 HIN
Hindemith, Paul Fundamentals of Musical Composition (Schott 1945/1948) 788.6 HIN
Writers on Composers
Hill, Peter (ed.) The Messiaen Companion (Faber and Faber, 1995) 785.9 MESSIAEN/MES
Griffiths, Paul Olivier Messiaen and the Music of Time (Faber & Faber, 1985) 785.9 GRI
Schiff, David The Music of Elliott Carter (Faber, 1998) 785.9 SCH
Griffiths, Paul Peter Maxwell Davies (Robson, 1981) 785.9 DAVIES/GRI
Books on Techniques
Risatti, Howard A Guide to Notational Signs for Contemporary Music (University of Illinois Press, 1975)
787.31 RIS
Butterworth, Anna Stylistic Harmony Workbook (OUP, 1994) 787.6 BUT
Butterworth, Harmony in Practice (ABRSM, 1999) 787.6 BUT
Holst, Imogen Tune (Faber, 1962) 787.5 HOL
Liebman, David A Chromatic Approach to Jazz Harmony and Melody (Advance Music, 1991) 787.6 LIE
Young, Percy M Musical Composition for Pleasure (Hutchinson, 1961) 788.6 YOU
Davis, Sheila The Songwriters Idea Book (Writer’s Diget, 1992) 788.61 DAV
14
Runswick, Darryl Rock, Jazz & Pop Arranging (Faber, 1992) 788.7 RUN
Ruffer, Compositions with 12 Tones (Barrie & Rockliff, 1954) 788.6 RUF
Read, Gardner Contemporary Instrumental Techniques (Collier MacMillan, 1976) 788.9 REA
Orchestration
Piston, Walter Orchestration 788.8 PIS
Rimsky-Korsakov Principles of Orchestration 788.8
Del Mar Anatomy of the Orchestra 788.9
Books on Teachers and Teaching
Boulanger, Nadia Conversations with Nadia Boulanger 785.9
Boulanger, Nadia Master Teacher 785.9
Boulanger, Nadia The Tender Tyrant 785.9
McPherson The Child as Musician – a handbook of musical Development 783.12
Recommended Reading not in the Academy library
Smith Brindle, Reginald Contemporary Percussion, OUP
Blatter, Alfred Instrumentation/Orcheststration, Longman
Stone, Kurt Music Notation in the Twentieth Century, Norton
Double Bass
There is no specific reading list for this subject. Students are advised to read the bowing chapters of books
listed under other string instruments and those listed under Part 1: Principles of Teaching.
Flute
Blakeman, Edward, Taffanel : genius of the flute, Oxford, OUP, 2005. 785.9 TAFFANEL/BLA
Debost , Michel, The simple flute : from A to Z, Oxford, OUP, 2002. 789.72 DEB
Floyd, Angeleita, The Gilbert legacy: methods, exercises and techniques for the flutist, Iowa, Winzer Press,
1990. 7890.725 FLO
McCutchan, Ann, Marcel Moyse : voice of the flute, Portland, Amadeus, 1994. 785.9 MOYSE/MCC
Guitar
Aguado, Dionysio / ed. Jeffery, Aguado : new guitar method, London, Tecla Editions, 1981. 62.01 AGUADO
Bellow, Alexander, The illustrated History of the Guitar, New York, Franco Columbo, 1970. 789.623 BEL
15
Bone, Philip James, The guitar and mandolin : biographies of celebrated players and composers for these
instruments, London, Schott, 1972. 789.625 BON
Byzantine, Julian, Guitar technique rationalized, Pacific, MO, Mel Bay Publications, 2002. 789.625 BYZ
Carlevaro, Abel / transl. Azkoul & Diaz, School of guitar: exposition of instrumental theory, London, Boosey
and Hawkes 1984. 62.01 CARLEVARO
Evans, Tom & Evans, Mary, Guitars : music, history, construction and players, from the Renaissance to rock,
London, Paddington Press, 1977. 789.623 EVA
Fernandez, Eduardo, Technique, mechanism and learning, Pacific, MO, Mel Bay Publications, 2001.
789.626 FER
Gallery, Roland, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning.
Unit G3d, Diagnostic assessment of playing, Reading, International Centre for Research in Music Education,
1998. R789.626 DIP
Glise, Anthony, Classical guitar pedagogy : a handbook for teachers, Pacific, MO, Mel Bay Publications, 1997.
X789.626 GLI
Goss, Stephen, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning.
Unit G3e, Supporting skills, Reading, International Centre for Research in Music Education, 1998.
R789.626 DIP
Iznaola, Ricardo, Diploma course in music teaching in private practice : module 3, Guitar teaching and
learning. Unit G3b, The physiology of guitar playing, Reading, International Centre for Research in Music
Education, 2000. R789.626 DIP
Lewin, Michael, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning.
Unit G3h, Knowledge, selection and evaluation of repertoire, Reading, International Centre for Research in
Music Education, 1998. R789.626 DIP
Lewin, Michael, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning.
Unit G3j, Interpretation and style, Reading, International Centre for Research in Music Education, 1998.
R789.626 DIP
Michelson, Sonia, New dimensions in classical guitar for children, Pacific, MO, Mel Bay Publications, 1991.
789.626 MICHELSON
Mills, John, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning. Unit
G3a, History, technology and maintenance, Reading, International Centre for Research in Music Education,
1998. R789.626 DIP
Pells, Tim, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning. Unit
G3g, First lessons and repertoire for beginners, Reading, International Centre for Research in Music
Education, 2000. R789.626 DIP
Quine, Hector, Guitar technique : intermediate to advanced, Oxford, OUP, 1990. 789.625 QUI
Romanillos, Jose L, Antonio de Torres : guitar maker : his life and work, Longmead, Shaftesbury, Element
Books, 1987. 785.9 TORRES/ROM
16
Russell, David, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning.
Unit G3c, Tone, touch and technique, Reading, International Centre for Research in Music Education, 1998.
R789.626 DIP
Schneider, J., The Contemporary Guitar, University of California Press, 1985.
Shearer, Aaron, Learning the classic guitar. Part one, Pacific, MO, Mel Bay Publications, 1990.
62.01 SHEARER
Sor, Fernando, Method for the Spanish guitar, New York, Da Capo, 1971. 789.625 SOR
Stimpson, Michael, Guitar : a guide for students and teachers, Oxford, OUP, 1998. 789.626 GUI
Summerfield, Maurice J., The Classical Guitar: it's evolution and it's players since 1800, Newcastle upon Tyne,
Ashley Mark Publishing, 2002. 789.623 SUM
Taylor, John, Tone production on the classical guitar, London, Music Sales, 1990. 789.625 TAY
Tennant, S, Pumping Nylon, Van Nuys, USA, Alfred Publishing, 1995. 62.01 TENNANT
Thorne, Phillip, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning.
Unit G3f, Structure and content of lessons, Reading, International Centre for Research in Music Education,
1998. R789.626 DIP
Turnbull, Harvey, The guitar from the renaissance to the present day, Westport, Conn., Bold Strummer, 1991.
789.623 TUR
Tyler, James, The early guitar: a history and handbook, London, OUP, 1980. 789.623 TYL
Wade, Graham, Diploma course in music teaching in private practice : module 3, Guitar teaching and learning.
Unit G3i, Interpretation and style, Reading, International Centre for Research in Music Education, 1998.
R789.626 DIP
Harp
Balderston, Suzanne, On teaching the harp : a pedagogy text for individual or class use, Salvi Publications,
1980. 789.616 BAL
Grossi, Maria, Metodo per arpa [Method for the harp], Milano Ricordi, 1946. 61.01 GROSSI
Johnston, Philip, The Practice Revolution, PracticeSpot Press, 2004
Marson, John, The book of the harp : the techniques, history and lore of a unique musical instrument, Buxhall,
Stowmarket, Kevin Mayhew, 2005.
Rensch, Roslyn, Harps and harpists, Indiana University Press, 2007
Renie, Henriette Method for the Harp
Rosset i Llobet, Jaume & Odam, George, The musician's body: a maintenance manual for peak performance,
Ashgate, 2007.
17
Suzuki, Shin'ichi, Nurtured by love: The Classic Approach to Talent Education, USA, Alfred Publishing, 1983.
789.656 SUZ
Watkins, David, Complete Method for the Harp, London, Boosey and Hawkes, 1972. 61.01 WATKINS
Weidensaul, Jane, Scientific practice : a manual for harp students, Teaneck, N.J., Willow Hall Press, 1978.
789.616 WEI
Zingel, Hans Joachim, Harp music in the 19th century : an attempt at an historical picture
Jazz
Crook, Hal, How to improvise : an approach to practicing improvisation, Advance Music, 1991. 785.7 CRO
Werner, Kenny, Effortless mastery : liberating the master musician within, New Albany, IN, Jamey Aebersold
Jazz, 1996. 789 WERNER
Gallwey,Timothy and Green, Barry The Inner Game of Music, Pan, 2003. 782.1 GRE
Please also see the Paul Harris books listed in Part One: Principles of Teaching, above.
Musical Theatre
Daniel Borch, Ultimate vocal voyage
Meribeth Dayme, Dynamics of the singing voice. 789.475 BUN
Patsy Rodenberg The Right to Speak
Gillian Kayes, Vocal Process on line
Anne Marie Speed, The Voice Explained-on line
Oboe
Schuring, Martin, Oboe art and method, Oxford, OUP, 2009. 789.4 SCH
Joppig, Gunther, The oboe and the bassoon, London, Batsford, 1988. 789.743 JOP
Organ
Stinson, Russell, Bach, the Orgelbuchlein, Oxford, OUP, 1999. 785.9 BACH J.S/STI
Stinson, Russell, J.S. Bach's Great Eighteen Organ Chorales, Oxford, OUP.
Syed, Matthew, Bounce, New York, HarperCollins, 2010. 783.46 SYE
Marsden Thomas, Anne, Oxford service music for organ (6 volumes), Oxford, OUP.
Henderson, John, A Directory of Composers for Organ, Swindon, John Henderson Publishing 1999.
R780.2 HEN
18
Percussion
Bibliography not provided.
Piano
Children’s:
Me and my piano Part 1. The Waterman Harewood Piano series. Faber Music, 2008, 51.01 WATERMAN
Piano time 1 Pauline Hall. Oxford, 2004, 51.01 HALL
Exploring the Piano Joanna MacGregor. Piano world. Faber Music, 2000, 51.01 MACGREGOR
Tunes for ten fingers Pauline Hall. A first piano book. The Oxford piano Method, 1992, 51.01 HALL
Bastien Piano basics Level 1. KJOS
Chester’s Easiest Piano Course. Carol Barrat. Musicsales.com, 2008, 51.01 BARRATT
Easiest Piano Course Part 1. Thompson. John, Musicsales.com, 1996, 51.01 THOMPSON
Les leçons de piano Vol 1&2. Editions Lemoine, 2010, 51.01 QUONIAM
Adults:
‘The classic piano course’. Carol Barrat. Omnibus Edition
‘Piano works’ Book 1. Janet & Alan Bullard. Oxford, 2007, 51.01 BULLARD
‘Alfred’s Basic Adult Piano Course Level 1. Villard A. Palmer. Morton Manus-Amanda Vick Lethco, 1983,
51.01 ALFRED
Recorder
O'Kelly, Eve, The Recorder Today, Cambridge, Cambridge University Press, 1990. 789.71 OKE
Rowland-Jones, Anthony, Recorder technique : intermediate to advanced, Oxford, OUP, 1986. 789.715 ROW
Saxophone
Ingham, Richard (ed.), The Cambridge companion to the saxophone, Cambridge, Cambridge University Press,
1998. 789.773 SAX
Harvey, Paul, Saxophone (Yehudi Menuhin Music Guides), Kahn and Averill, 1998. 789.773 HAR
Trombone
Bibliography not provided: see above, Brass- general.
19
Trumpet
Bibliography not provided: see above, Brass- general.
Tuba
Bibliography not provided: see above, Brass- general.
Violin
Leopold Mozart, A Treatise on the Fundamental Principles of Violin Playing 789.655 MOZ
Geminiani, The Art of Playing the Violin 65.01 GEMINIANI
Leopold Auer, Violin Playing as I Teach It 789.655 AUE
Carl Flesch, The Art of Violin Playing Books 1 & 2 X789.655 FLESH
Ivan Galamian, Principals of Violin Playing and Teaching 789.656 GAL
Yehudi Menuhin, Six Lessons with Yehudi Menuhin 789.655 MEN
Herbert Whone, The Simplicity of Playing the Violin 789.655 WHO
Simon Fischer, Basics
65.01 FISCHER
Simon Fischer, Practise 65.01 FISCHER
Paul Harris, The Virtuoso Teacher 783.4 HAR
Paul Harris, Improve Your Teaching 783.4 HAR
Paul Harris, Teaching Beginners 783.4 HAR
Paul Harris, The Music Teachers Companion 783.4 HAR
Pedro de Alcantara, Indirect Procedures 131 ALC
Viola
Bibliography not provided.
Vocal
Essential Reading List
Richard Miller, The Structure of Singing, 1196 789.475 MILL
James McKinney, The Diagnosis and Correction of Vocal Faults, Genevox Music Group, 1994 789.479 MCK
D. Garfild Davies and Anthony F Jahn, The Care of the Professional Voice, A&C Black, 2004, 789.479 DAV
20
Meribeth Bunch Dame , The Performer’s Voice, W W Norton, 2005, 789.475 BUN
Highly Recommended
Vocal Physiology and the Teaching of Singing - David Slater – Larway, 1990 789.476 SLA
Additional Reading List
Lucy Manen, Bel Canto, Oxford University Press, 1987, 789.475 MAN
Janice L Chapman, Singing and Teaching of Singing, Plural Publishing, 2006, 789.476 SIN
Richard Miller, Training Soprano Voices, Oxford University Press, 2000, 789.476 MIL
Richard Miller, On the Art of Singing, Oxford University Press, 1996, 789.475 MIL
Shirley Emmons and Alma Thomas, Power Performance for Singers, Oxford University Press, 1998,
789.479 EMM
Repertoire Books
Anthony Legge, The Art of Auditioning, Rhinegold Publishing, 1990 780.542 LEG
Berton Coffin, Singers Repertoire Part 1&2, R780.54 COF
Janes Manning, New Vocal Repertory – both volumes, Macmillan Publishing, 1986/88, 780.54 MAN
Shirley Emmons and Stanley Sonnag, The Art of the Song Recital, 789.472
Sergius Kagen, Music for the Voice, Indiana University Press, 1968, R780.54 KAG
Woodwind – general
Odam, George, The sounding symbol : music education in action, Nelson Thornes, 1995. 783.ODA
Marks, Anthony (ed.), All together! : teaching music in groups, London, ABRSM, 2004. 783.4 ABRSM
Gane, Patricia M., Making Music : creative ideas for instrumental teachers, Oxford, OUP, 2006. 783.4 GAN
Hallam, Susan, Instrumental teaching : a practical guide to better teaching and learning, Oxford, Heinemann,
1998. 783.4 HAL
Mills, Janet, Instrumental teaching, Oxford, OUP, 2007. 783.4 MIL
21
PART 3: PORTFOLIO
Composition of the Portfolio
The Portfolio should consist of:





Three lessons with pupils on audio-visual DVD. These must include pupils of at least two different
levels of ability (beginner, intermediate, advanced). Where possible two of the lessons should be with
the same pupil (delivered with an appropriate interval of time between the lessons). The duration of
each lesson on the audio-visual DVD submitted must be 20 minutes maximum, either 20 continuous
minutes from a single lesson or edited highlights from a single lesson totalling 20 minutes.
A lesson plan, which must include the following: a brief musical background on each pupil; a list of
repertoire / tests / exercises / scales etc. covered in the three lessons on the DVD; the aims and
objectives of each of the three lessons on the DVD; a general log of the frequency and timing of
lessons given to the three pupils over the period of teaching (up to a maximum period of three years);
A reflective diary outlining the student’s aims and objectives as a teacher and analysing the student’s
progress and development (2000 words in total);
A list of resources that the student has found useful;
Examples of resources that the student has created for lessons (e.g. learning sheets).
All written components of the Portfolio must be submitted in English. If, and where, lessons on the audiovisual DVDs are not delivered in English, students will be required to provide a written commentary in English
on the key element of the lesson/s and must be prepared to translate spoken elements of the lessons during
the viva voce examination. Please note: In these instances, the focus of the lesson rather than quality of the
translation will be assessed.
Support for the Portfolio:
1
Individual support will be delivered as distance learning (normally via email) in agreement with Subject
Specialist Teachers;
2
Subject Specialist Teachers will advise (normally via email) on the precise composition of the Portfolio,
on particular individual issues to be emphasised by students and on the scheduling of support;
3
The Alumni Network will provide a small number of mentors to provide a second layer of more informal
support from former students;
4
Web resources will also be available. These may include:









Representative examples of good audio-visual materials, e.g. lessons, practice guides;
FAQ sheets;
Lecture notes / handouts from Part 1 lectures and Part 2 classes;
Representative examples of good reflective written commentaries;
Links to appropriate approved external sites, e.g. Westminster Teaching Partnership;
Alumni Network http://www.ram.ac.uk/alumni
LRAM mailbox (email) for queries [email protected]
Programme Handbook;
Guidelines on developing Professional Development Portfolios.
22
Submission of the Portfolio
Students must get the formal signed approval of their Subject Specialist Teacher to confirm that they are ready
to submit the Portfolio. The request for approval from the Subject Specialist Teacher must be accompanied by
at least one of the lessons on audio-visual DVD. The LRAM Portfolio Submission Approval Form is available
from the LRAM page on AIR, on request from [email protected] or by photocopying page 26 on this handbook.
The Portfolio must be submitted within four weeks of signed approval.
Students are required to complete a LRAM Assignment Submission Form (available on the LRAM page on
AIR, on request from [email protected] or by photocopying page 27 on this handbook when submitting their
Portfolio. Portfolios can be submitted in either hard or electronic format (via SoundCloud).
Submission deadlines: For students who enrolled on the LRAM in September/October 2013, the earliest date
for submission of the Portfolio is Friday 19 September 2014. There are further staggered opportunities for
students to submit, up until a final deadline of 31 August 2017. Details of the staggered submission dates are
found on the LRAM Assignment Submission Form (see page 27).
Please note that your final mark will be confirmed at the LRAM examination board held in the November
following your portfolio submission. So, for example, if you submit your portfolio in January 2015 or April 2015,
your final mark will be ratified by the LRAM examination board in November 2015.
Assessment of the Portfolio
The Portfolio will be assessed by a compulsory 20 minute viva voce examination conducted by two members
of academic staff, one of whom will be the relevant Subject Specialist Teacher.
Viva voce examinations will normally be held at the Academy, for those living further away or outside the UK it
may be possible to hold the viva by Skype, and students will be asked to indicate which they require when
completing the LRAM Assignment Submission Form.
Students who are referred in the LRAM as a result of failing the Portfolio/Viva may be able to re-submit the
Portfolio following guidance provided in the feedback on the Viva Voce examination.
Further information
If you have any further queries about the LRAM Part 3 Portfolio please email [email protected] or contact
David Piper (Academic Secretariat) on ext 461 or Sian Watson (Registry) on ext 393.
23
LRAM MARKING DESCRIPTORS 2013-14
Class
%
I
90-100
I
80-89
I
70-79
IIi
60-69
IIii
50-59
III
40-49
Soft
fail
30-39
Hard
fail
0-29
Class descriptor
Phenomenal. Worthy of public dissemination because of its phenomenal
depth of reflective insight, imagination and understanding of pedagogical
practices and techniques. Combines striking personal and creative authority,
and demonstrates phenomenal command of delivery and communication.
Outstanding. Outstanding reflective insight and delivery, demonstrating
exceptionally mature reflective understanding of pedagogical practices and
techniques. Outstandingly responsive and flexible.
Excellent. Excellent levels of reflective insight and delivery and
communication. Excellent demonstration of an understanding of pedagogical
practices and techniques.
Very good. A very good understanding of pedagogical practices and
techniques, and levels of delivery and communication. Accomplished and
reflective work.
Good. A good reflective grasp of a reasonable number of pedagogical
practices and techniques, and competent levels of delivery and
communication. Good responsiveness and flexibility.
Adequate. An adequate assimilation of relevant skills, and some ability in
delivery and communication. An adequate level of reflective understanding of
the appropriate pedagogical practices and techniques, but lacking
responsiveness or flexibility.
Inadequate. Inadequate reflective awareness and understanding of
pedagogical practices and techniques. Fails to demonstrate practical
understanding of the nature of teaching, and inadequate delivery and
communication.
Inadequate. Fails in every respect to engage with the subject matter, and
shows no evidence of reflective or communicative work meeting any of the
learning outcomes.
These descriptors will be used to mark all components of the LRAM.
24
GENERAL READING LIST
Shirley Cleave and Karen Dust A Sound Start (NFER Nelson 1989) 783.1 CLE
Richard Crozier Musical Instruments for Children (Hamlyn 2007) 783.12 CRO
Barry Green The Inner Game of Music (Pan 2003) 782.1 GRE
Susan Hallam Instrumental Teaching (Heinemann 1998) 783.4 HAL
Paul Harris Improve Your Teaching! Teaching Beginners (Faber 2008) 783.4 HAR
Paul Harris and Leonora Davies Group Music Teaching in Practice (Faber 2009) 783.4 HAR
Paul Harris Improve your teaching! : an essential handbook for instrumental and singing teachers (Faber 2006)
783.4 HAR
Paul Harris and Richard Crozier The Music Teacher’s Companion: a practical guide (ABRSM 2000) 783.4 HAR
Lucinda Mackworth Young Tuning In (MMM Publications 2002) 782.3 MAC
Joseph O’Connor Not Pulling Strings (Khan and Averill 2007) 782.1 O’CO
George Odam The Sounding Symbol (Stanley Thornes 2001) 783 ODA
Sheila Oglethorpe Instrumental Music for Dyslexia (Whurr 2001) 782.6 OGL
George Pratt Aural Awareness (Open University 1998) 787.2 PRA
George Pratt Teaching Music in the National Curriculum (Heinemann 1995) 783.11 NAT
Keith Swanwick Teaching Music Musically (Routledge 2011) 783 SWA
Keith Swanwick Music, Mind and Education (Routledge 1998) 783.1 SWA
Keith Swanwick Musical Knowledge (Routledge 1994) 783.4 SWA
Aaron Williamon Musical Excellence (Oxford 2001) 789 WIL
25
LRAM Portfolio Submission Approval Form
Student Name:
Programme:
LRAM
Principal Study:
Course Title:
Part 3 portfolio
Title of assignment:
Portfolio
I declare that I have reviewed the draft portfolio (which included at least one lesson on DVD) for the
above named student, and confirm that he/she is now ready to submit the final portfolio for part 3 of
the LRAM.
Signature of Subject Specialist Teacher:
Date:
I declare that I have submitted my draft portfolio to my subject specialist teacher, and will submit the
final portfolio within four weeks of the date of their approval.
Signature of Student:
Date:
26
LRAM Assignment Submission Form
Student Name:
Programme:
LRAM
Principal Study:
Course Title:
Part 3 portfolio
Title of assignment:
Portfolio
Friday 19th September 2014
Friday 9th January 2015
Deadlines for Submission:
Friday 17th April 2015
Please note that your final mark will be confirmed at the
LRAM examination board held in the November following your
portfolio submission. If you submit your portfolio in January or
April, this will be November 2015
I declare that the assignment submitted is my own work and has not (either in whole or in part) been
submitted towards the award of any other qualification for the Academy or elsewhere. I have
referenced all sources of information used during the completion of the assignment and understand
that if I am found guilty of any form of academic malpractice the matter will be referred to the
Academic Malpractice Committee who will impose an appropriate penalty (see Academic Malpractice
Regulations).
Viva voce examinations will normally be held at the Academy; for those living further away or outside the UK it
is possible to hold the viva by Skype. Please indicate which you will require:
I will attend the Academy in person for my viva
OR
I require a viva by Skype
You will be notified of your viva date and time by e-mail. Please give your preferred e-mail address:
...............................................................................................................................................................
Portfolios may be used for Academy teaching and training purposes. Are you happy for your portfolio to be
viewed by Academy staff, including those not teaching on the LRAM, and other Academy students?
Yes
Signed:
No
Date:
Staff initials:
27
Patron:
HM The Queen
President: HRH The Duchess of Gloucester GCVO
Principal: Professor Jonathan Freeman-Attwood
Marylebone Road London NW1 5HT | tel 020 7873 7373
www.ram.ac.uk | Registered Charity No. 310007
www.facebook.com/royalacademyofmusic
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