Vocal Faculty Handbook - Royal Academy of Music

Transcription

Vocal Faculty Handbook
2015–2016
Contents
Introduction from the Head of Vocal Studies..................................................................................... 4
Quick Start Guide ............................................................................................................................. 5
Key Staff .................................................................................................................................................. 5
Key Dates................................................................................................................................................. 6
Leave of Absence Procedure ............................................................................................................. 7
BMus Voice – Year 1 ......................................................................................................................... 8
Requirements for End of Year Recital ..................................................................................................... 8
Assessment Methods and Criteria .......................................................................................................... 8
BMus Voice – Year 2 ......................................................................................................................... 9
Requirements for End of Year Recital ..................................................................................................... 9
Assessment Methods and Criteria .......................................................................................................... 9
BMus Voice – Year 3 ....................................................................................................................... 10
Requirements for End of Year Recital ................................................................................................... 10
Timing of End of Year Recitals ............................................................................................................... 10
Assessment Methods and Criteria ........................................................................................................ 11
BMus Voice – Year 4 ....................................................................................................................... 12
Requirements for Final Recital .............................................................................................................. 12
Timing of Final Recitals.......................................................................................................................... 12
Postgraduate Programmes: Overview ............................................................................................. 14
MA / MMus Voice – Year 1 ............................................................................................................. 14
Requirements for End of Year Recital ................................................................................................... 14
Timing of End of Year Recitals ............................................................................................................... 15
Professional Development Activity ....................................................................................................... 16
MA / MMus Voice – Year 2 ............................................................................................................. 19
Requirements for Final Recital .............................................................................................................. 19
Timing of Final Recitals.......................................................................................................................... 19
Professional Development Activity ....................................................................................................... 20
ASIMUT ......................................................................................................................................... 22
Individual Concerts (including Assessed Concerts) ........................................................................... 22
Vocal Faculty Concerts (including Assessed Concerts) ......................................................................... 22
Individual Requests for a Concert ......................................................................................................... 22
Notes relating to all types of concert .................................................................................................... 23
Concerts for Postgraduate Students ..................................................................................................... 23
Other Informal Performance Opportunities ......................................................................................... 23
Concerts Department ..................................................................................................................... 24
Email ............................................................................................................................................. 24
Examination Procedures ................................................................................................................. 24
External Bookings Service ............................................................................................................... 25
Academy Engagements, Including External Engagements – Right to work in the UK .......................... 25
Masterclasses ................................................................................................................................ 26
Opera Coaching and Opera Scenes .................................................................................................. 26
Preparation .................................................................................................................................... 26
Performance Seminars .......................................................................................................................... 26
Vocal Faculty Opera Scenes .................................................................................................................. 27
Music Coaching – Vocal or Opera ......................................................................................................... 27
Language Coaching ............................................................................................................................... 27
Singing Lesson and Vocal Coaching Times ....................................................................................... 28
2
Special Circumstances Procedure .................................................................................................... 28
Student Recordings ........................................................................................................................ 29
Appendix I: Performance Protocol .................................................................................................. 30
General Practice for Vocal Projects....................................................................................................... 30
3
Introduction from the Head of Vocal Studies
Welcome to the Vocal Faculty, where the fine traditions in the teaching of singing at the Royal Academy
of Music are maintained and enhanced by the current generation of eminent teachers and
distinguished coaches.
The working relationships with your singing professor and vocal coach are fundamental to your study
here and the Academy is fortunate to boast a professorial staff of international stature. Through your
Principal Study lessons and individual practise and study you should develop a vocal instrument that is
reliable, robust, flexible and versatile, able to serve your musical instincts in a wide range of repertoire
and musical styles.
To gain the greatest benefit from your programme of study, I urge you to make the most of the
unparalleled range of opportunities that this institution offers, both official and less formal. Here are a
few examples, although this list is in no way intended to be exhaustive:
• There are numerous opportunities for exploring song repertoire and the Academy is an
excellent place in which to establish a fruitful creative partnership with an accompanist. There
are lunch hour and evening concerts almost every day. Performing in these and hearing others
perform is a wonderful way of expanding your horizons and gaining experience and gaining
ideas for your own repertoire development.
• Competitions, some internal and others external to the Academy but advertised here, provide a
real chance to raise your profile and earn much needed financial support towards your studies.
• There is much to be gained from attending masterclasses to hear some of the world’s greatest
artists work with Academy students. Indeed Masterclasses are an integral part of a student’s
course and attendance at these, even if you haven’t been invited to sing in a particular class,
should be considered a priority and obligatory.
• Being asked to sing in a chorus frequently brings you into professional contact with conductors
and directors who ordinarily work at the highest international levels.
As Head of Vocal Studies, and in conjunction with the Deputy Principals (to whom I report), I have
overall responsibility for the artistic and educational planning and staffing of the Vocal Faculty.
The administration of all aspects of the Faculty including timetabling and the booking of rooms for all
activities except 1:1 singing lessons and 1:1 vocal coachings is the responsibility of the Senior Administrator.
The Preparatory Opera Curriculum Pathway is headed by Gareth Hancock who is responsible for the
choice of operatic repertoire, castings, and the artistic development of the opera scenes. The
timetabling of the programme is organised in conjunction with the Senior Administrator.
This handbook is intended to be used in conjunction with the individual student programme handbook
(BMus or Postgraduate). For undergraduates, the BMus handbook gives details of the academic courses
in each year of study which students are required to attend.
I wish you the very best for a fruitful and rewarding period of study here at the Royal Academy of Music.
Mark Wildman
Head of Vocal Studies
4
Quick Start Guide to the Vocal Faculty and Royal Academy Opera
Key Staff: Vocal Faculty [you should save these numbers to your mobile phone]
Head of Vocal Studies
Mark Wildman
07778 793025
[email protected]
Head of Preparatory and VF Opera
Gareth Hancock
07989 238529
[email protected]
Senior Administrator
Chris Loake
07825 312623
[email protected]
Director of Opera
Jane Glover
07977 551881
[email protected]
Company Manager
Nicola Candlish
07947 443110
[email protected]
Key Staff: Royal Academy Opera
Royal Academy Opera students should refer to the Advanced Diploma in Opera Handbook for details of
their programme.
Visiting Professors: John Mark Ainsley, Sir Thomas Allen, Barbara Bonney, Susan Bullock, Dame Kiri Te
Kanawa Simon Keenlyside, Angelika Kirchschlager, Anthony Legge, Dame Felicity Lott, Ann Murray,
Dennis O’Neill, Brindley Sherratt
Singing Professors:
Alexander Ashworth
Catherine Benson
Michael Chance
Jennifer Dakin
Ryland Davies
Philip Doghan
Andrew Foster-Williams
Glenville Hargreaves
Yvonne Howard
Ben Johnson
Julie Kennard
Kathleen Livingstone
Neil Mackie
Mary Nelson
Elizabeth Ritchie
Sarah Walker
Lillian Watson
Mark Wildman
Catherine Wyn-Rogers
Vocal Coaches:
James Baillieu
Gareth Hancock
Mary Hill
Audrey Hyland
Iain Ledingham
Jonathan Papp
Ian Partridge
Ingrid Surgenor
Song Classes and Languages:
Ludmilla Andrew (Russian)
Florence Daguerre de Hureaux (French)
Emanuela Ferrari Osborne (Italian)
Karen Halliday (Movement)
Esther Jones (Vocal Ensemble)
Julie Kennard (English Song)
Iain Ledingham (Italian Recitative)
Johanna Mayr (German)
Victoria Newlyn (Movement)
Ian Partridge (Lieder and English Song)
Isabella Radcliffe (Italian)
John Ramster (Acting)
Richard Stokes (German Repertoire; Lieder
Interpretation)
Nicole Tibbels (French Song)
Principal Operatic
Coaches:
Mary Hill
Ingrid Surgenor
Opera Coaches:
Michael Chance
Alexander Crowe
Gareth Hancock
Audrey Hyland
Resident Producer:
John Ramster
5
Key Dates: Teaching Weeks
Week No.
0
1
2
3
4
5
6
Week Beginning
Mon 07/09/15
Mon 14/09/15
Mon 21/09/15
Mon 28/09/15
Mon 05/10/15
Mon 12/10/15
Mon 19/10/15
7
8
9
10
Mon 26/10/15
Mon 02/11/15
Mon 09/11/15
Mon 16/11/15
Vocal Faculty
[Enrolment Week]
Classes
Classes
Classes
Classes
Classes
Intensive Projects Week. You are expected to attend all timetabled activities. Absences may
affect your progression to the next stage of your programme of study.
Classes
Classes
Classes
1
Opera coaching (only) this week. (No VF classes ) You are expected to attend all
timetabled activities and academic classes. Absences may affect your progression to the next
stage of your programme of study.
11
Mon 23/11/15
17
18
19
20
Mon 04/01/16
Mon 11/01/16
Mon 18/01/16
Mon 25/01/16
Classes
Christmas Holiday, 5 weeks, 30/11/2015 – 03/01/2015
Classes
2
Classes
Classes
1
21
22
Mon 01/02/16
Mon 08/02/16
Classes
Intensive Projects Week. You are expected to attend all timetabled activities. Absences may
23
24
25
26
27
Mon 15/02/16
Mon 22/02/16
Mon 29/02/16
Mon 07/03/16
Mon 14/03/16
Classes
Classes
Classes
Classes
Classes
Easter Holiday, 3 weeks, 21/03/2016 – 17/04/2016
32
33
Mon 18/04/16
Mon 25/04/16
Classes
1
affect your progression to the next stage of your programme of study.
34
35
Tue 03/05/16
Mon 09/05/16
Classes
1
Classes – on Monday only. You are expected to attend all timetabled activities and academic
36
Mon 16/05/16
classes. Absences may affect your progression to the next stage of your programme of study.
1
37
38
39
40
41
42
43
Mon 23/05/16
Tue 31/05/16
Mon 06/06/16
Mon 13/06/16
Mon 20/06/16
Mon 27/06/16
Mon 04/07/16
Exams
Exams
Exams
No classes or opera coaching
1
In the weeks indicated, there will be Opera Coaching and/or Opera Scene rehearsals for BMus Year 4 and Vocal
Faculty Postgraduate students.
2
Starting from week beginning Monday 12/01/2016, postgraduate students swap between the one-semester classes
in French Song, English Song and Lieder. Information on who is in which classes (and when) will be published via
ASIMUT, AIR and the Vocal Faculty noticeboard.
6
Leave of Absence Procedure
You will need to apply for Leave of Absence if you are going to take any time away from the Academy
during the term, regardless of whether or not you will miss any Academy activities (academic classes,
rehearsals) which are part of your schedule of study. Leave of Absence will only be allowed in
exceptional circumstances and can be applied for by filling out a Leave of Absence form (available on
AIR, from the General Office, or from outside the Vocal Faculty office).
Some guidance on completing a Leave of Absence form:
• You must apply for Leave of Absence and obtain all relevant signatures as far in advance as possible.
• It is your responsibility to check the dates of your assessments and to collect these signatures.
• Your Tutor will notify you via email once the process is complete.
• You may not go on leave until you have received this notification from your Tutor.
• If it is subsequently found that you have missed a timetabled assessment for which the date
had been published in advance, but that you have not declared on this form, then you will be
automatically referred (failed) in the relevant component.
• For singers, the Principal Study teacher is the first signatory; they must sign before you collect
the other signatures.
• In the case of emergencies or last minute external opportunities, go straight to your Tutor who
will advise you accordingly.
In addition to filling out a Leave of Absence form, you should inform the relevant lecturer(s) or professor(s)
that you have been granted Leave of Absence from a particular class, lesson, rehearsal, or performance.
Any regular timetable clashes must be brought to the attention of your Tutor immediately.
If you are ill and will miss a class or activity, you should contact the relevant module leader, professor,
coach or director. Visit your doctor in order to obtain a medical certificate. When you return to the
Academy you should report to your Tutor as soon as possible.
If your illness means that you are going to be missing Vocal Faculty classes and/or opera coachings, you
should also text or telephone 07825 312623, before 09:30*on each day of absence.
[Chris Loake’s mobile number, 07825 312623, can accessed free of charge by dialling #6444 from any
Academy telephone extension]
*If you call after this time, class teachers / coaches may not be informed of your absence before the
class commences.
Academic classes are suspended for one week each term, but your presence will still be required for
performance-based activities. Any Leave of Absence requests for this time must be applied for in the
usual way.
Please note that the summer term does not end until 10 July 2016. You will therefore be expected to be
available to attend any end of year tutorial interviews or to collect any correspondence that is left in your
pigeonhole up until this date. The Academy will not be responsible for any information which a student fails
to receive in the event that they left the Academy early without making appropriate arrangements.
7
BMus Voice – Year 1
Your first undergraduate year is about establishing a firm foundation for the studies in your entire
programme. You will undertake your first song class, begin to work on your stagecraft skills through a
movement class, and acquire some of the skills you will require as a singer through an ensemble singing class
and language training. By the end of the year you will be expected to have resolved any remedial problems
(e.g. tone production) or be well on track to do so early in the following year. On each of 30 teaching weeks
you will receive 90 minutes principal study lessons and 30 minutes with your vocal coach.
Requirements for End of Year Recital
Choice of programme is left entirely to students and professors. However, advice of Head of Vocal
Studies should be sought if any doubt as to suitability of particular pieces arises.
Candidates are required to sing a contrasted programme from memory including:
• A secco recitative in English set by the Head of Vocal Studies
Soprano
Handel
Judas Maccabeus
No.33 ‘O let eternal honours crown…’
Mezzo/CT
Handel
Judas Maccabeus
No.39 ‘O Judas! My Brethren!’
Tenor
Handel
Judas Maccabeus
No.37 ‘Thanks to my brethren’
Bass
Handel
Judas Maccabeus
No.63 ‘Peace to my countrymen’
• A substantial secco recitative in Italian
• A florid song or aria (pre-1850) showing ability in coloratura
• A legato song or aria
• A song or aria in Italian
At least one item should be sung in English or in the student’s native language
Recital: approximately and not longer than 15 minutes
Candidates are reminded that penalties may be incurred in the case of an over long or too short programme
being performed and/or where particular requirements have not been fulfilled, for example performing
from memory. See Examination Procedures Booklet on the Registry page of AIR for further details.
Assessment Methods and Criteria
The following elements are assessed in BMus Year 1, all of which (with the exception of Choral Work)
carry a mandatory pass requirement:
Principal Study (45 credits†), comprising:
End of Year Recital
100%
Your End of Year Recital is scheduled by the Registry during the May/June examination period.
Professional Development Activity (25 credits†), comprising the following components:
German language
20%
1 hour/wk
with Johanna Mayr
Italian language
20%
1 hour/wk
with Isabella Radcliffe
Movement
20%
1 hour/wk
with Karen Halliday
English Song class
20%
1.25 hours/wk
with Mark Wildman
Vocal Ensemble
20%
1 hour/wk
with Esther Jones
Choral Work
†
pass / fail
as arranged
as arranged
The remaining 50 credits comprise academic studies modules.
Professorial and Vocal Coaching reports are written by your professors and vocal coaches once per year
(in January) and are solely for the purpose of feedback.
Reports for the classes and other activities that comprise Professional Development Activity are written
by the class teacher or activity supervisor at the end of the class/activity.
8
Following an introduction to the German language in the previous year, the second year song class is
German Repertoire. French phonetics are taught in preparation for song classes in subsequent years
and movement classes continue (as they do throughout the programme). Through this year we are
looking for you to develop a clear musical personality in your interpretation, for you to be able to
overcome taxing technical problems and be able to command a wide range of styles, although not
necessarily present a full recital. On each of 30 teaching weeks you will receive 90 minutes principal
study lessons and 30 minutes with your vocal coach.
• A florid song or aria (pre-1850) showing ability in coloratura
• Two contrasting songs
At least one item should be sung in German and one in English
Recital: approximately and not longer than 16 minutes
Candidates are reminded that penalties may be incurred in the case of an over long or too short
programme being performed and/or where particular requirements have not been fulfilled, for
example performing from memory. See Examination Procedures Booklet on the Registry page of AIR for
further details.
End of Year Recital
100%
French Phonetics
50%
1 hour/wk
with Nicole Tibbels
German repertoire 50%
1 hour/wk
with Richard Stokes
Movement
Choral Work
†
pass / fail
pass / fail
1 hour/wk
as arranged
with Karen Halliday
as arranged
9
This year introduces you to more operatic repertoire, by way of the Craft of Italian class, as well as an
Opera Workshop under the supervision of Mary Hill. A French Song class leads on from your phonetics
training of the previous year, and your study of German repertoire continues, with greater focus, in a
Lieder class. By this stage, your performances should be well planned and confidently presented,
demonstrating that you can tackle larger structures and a wider range of styles. You should be
confident to present a short public recital. On each of 30 teaching weeks you will receive 90 minutes
principal study lessons and 30 minutes with your vocal coach.
• A demanding florid aria, probably chosen from the repertoire of the following: Bach, Handel,
Haydn, Monteverdi, Mozart, Scarlatti or Vivaldi
• Three contrasting songs
At least one item should be sung in French, one in German, one in English and one in Italian.
Candidates are reminded that penalties may be incurred where particular requirements have not been
fulfilled, for example performing from memory. See Examination Procedures Booklet on the Registry
page of AIR for further details.
Timing of End of Year Recitals
The Chair of the Assessment Panel will time the recital, beginning at the first note of the first piece and
ending immediately after the final note of the final piece. The Panel chair will make a private note of
the start and end times and will tell the panel how long the recital lasted only after a raw mark has
been agreed by the panel.
The panel will apply a mandatory penalty, where applicable, according to the rubric set out below.
Candidates should aim to deliver a recital lasting 20 minutes.
Duration of the recital (ideal 20 minutes)
More than 30 minutes
29.01 to 30.00
28.01 to 29.00
27.01 to 28.00
26.01 to 27.00
25.01 to 26.00
24.01 to 25.00
23.01 to 24.00
17 minutes to 23 minutes inclusive
16.00 to 16.59
15.00 to 15.59
14.00 to 14.59
13.00 to 13.59
12.00 to 12.59
11.00 to 11.59
10.00 to 10.59
Less than 10 minutes
Penalty applied
10 marks AND PANEL CHAIR HALTS THE RECITAL
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
10
End of Year Recital
100%
French Song
33%
1 hour/wk
with Nicole Tibbels
Lieder
34%
1 hour/wk
with Ian Partridge
Craft of Italian
33%
1 hour/wk
with Emanuela Ferrari Osborne
Drama
Movement
Opera Workshop
Choral Work
†
pass / fail
pass / fail
pass / fail
pass / fail
1 hour/wk
1 hour/wk
1 hour/wk
as arranged
with John Ramster
with Karen Halliday
with Iain Ledingham
as arranged
11
During your final undergraduate year you will be participating in fully-staged and costumed opera
scenes, alongside the postgraduate students. You will have classes in French and German song and
continue the Craft of Italian class. At the same time you will be preparing for your final recital. By now
you should have overcome any basic technical problems and you should be performing in a fluent,
individual, stylistically-informed and communicative manner. On each of 30 teaching weeks you will
receive 90 minutes principal study lessons and 30 minutes with your vocal coach.
Requirements for Final Recital
Candidates are required to sing a well-balanced programme, contrasted in vocal and musical style,
from memory. The following must be included:
• Items in at least 3 languages (incl. English)
Timing of Final Recitals
39.01 to 40.00
38.01 to 39.00
37.01 to 38.00
36.01 to 37.00
35.01 to 36.00
34.01 to 35.00
33.01 to 34.00
26.00 to 26.59
25.00 to 25.59
24.00 to 24.59
23.00 to 23.59
22.00 to 22.59
21.00 to 21.59
20.00 to 20.59
Penalty applied
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
12
Final Recital
100%
Your Final Recital is scheduled by the Registry during the May/June examination period.
French Song
20%
1 hour/wk
with Nicole Tibbels
German Repertoire 20%
1 hour/wk
with Richard Stokes
Craft of Italian
20%
1 hour/wk
Concert Assessment 40%
see page Error! Bookmark not defined. for further
details
Drama
Movement
Choral Work
Opera Scenes
†
pass / fail
pass / fail
pass / fail
pass / fail
1 hour/wk
1 hour/wk
as arranged
as arranged
with John Ramster
with Karen Halliday
as arranged
as arranged
You are required to complete one Assessed Concert (see page 22 for further details).
13
Postgraduate Programmes: Overview
The MA in Performance is two-year course for Vocal Studies. (Vocal students who transfer to Opera
after their first or second postgraduate year need to complete their programme (e.g. MA) and then join
the Royal Academy Opera programme.)
Students taking the MA in Performance, the MMus Concert Project or the MMus in Performance and
Research over two years receive credits in the second year only. (The first year is thus non-credit
bearing if a student successfully progresses into year two). If a student does not progress into year two
they are awarded credits (which could be transferred to another institution) according to the activities
undertaken. For students on the two-year course, progression at the end of year one is dependent on
an End-of-Year Performance examination (pass/fail), a Professional Development Activity Profile
(pass/fail) and an End-of-Year Professional Portfolio (pass/fail). The final portfolio will be marked at the
end of the course.
See your second year programme outline for the relevant credit framework.
MA / MMus Voice – Year 1
The MA programme provides a very wide curriculum designed to equip students to enter the profession
as performers. Alongside singing lessons and repertoire coaching sessions all students attend obligatory
classes in Lieder, French Song, English Song, (Russian Song is also offered), Oratorio and Movement as
well as rehearsals leading to the performances of chosen operatic excerpts and on occasion operas and
choral works. From the outset of your studies here the target of both you and your professor is to
enhance and refine your vocal technique, to further develop your powers of communication and to
build a working repertoire of recital, oratorio and operatic material that will stand you in good stead in
concerts, auditions and competitions in the not too distant future. To this end, in addition to the classes
mentioned above there are many opportunities for 1:1 coaching in the mainstream modern European
languages and these will be key in your preparation of your chosen song and operatic texts and scenes.
Keep a close eye on the published Diary of Events which details the Academy performances (there are
many incidentally that do not appear in the Diary but are published on AIR). Some of the forthcoming
highlights of this year will be the ongoing series of monthly performances of Bach Cantatas, the
concerts given both internally and externally by Song Circle, the presentation of operatic excerpts, the
performances of Mozart’s Le nozze di Figaro, the series of masterclasses and the internal competitions.
Auditions for external professional engagements are held in October each year by the Josephine Baker
Trust and sound, careful preparation for these is essential. They are a valuable opportunity to
demonstrate your professional potential. For those of you with operatic aspirations, entrance to Royal
Academy Opera is something you should discuss with your singing professors in the first instance.
Auditions are held annually in December at the same time as the Academy entrance auditions. These
auditions are very highly competitive and preparations should be made now: the repertoire chosen
wisely to show you at your best, in roles that you can perform convincingly. On each of 30 teaching
weeks you will receive 90 minutes principal study lessons and 30 minutes with your vocal coach.
(students not in their final year)
All postgraduate students not in their final year of study will present a varied programme from memory
showing contrast of language and style and appropriate to their course of study.
Where any doubt arises over the repertoire or other matters connected with this assessment, the Head
of Studies should be consulted.
See Examination Procedures Booklet on the Registry page of AIR for further details.
14
Timing of End of Year Recitals
24.01 to 25.00
23.01 to 24.00
22.01 to 23.00
21.01 to 22.00
20.01 to 21.00
19.01 to 20.00
18.01 to 19.00
11.00 to 11.59
10.00 to 10.59
9.00 to 9.59
8.00 to 8.59
7.00 to 7.59
6.00 to 6.59
5.00 to 5.59
Less than 5 minutes
Penalty applied
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
For Vocal Faculty MA / MMus Year 1, Professional Development Activity comprises:
Craft of Italian
1.25 hours per week
English Song
1.25 hours per week (for 10 weeks)
with Ian Partridge
French Song
with Nicole Tibbels
Lieder
with Ian Partridge
Drama
Italian Language
Movement
Opera Coaching
as arranged
1 hour per week
1 hour per week
30 minutes per week
with John Ramster
with Victoria Newlyn
or time spent on Opera Scenes
You are also required to complete one individual concert (see page 22 for further details).
15
As a part of the Professional Portfolio element of your programme, it is necessary to complete one
Professional Development Pathway in your first postgraduate year. For voice students these are facultyspecific, as follows:
Singers choose one Song Class which they deem to be a specialism (students will agree this with
their Tutor).
Through the Professional Portfolio seminars and by meeting with your supervisor, you will be given
guidance as how you are expected to analyse and write-up this class.
Professional Development Activity
‘Professional Development Activity’ is at the core of your Academy experience and we expect it will
form the backbone of your Professional Portfolio. Apart from your individual practice and work with
your teacher, it is likely to account for most of the time you spend working at the Academy.
It is formatively assessed (thus does not directly contribute to your degree result, which is determined
by final assessments only), but you must pass in order to gain the necessary credits for the degree. Your
transcript will record a single Professional Development Activity Profile mark.
There are five key areas, which each department handles differently according to professional
preparation requirements.
SKILLS ONE
(Technical)
REQUIREMENTS (including minimum required to pass)
Two-year students
(1st year)
Faculty classes (other than Performance Seminars),
including Italian, Acting/Drama and Movement.
% Mark
(Y/N)
Y
Written
report
(Y/N)
N
Y
N
% Mark
(Y/N)
Each class assessed separately and given percentage
mark, taking into account commitment and level of
achievement/progress.
One-year
students
including Italian, Acting/Drama and Movement.
SKILLS TWO
(Synthetic)
Two-year students
(1st year)
One-year
students
Choral Activity and/or external engagements.
N
Written
report
(Y/N)
N
N
N
16
EXTERNAL
PERSPECTIVES
(Masterclasses
etc.)
Two-year students
(1st year)
Masterclasses: one participation and one observation, OR
two observations (one could be non-vocal), OR one
participation and two Academy concerts attended.
% Mark
(Y/N)
Written
report
(Y/N)
N
N
N
N
(All student attendances at masterclasses to be made at
time(s) that do not conflict with timetabled/scheduled
Academy activities.) External masterclasses and summer
schools acceptable.
One-year
students
schools acceptable.
COLLABORATIVE
WORK
% Mark
(Y/N)
Two-year students
(1st year)
Performance seminars - Craft of Italian, English Song,
French Song and Lieder (for those on main pathway), or
Italian Recitative (for those on preparatory opera
pathway).
Y
Written
report
(Y/N)
N
Y
N
mark, using Postgraduate Performance Descriptors.
One-year
students
Performance seminars - Craft of Italian, English Song,
French Song and Lieder (for those on main pathway), or
pathway).
17
PERFORMANCE or
RECORDING
% Mark
(Y/N)
Two-year students
(1st year)
Concert requirement; minimum programme length 12
minutes.
N
Written
report
(Y/N)
N
N
N
The concert itself is not subject to assessment.
One-year
students
Concert requirement; minimum programme length 12
minutes.
The concert itself is not subject to assessment.
[See Programme Handbook for full details of Professional Portfolio requirements.]
18
MA / MMus Voice – Year 2
In many ways the programmes of tuition remain the same for Year 2 as for Year 1. However, the targets
in Year 2 become more keenly focussed on one of two possibilities: (a) an audition for Royal Academy
Opera for those whose professional aspirations are operatic or, with graduation in sight, (b) a final
recital towards the end of the academic year. Normally, more is demanded of one in operatic excerpts
and the emphasis in all work is on the honing of all vocal performance, stage and dramatic skills to the
highest possible standards. During this year it is possible that enhanced professional opportunities will
be available and the wise student will seize every opportunity to prepare and keep abreast of all current
affairs both within the Academy and externally. In each of 30 teaching weeks you will receive 90
minutes principal study lessons and 30 minutes with your vocal coach.
Requirements for Final Recital
(students in their final year)
Candidates will present a balanced recital of song, in a variety of styles and languages, from memory,
which should normally include a short song-cycle** and may include an item from the sacred/oratorio
and/or operatic repertoire.
**Any alternative to this requirement for the Solo Recital should be discussed with the Head of Vocal Studies.
Students are responsible for the content and timing of their recital programme; however, students are
advised to consult their singing professor and the Head of Vocal Studies over the suitability of their
programme to meet the requirements.
Timing of Final Recitals
54.01 to 55.00
53.01 to 54.00
52.01 to 53.00
51.01 to 52.00
50.01 to 51.00
49.01 to 50.00
48.01 to 49.00
41.00 to 41.59
40.00 to 40.59
39.00 to 39.59
38.00 to 38.59
37.00 to 37.59
36.00 to 36.59
35.00 to 35.59
Penalty applied
9 marks
8 marks
7 marks
6 marks
5 marks
4 marks
3 marks
NO PENALTY
3 marks
4 marks
5 marks
6 marks
7 marks
8 marks
9 marks
10 marks
19
The following elements are assessed in Vocal Faculty MA / MMus Year 2:
Principal Study
80 Credits
1/3 – Highest Opera Scenes mark
2/3 – Final Recital
Professional
Development Activity
60 Credits
Professional Portfolio
40 Credits
See below
All components must be passed to be awarded
the credits for Professional Development
Activity.
Your Final Recital is scheduled by the Registry during the May/June examination period.
For Vocal Faculty MA / MMus Year 2, Professional Development Activity comprises:
*English Song
with Ian Partridge
*French Song
with Nicole Tibbels
*Lieder
with Ian Partridge
Italian Recitative
1 hour per week
Contemporary Song
seminars, as arranged
various
†
Drama
as arranged
with John Ramster
[†Drama class is for students not on the Preparatory Opera Curriculum Pathway]
Movement
1.25 hours per week
with Victoria Newlyn
Opera Coaching
30 minutes per week
Students on the Preparatory Opera Curriculum Pathway take the following classes, in place of the *three
one-semester classes (in both cases, 30 hours of teaching across the year as a whole):
Italian Recitative
1 hour per week (20)
with Iain Ledingham
Acting
Audition Preparation
Opera Coaching
2 hours per week (for 15 weeks)with John Ramster
ad hoc sessions as arranged
TBC
1 hour per week
Professional Development Activity
‘Professional Development Activity’ is at the core of your Academy experience and we expect it will
form the backbone of your Professional Portfolio. Apart from your individual practice and work with
your teacher, it is likely to account for most of the time you spend working at the Academy.
It is formatively assessed (thus does not directly contribute to your degree result, which is determined
by final assessments only), but you must pass in order to gain the necessary credits for the degree. Your
transcript will record a single Professional Development Activity Profile mark.
There are five key areas, which each department handles differently according to professional
preparation requirements.
20
SKILLS ONE
(Technical)
Two-year students
(2nd year)
including Acting/Drama and Movement.
% Mark
(Y/N)
Y
Written
report
(Y/N)
N
SKILLS TWO
(Synthetic)
Two-year students
(2nd year)
EXTERNAL
PERSPECTIVES
(Masterclasses
etc.)
Two-year students
(2nd year)
% Mark
(Y/N)
N
Written
report
(Y/N)
N
% Mark
(Y/N)
Written
report
(Y/N)
N
N
% Mark
(Y/N)
Written
report
(Y/N)
N
schools acceptable.
COLLABORATIVE
WORK
Two-year students
(2nd year)
Performance seminars - English Song, French Song, Lieder
and Italian Recitative (for those on main pathway), or
pathway).
Y
PERFORMANCE or
RECORDING
% Mark
(Y/N)
Two-year students
(2nd year)
Second year postgraduate students are not required to
present an assessed concert performance.
N
[See Programme Handbook for full details of Professional Portfolio requirements.]
21
Written
report
(Y/N)
N
ASIMUT
You must check your ASIMUT account daily for details of your academic and departmental classes and
activities.
It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown by
the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary penalty,
ranging from a temporary ban from the room booking system to temporary suspension of the
studentship, depending on the severity of the case. Penalties will be determined by the Programme
Management Team and communicated to students by their Programme Tutor.
Individual Concerts (including Assessed Concerts)
Assessed Concert requirements for all BMus Year 4 students, each of whom should complete ONE
Assessed Concert each academic year.
Deadline for all performances to take place: Friday 13 May 2016.
Vocal Faculty Concerts (including Assessed Concerts)
There will be a number of Vocal Faculty Concerts throughout the year in which undergraduates can be
assessed. For this to count towards your performance requirement, the Concerts and Prizes
Administrator must be informed well in advance in order to arrange for an assessor to be present.
However, you may prefer to apply for your own concert opportunity (as below).
Individual Requests for a Concert
If you have a concert project in mind that you would like to put on at the Academy with fellow students
(lunchtime, early evening or main evening concert), you can submit an application to the Artistic
Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime Concert
Series, which are our high-profile Diary of Events series, with a strong emphasis on chamber music.
Proposals should show imaginative and balanced programming, which will be an important part of the
consideration process.
Concert application forms are available on AIR or from the Concerts & Prizes Administrator or Director
of Artistic Planning. If any of the required information is not supplied then proposals will be returned
for resubmission before the next proposal deadline. Termly deadlines for submissions are:
Thursday 17th September 2015 (for Spring/Summer Term concerts)
Wednesday 3rd February 2016 (for Summer Term concerts)
Wednesday 20th April (for Autumn Term 2016 concerts)
Forms submitted later in the term will be considered at the Artistic Planning Group in the following term.
The Artistic Planning Group will consider all concert requests and students will be notified of the result
in writing. Please be aware that Academy-scheduled events will be given priority and their proximity to
your preferred time period will have a bearing on whether or not they are accepted.
Please note that a rehearsal in the concert venue cannot be guaranteed on the day of your concert.
22
Notes relating to all types of concert
It is the responsibility of student(s) to ensure that they fulfil the concert/chamber music requirement of
their programme. If what is required still appears unclear, students should contact their Tutor.
To fulfil the Programme requirement, all chamber music must be coached by an Academy professor
prior to a concert performance.
If there is a clash with another Academy event, the Concerts and Prizes Administrator must be informed
in order for another performance slot to be found.
It is the responsibility of the student(s) to request large musical instruments (harpsichord/ chamber
organ etc.) to ensure they are provided in the relevant venue and tuned to the correct specification.
This must be done through the General Office as soon as the concert date is confirmed. Failure to
provide these details in good time may result in the instrument being unavailable.
Vocal Faculty students are expected to supply their own copies of text and translations or a
précis. Fifteen copies should be submitted to the Events Office (Room 116) 24 hours before the concert.
Concert vouchers can be found on the noticeboard outside Room G8, in the General Office and on AIR
and need to be completed and submitted to the Concerts and Prizes Administrator in Room G8. They
must be fully completed, with the necessary signatures, otherwise they will not be considered.
Concert dates will be advertised on AIR and any free spaces will be highlighted.
On the day of the concert all participants should report to the stage manager ten minutes before the
start of the concert.
Failing to adhere to these conditions may result in disciplinary action.
Concerts for Postgraduate Students
First year postgraduate students ARE required to present a concert performance, in order to fulfil the
requirements of the ‘Performance or Recording’ key area of Professional Development Activity.
However, this concert itself is not subject to assessment.
If a first year postgraduate student is performing within an ensemble taking part in the undergraduate
chamber music assessments, this can also be used towards their performance requirement.
Second year postgraduate students are not required to present a concert performance.
Other Informal Performance Opportunities
Weekly Lunchtime and Early Evening Concerts take place to provide a platform for students to run
repertoire and to gain performing experience. They will not be assessed and, although open to the
public, they will only be advertised within the Academy. Students will need to apply to play in these
concerts by filling out a yellow concert voucher and submitting it to the Concerts and Prizes
Administrator. Concert slots will be allocated according to availability and applications can be
submitted at any time. Each performer in a group will be notified of the date of their performance via
their Academy email address or in discussion with the Concerts and Prizes Administrator and you will be
required to confirm the group’s availability in writing.
23
Concerts Department
Director of Artistic Planning – Nicola Mutton, Room G6
Tel: 020 7873 7375
[email protected]
Responsible for the artistic planning of all Academy performance activity, including collaborations with
festivals, outside concert series and professional orchestras and venues, as well as the overall
management of the Concerts Department. Concert proposals should be submitted to the Director of
Artistic Planning for consideration by Artistic Planning Group.
Senior Concert and Orchestra Manager – Liz Williams, Room G7
Tel: 020 7873 7326
[email protected]
Concert and Orchestra Manager – Rosie Larkins, Room G7
Tel: 020 7873 7426
[email protected]
Responsible for the running of all orchestral and ensemble projects, allocation of students to projects,
production of all schedules and orchestral management of rehearsals and concerts. They are the point
of contact for all schedule enquiries.
Orchestral Librarian – Stuart Garden, Room G7
Tel: 020 7873 7414
[email protected]
Responsible for the Orchestral Library and provision of music for all Academy ensemble and orchestral
projects. Also responsible for termly orchestral auditions.
Concerts & Programmes Administrator – Kathleen Rule, Room G7
Tel: 020 7873 7327
[email protected]
Responsible for the provision of concert programmes, Performing Right Society declarations and
working with the Director of Artistic Planning.
Concerts & Prizes Administrator – Francesca Johnson, Room G8
Tel: 020 7873 7308
[email protected]
Responsible for the programming and administration of all lunchtime and early evening student
concerts, chamber music assessments and Academy prizes and competitions.
External Bookings Managers – Lizzie Sambrook, Room G8
Tel: 020 7873 7304
[email protected]
Responsible for the External Booking service, which exists to offer performance opportunities outside
of the Academy to students. These opportunities include recitals, choral society concerts, concertos and
background music for corporate and private events.
Email
You are expected to check your Academy email every day, including during vacations.
Examination Procedures
Please refer to the Examination Procedures Booklet for Performance Descriptors. For Assessment
Requirements you should use the Examination Procedures Booklet in conjunction with the page
relevant to your stage of study (pages 7 – 21) in this handbook.
You will find a quick link to ‘Examinations information’ on the Registry page of the Academy intranet
AIR.
24
External Bookings Service
The Academy offers a booking service through which students are offered performance opportunities.
These include lunchtime and evening recitals at festivals and established concert venues, vocal and
concerto solo work for various UK music societies, and entertainment for private and corporate events.
These bookings provide valuable performance experience, as well as the chance to earn some money.
Ensembles and soloists must be approved by a Head of Department or professor before commencing
work through the External Bookings Manager.
This service is intended to help students gain experience and make contacts for the future. Students are
expected to fulfill engagements in a professional manner and coaching will be provided where
appropriate.
For further information about external engagements, contact Lizzie Sambrook, External Bookings
Manager in the Concerts Department at the Academy.
Academy Engagements, Including External Engagements – Right to work in the UK
Before taking on any work engagement through the Academy, all students must present their passport
or other evidence of the right to work in the UK. If you have not already done so at enrolment, you
must present your documents to the relevant administrator, or the External Bookings Manager in the
case of external engagements. Once documents have been checked and copied you will be permitted to
work.
International students studying at the Academy on Tier 4 visas can now perform unpaid and paid
musical engagements provided it is organised through the official Academy channels. The placement
must be considered to be part of the student’s professional development, and therefore logged as part
of their professional portfolio, and all students must complete a Tier 4 Checklist for all performancerelated work, signed off by their Head of Department. Three copies of this documentation must be
taken – one for the Registry, one for the External Bookings Office and one for student portfolios.
Tier 4 students are not permitted to undertake any work on a self-employed basis, and therefore any
payment due must come through the Academy’s payroll, and is subject to deductions in respect to
National Insurance and VAT. Students must also ensure that they do not exceed their 20 hours work
allowance per week.
The above regulation applies to all students who are coming to study at the Academy from countries
outside the EEA (European Economic Area). In addition, Bulgarian and Romanian students will need
to obtain an Accession Worker Card from the UK Border Agency (Application Form BR3) before they can
take any paid work. This document must be presented to the Human Resources Department who will
check the card and take a copy.
If you do not have a passport or would like further information regarding what alternative documents
you can bring, please contact the Human Resources Department on [email protected].
For more information about the employment conditions for Tier 4 students, please refer to the
following link:
http://www.ukba.homeoffice.gov.uk/studyingintheuk/adult-students/conditions/
25
Masterclasses
Distinguished members of the profession visit the Academy to give masterclasses on a regular basis.
Singing professors are invited to nominate their students to take part in these classes – those of whom
are considered technically and artistically advanced and sufficiently mature to benefit from the
intensive tuition given in a public forum.
Opera Coaching and Opera Scenes
BMus Year 4 students and students on all postgraduate programmes participate in staged Opera Scenes
(for postgraduate students, these are the ‘Concerto Equivalent’ element of your programme). In each
week (out of 25 weeks) you will receive either a 30 minute opera coaching* or the equivalent time will
be spent on music/production calls for your opera scene. [*Preparatory Opera students will receive [the
equivalent of] two 30 minute opera coachings.]
The opera coaching schedule is posted on AIR and the Vocal Faculty noticeboard by midday on the
Friday before the following week. You should check through your timetable carefully and if there are
any problems you should discuss them with a member of the office staff before the start of the week.
•
•
If there is a mistake within the schedule, the office staff will do their best to rectify it.
If you have a clash because of a commitment for which you do not have Leave of Absence, you will
be required to rearrange your own timetable and commitments. Academy programme
commitments will always take priority.
The Vocal Faculty timetable is drawn up by Chris Loake and Gareth Hancock, and the Royal Academy
Opera timetable by Nicola Candlish. If you wish to swap coachings you must not do so without checking
first with either Chris or Nicola respectively, and the office must be informed of ALL changes to the
timetable. This is necessary to avoid confusion and to keep teaching staff informed of their schedules.
Preparation
Mobile telephones must be switched-off during lessons, coachings and rehearsals, unless being used for
recording, in which case they should be set to ‘Airplane mode’ (or equivalent).
Performance Seminars
(see pages 7 – 21 for exact details of classes)
Repertoire for these classes should be chosen in liaison with the singing teacher well in advance. This
repertoire should be well prepared with, in the first instance, the singing teacher and thereafter the
vocal coach and language coach before it reaches a song performance seminar. Technique and
pronunciation should be addressed with singing teacher and language coaches respectively prior to the
class, leaving the seminars free to work on interpretation, presentation, deportment and other
professional skills.
Students should bring photocopies (taken from editions where both music and text are in the Public
Domain) of music, texts and translations of works to be performed, sufficient for all members of class
to have sight of a copy. The Vocal Faculty has a copier access code which can be used specifically, and
only, for this purpose. Failure to supply an adequate number or copies may lead to a student not being
allowed to sing in class, at the discretion of the teacher. However multiple copies should not be made
of music or editions still in copyright. The Library generally has older as well as up-to-date editions;
26
whist you may prefer to prepare your performance from the latter, the antique edition should be used
for making multiple copies for the class.
All the performance seminars are played for by student accompanists who will be allocated to classes in
advance for the whole term. These names will be displayed on the Vocal Faculty noticeboard. Students
are responsible for notifying pianists of their repertoire well in advance and no less than one week prior
to the class, to allow time for preparation. Students are expected to rehearse with the allocated pianist
prior to the class.
Vocal Faculty Opera Scenes
The following bullet points are intended as a guide to the process of preparing an opera scene.
Individual students will require more time and energy on certain points which they should realise and
organise themselves. Whilst all effort is made through the Faculty to address all the points, ultimately it
must be the student's responsibility to be fully prepared.
•
Once the scenes are announced it is YOUR responsibility to ensure you have prepared the scene
properly.
•
Music should be collected immediately from the Faculty office.
•
You should sign up for a language coaching specifically for the scene, having first, with
reference to Nico Castel etc. if necessary, translated the text. This enables language work to be
more detailed in terms of nuance and use of the language in the voice, making the whole
process more beneficial to you.
•
In addition to translating the scene, you should also explore your character fully and, to this
end, be familiar with the opera's full story and where the scene comes in it.
•
The notes should be learnt and taken to both singing teacher and vocal coach so that any
ensemble calls scheduled can be more detailed, rather than note bashing exercises, which may
well frustrate your peers and colleagues.
•
The scene should be memorised BEFORE the first production/staging rehearsal; music copies
should be used at these rehearsals only to make notes as direction is given during the rehearsal,
both musical and dramatic.
Music Coaching – Vocal or Opera
Coaching sessions are not designed as a short cut to learning notes. Music taken to a coaching should
be well prepared both musically and vocally. Students are expected to be able to give an accurate, word
for word translation of any foreign texts they are singing.
Language Coaching
Language coachings are for the refinement of pronunciation and guidance in singing of foreign texts.
They are not for translating texts. It is the student’s responsibility to give an accurate word-for-word
translation of the text for a coaching before working with language coaches or opera scenes directors.
Slots are provided with native-speakers in all the major languages of song and opera. Vocal faculty
students may sign-up on a first-come, first-served basis, for individual language coaching in the
following areas:
French
15-minute slots
with Florence Daguerre de Hureaux
German
15-minute slots
with Johanna Mayr
Italian
15-minute slots
and Isabella Radcliffe
Russian Song
30-minute slots
with Ludmilla Andrew
and Richard Shaw
Lieder Interpretation
45-minute slots
Richard Stokes
27
Singing Lesson and Vocal Coaching Times
Singing lessons and coachings, whether your vocal coaching or opera coaching, must not clash with
classes or choral rehearsals. It is your responsibility to liaise with your singing teacher and vocal
coach to arrange lessons at times when you are free from other regular timetable commitments.
It is essential to keep the office up-to-date with your regular singing lesson and vocal coaching times.
Forms for this purpose will be distributed at the beginning of the year and where changes are effected a
new form should be submitted. To help with this Personal Information Forms are provided outside the
Vocal Faculty and Opera office. Failure to keep the office up to date in writing using the appropriate
form will mean that we cannot guarantee to avoid clashes with opera coaching schedules, and it will be
your responsibility to sort out any problems that arise so that you can honour all your Academy
commitments.
Special Circumstances Procedure
The Special Circumstances Committee considers applications from students in the Special
Circumstances Regulations, for the following reasons:
•
•
•
•
extenuating circumstances which may have affected student performance in assessments
extensions to deadlines for the submission of work for assessment
the deferral of assessments
appeals against penalty marks where the reasons were beyond your control
You must submit a completed application form no later than 10 working days from the imposition of a
penalty mark; 10 working days before the published deadline for submission of academic work, or 10
working days before the published date of an assessment†.
Please note that retrospective extensions and waiving of lateness penalties will not be permitted
except in very serious cases and where you have provided evidence to explain why you were unable
to submit within the required timeframe.
1. Applications must be signed by you and your Tutor and be accompanied by supporting evidence
before it is submitted to the Academic Secretary. If the form is missing either signature, it will be
returned to your pigeon hole.
2. If your form requires medical evidence to be provided, you will be given a deadline to provide this.
If you do not meet this deadline without good reason then your application will be dismissed.
3. If you are citing a medical issue, you must provide relevant evidence from a medical practitioner
which confirms the relevant timescales and a formal diagnosis. A letter which merely states that
you visited the practice will not be accepted.
4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday afternoon)
and, when deemed appropriate, information from the student’s Tutor, the Concerts Department or
any other Academy department shall be sought prior to the meeting.
5. SCC will either accept or reject the application and agree any particulars in relation to extensions or
penalties as appropriate. When applications are rejected, a full explanation will be given.
6. Students will normally be informed of the outcome within two working days of the meeting by the
Chair of the Committee via Academy email* and their Tutor and other relevant members of staff
(i.e. Module Leaders) copied in.
7. The case outcomes are circulated, normally within 2 working days of the meeting, to
representatives from the Registry so that a note of the outcome can be placed on the student file.
8. Students have the right of appeal against decisions of the Special Circumstances Committee; via the
Academic Appeals Procedure (see the Regulations).
28
* All correspondence documenting the outcome of applications will be copied to the relevant Registry
staff, relevant Tutor and any Module Leaders/other administrative staff concerned.
†If you are making an applicaƟon for a deferral of an assessment due to unforeseen circumstances such
as illness on the day of the assessment, you must provide an application with supporting medical
evidence within five working days of the assessment taking place.
Student Recordings
You can access recordings or large scale public performances from the Library for educational purposes.
The Academy cannot provide you with your own copies of these performances for copyright and
resource reasons.
Exceptions may be made in the case of performances with rarity value such as concertos but requests
must be submitted to the Concerts Department at least one calendar month in advance of the
performance. This will allow the Concerts Department time to consider any copyright clearance
issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule and
recording equipment.
If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday
lunchtime concerts), requests may be made by students to record it in audio format. In order to request
this you will need to ensure that all relevant consent forms and copyright clearance is completed at
least one calendar month in advance of the performance.
You are able to record yourselves on Academy premises (in practice rooms and concert venues) either
using their own or loaned equipment (in this case you would retain the copyright on the recordings and
accept all responsibility for any necessary copyright clearance required).
29
Appendix I: Performance Protocol
This protocol is designed to set-out clearly what is expected of students involved in giving concerts
and taking part in other vocal projects at the Royal Academy of Music. Students are expected to
read this document and refer to it as appropriate. The protocol has been designed to ensure that all
students gain the maximum benefit from their involvement in ensemble activity and are fully
trained to meet the demands of the profession.
General Practice for Vocal Projects
1. Students are expected to be vocally warmed-up at least five minutes before the time published on
the schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will
not be tolerated. Attendance will be recorded and will be reflected in each student’s end-of-year
principal study/Professional Portfolio mark through the penalty mark system. A penalty mark will
be issued each time a student is late or absent without permission from a session. (See Regulation
G5, Attendance at Scheduled Rehearsals and Performances.)
Students must telephone the Senior Administrator, Chris Loake, on 07825 312623 (or the Opera
Company Manager, 07947 443110, in the case of absence from any Royal Academy Opera activities,
including opera chorus) as soon as possible before a session is due to begin to inform them of
absence due to illness or if they are going to be late for a rehearsal. A note from the doctor will be
required by Chris Loake if you miss a rehearsal due to illness. If you are late due to problems on
London Transport, you will still be issued with a penalty mark. However, in extenuating
circumstances, this may be appealed through the Special Circumstances Committee. For an appeal
to be considered, students will be required to produce official documentation to substantiate the
appeal.
2. One-to-one lessons, coaching sessions or classes must not be arranged during scheduled rehearsals.
If another Academy commitment has been arranged before the publication of the rehearsal
schedule, students must see Chris Loake within five working days of the date the schedule was
produced to resolve the problem.
3. Leave of Absence must be granted by the Opera or Vocal Faculty Administrator, the Head of Vocal
Studies and the relevant Programme Tutor before agreeing to any outside work, even if at the time of
engagement your diary appears clear. If release has not been granted, a student may be prevented from
participating in the outside work. Whilst every effort will be made to accommodate outside engagements,
this may not always be possible. You must not ask the conductor about missing any part of a rehearsal.
4. Students are expected not only to learn their allotted part before a project begins, but also to be
familiar with the whole work. A soft pencil should be taken to rehearsals to mark parts with
performance instructions. Students are expected to behave in a professional manner at all times.
Recordings of all programmes works are usually available in the Academy library. Recordings are
made of all concerts and an archive copy is held in the Academy library. Due to copyright laws, you
are not permitted to make copies of these recordings.
5.
Dress: Female students - please note that you are all required to have a long black dress or smart
long black trousers and black top for Academy concerts. Shoulders and backs should be covered.
Not sleeveless, not strapless, and with due consideration of professional appearance and sense of
occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses
and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery
should be in keeping with dress code.
30
Male students – you will all be required to wear a dinner jacket (with a white shirt and black bow
tie) or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black
shoes and black socks are also required.
The Academy does not require men to have acquired a tail suit, but it is likely that professional
orchestral engagements will need you to have this available, with white dress shirt and white bow
tie.
6. For most Academy concerts, performers are allowed one free ticket, subject to availability. These
can be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for
external concerts.
7. Students are expected to keep a regular check on the notice-boards for any last-minute logistical
alterations. Details of rehearsals will be accurate at the time of going to print, but may be subject to
alteration.
31

Vocal Faculty Handbook - Royal Academy of Music

Transcription

Similar documents

Untitled

reading and breathing opera

adult test 2016 d1 clues

Elective Recital: "True Colours" by Bogdan Bacanu

2016 Concert Schedule

music from prague

Biography - Francodiff.org

baroque with contemporary twist – a la john galliano!

Kenton Coe (continued) - Magazine for the Arts

chandelier - ZFX Flying Effects