Accordion Handbook - Royal Academy of Music

Transcription

Accordion Handbook
2015–2016
Table of Contents
Introduction from the Head of Accordion
3 Student Check List
4 Accordion Department Staff
4 Key Dates
4 Leave of Absence Procedure
5 Special Circumstances Procedure
6 ASIMUT
7 Student Recordings
7 Concerts Department
8 Undergraduate Principal Study Weightings
14 BMus Principal Study Syllabus
15 Postgraduate Principal Study Weightings
22 Postgraduate Principal Study Requirements
23 Postgraduate Professional Development Activity
25 2
Introduction from the Head of Accordion
This handbook is a guide to the examination requirements during your programme of study at the
Royal Academy of Music. There is flexibility in the choice of repertoire, in consultation with the
Head of Accordion, to embrace the fast-growing accordion repertoire.
The Accordion Department is geared to meet each student’s individual needs and career
aspirations. Each student has a unique ‘voice’ and the aim is to develop that uniqueness and build
confidence to be able to perform to one’s full potential. Students have the opportunity to attend the
Mental Training for Musicians workshops. These workshops are of immense benefit to the
performing musician.
Accordion students have the opportunity to play in many concerts, both within and outside the
Academy; solo concerts and chamber music with a wide variety of instruments. Occasionally they
are called upon to perform with orchestras. An active cooperation with composers results in the
creation of new works for the accordion.
As well as weekly one-to-one lessons and performance classes, accordion students have the
opportunity of playing for other instrumental professors and chamber music specialists.
Taking part in competitions is not compulsory but past students successes in competitions have
included the Royal Over-Seas League, Derek Butler Prize, Friends of the Royal Academy of
Music’s Wigmore Award. Successful auditions include the Park Lane Contemporary Music Series,
Hattori Foundation, Worshipful Company of Musicians Silver Medal, Maisie Lewis Award and
Prince’s Prize, Philharmonia Orchestra Martin Musical Scholarship Fund Award.
There exists in the Accordion Department an open-minded and positive attitude to teaching and
learning. The aim is to encourage the student constructively to achieve his or her full potential.
Examinations, however, are necessary as yardsticks of attainment. The criteria for judgement in
examinations reflect the ongoing quest for musical and technical excellence and is sought to be
maintained by rigorous enforcement of the highest standards. This is maintained throughout the
Academy by internal examiners to ensure comparability between departments.
Owen Murray HonRAM
Head of Accordion
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Student Check List
•
Store the contact details of your principal study professor in your phone.
•
Store the contact details of your department administrator and programme Tutor in your phone.
•
Check your Academy email account, ASIMUT and AIR every day, including during the
Christmas, Easter and summer vacations.
•
Check your Performance Class date(s).
•
Check dates of visiting professors’ classes and masterclasses for the purposes of participation
and attendance.
•
Check your annual chamber music requirements. Undergraduate years 3 and 4 and
postgraduates should check concert voucher submission dates for assessment purposes.
•
Check potential personal diary clashes and apply for Leave of Absence well in advance (see
procedure on page 4).
•
Check closing dates for internal and external competitions and prizes on AIR and notice
boards.
Accordion Department Staff
Teaching Staff
Owen Murray, GRAM, Dip RAM (Copenhagen), HonRAM
Visiting Professor
Friedrich Lips (Moscow), HonARAM
Contact Details:
Owen Murray
Tel: 07810 481384, Room 350, Email: [email protected]
Karen Ingram, Accordion Department Administrator
Tel: 020 7873 7380, Room G9, Email: [email protected]
Academy Switchboard: 020 7873 7373
Key Dates
Autumn term
Spring term
Summer term
Summer Examination Period
14th September – 27th November 2015
(Enrolment week 7th – 11th September 2015)
Intensive Projects Week: 19th – 23rd October 2015
4th January –18th March 2016
Intensive Projects Week: 8th – 12th February 2016
18th April – 10th July 2016
23rd May – 9th June 2016
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Leave of Absence Procedure
You will need to apply for Leave of Absence if you are going to take any time away from the
Academy during the term, regardless of whether or not you will miss any Academy activities
(academic classes, rehearsals) which are part of your schedule of study. Leave of Absence will
only be allowed in exceptional circumstances and can be applied for by filling out a Leave of
Absence form (available on AIR and from the General Office).
Some guidance on completing a Leave of absence form:
•
•
•
•
•
•
•
You must apply for Leave of Absence and obtain all relevant signatures as far in advance
as possible.
It is your responsibility to check the dates of your assessments and to collect these
signatures.
Your Tutor will notify you via 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.
You must inform your Principal Study teacher before signing this form and collecting the
signatures.
In the case of emergencies or last minute external opportunities, go straight to your Tutor
who will advise you accordingly.
In addition to filling out a Leave of Absence form, you should inform other relevant lecturer(s) or
professor(s) that you have been granted Leave of Absence from a particular class, lesson,
rehearsal, or performance.
Any regular timetable clashes must be brought to the attention of your Tutor immediately.
If you are ill and will miss a class or activity, you should contact the relevant module leader,
professor, coach or director. Visit your doctor in order to obtain a medical certificate. When you
return to the Academy you should report to your Tutor as soon as possible.
Academic classes are suspended for one week each term, but your presence will still be required
for performance-based activities. Any Leave of Absence requests for this time must be applied for
in the usual way.
Please note that the summer term does not end until 10 July 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 pigeon hole up until this date. The Academy will not be responsible for any information
which a student fails to receive in the event that they left the Academy early without making
appropriate arrangements.
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Special Circumstances Procedure
The Special Circumstances Committee considers applications from students in accordance with
the Special Circumstances Regulations, for the following reasons:
•
•
•
•
extenuating circumstances which may have affected student performance in assessments
extensions to deadlines for the submission of work for assessment
the deferral of assessments
appeals against penalty marks where the reasons were beyond your control.
You must submit a completed application form no later than 10 working days from the imposition
of a penalty mark; 10 working days before the published deadline for submission of academic
work, or 10 working days before the published date of an assessment†.
Please note that retrospective extensions and waiving of lateness penalties will not be
permitted except in very serious cases and where you have provided evidence to explain
why you were unable to submit within the required timeframe.
1. Applications must be signed by you and your Tutor and be accompanied by supporting
evidence before it is submitted to the Academic Secretary. If the form is missing either
signature, it will be returned to your pigeon hole.
2. If your form requires medical evidence to be provided, you will be given a deadline to provide
this. If you do not meet this deadline without good reason then your application will be
dismissed.
3. If you are citing a medical issue, you must provide relevant evidence from a medical
practitioner which confirms the relevant timescales and a formal diagnosis. A letter which
merely states that you visited the practice will not be accepted.
4. SCC will normally consider cases on a weekly basis during the term (on a Wednesday
afternoon) and, when deemed appropriate, information from the student’s Tutor, the Concerts
Department or any other Academy department shall be sought prior to the meeting.
5. SCC will either accept or reject the application and agree any particulars in relation to
extensions or penalties as appropriate. When applications are rejected, a full explanation will
be given.
6. Students will normally be informed of the outcome within two working days of the meeting by
the Chair of the Committee via Academy 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).
* All correspondence documenting the outcome of applications will be copied to the relevant
Registry staff, relevant Tutor and any Module Leaders/other administrative staff concerned.
†If you are making an application for a deferral of an assessment due to unforeseen circumstances
such as illness on the day of the assessment, you must provide an application with supporting
medical evidence within five working days of the assessment taking place.
Please see the guidelines on AIR for further information on making applications.
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ASIMUT
You must check your ASIMUT account daily for details of your academic and departmental classes
and activities.
It is a disciplinary offence to book two or more spaces concurrently in ASIMUT. Any student shown
by the ASIMUT usage statistics to be misusing the system in this way will be liable to a disciplinary
penalty, ranging from a temporary ban from the room booking system to temporary suspension of
the studentship, depending on the severity of the case. Penalties will be determined by the
Programme Management Team and communicated to students by their Programme Tutor.
Student Recordings
You can access recordings or large scale public performances from the Library for educational
purposes. The Academy cannot provide you with your own copies of these performances for
copyright and resource reasons.
Exceptions may be made in the case of performances with rarity value such as concertos but
requests must be submitted to the Concerts Department at least one calendar month in advance of
the performance. This will allow the Concerts Department time to consider any copyright clearance
issues/licences/costs involved and for the Recording Studio staff to allocate time in their schedule
and recording equipment.
If the Academy is not planning to record a performance that you are performing in (e.g. Tuesday
lunchtime concerts), requests may be made by students to record it but in audio format. In order to
request this you will need to ensure that all relevant consent forms and copyright clearance is
completed at least one calendar month in advance of the performance.
You are able to record yourselves on Academy premises (in practice rooms and concert venues)
either using their own or loaned equipment (in this case you would retain the copyright on the
recordings and accept all responsibility for any necessary copyright clearance required).
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Concerts Department
Director of Artistic Planning – Ms 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 & Orchestra Manager - Ms Liz Williams, Room G7 Tel: 020 7873 7326
[email protected]
Concert & Orchestra Manager - Ms 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 and leave of absence requests.
Orchestral Librarian – Mr 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 – Ms 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 – Ms 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 Manager – Ms Lizzie Sambrook, Room G8 Tel: 020 7873 7304
[email protected]
Responsible for the External Booking service, which exists to offer performance opportunities
outside the Academy to students. These opportunities include recitals, choral society concerts,
concertos and background music for corporate and private events.
PERFORMANCE
The Concerts Department
The Academy’s busy performance schedule is run by the Concerts Department. Training at the
Academy prepares students for an increasingly demanding and diverse professional life and
encompasses chamber, symphonic, and operatic repertoire, historical performance, contemporary
and media music of all kinds, as well as musical theatre and jazz. Care is taken in planning the
flow of repertoire for undergraduate and postgraduate students with the aim that all concerts,
rehearsals, training sessions and sectionals are well-balanced over a student’s period of study at
the Academy.
Training is delivered through:
•
Repertoire sessions for wind, brass and percussion students (all students).
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•
•
Sectional training with section principals from the UK’s major orchestras.
Public performances through both ‘quick-learn’ projects (designed to reflect the demands of
the orchestral profession), and intensive projects. Projects this academic year will be
conducted by distinguished visiting conductors and directors including Semyon Bychkov,
Sir Mark Elder, Edward Gardner, Jane Glover, Gareth Hancock, Oliver Knussen, Wolfgang
Lischke, Trevor Pinnock, Robin Ticciati, and Yan Pascal Tortelier.
First-year string undergraduates take part in weekly String Orchestra rehearsals, as well as
forming chamber ensembles for chamber music training. First-year wind, brass and percussion
students participate in weekly Orchestral Repertoire classes (with second-year and third-year
undergraduate students) in which staff and visiting specialists introduce staples of orchestral
repertoire and work on orchestral techniques.
Orchestral auditions (autumn and spring terms) for strings, wind and brass are a means of
deciding seating for all orchestras.
ROYAL ACADEMY OF MUSIC PERFORMANCE PROTOCOL
This protocol is designed to set out clearly what is expected of students involved in giving concerts
and taking part in other orchestral and chamber music projects at the Royal Academy of
Music. Students are expected to read this document and refer to it as appropriate. The protocol
has been designed to ensure that all students gain the maximum benefit from their involvement in
ensemble activity and are fully trained to meet the demands of the profession.
General Practice for Orchestral and Chamber Music Projects
1. Following orchestral auditions at the beginning of the Autumn term, Orchestral and Ensemble
schedules will be issued at the beginning of the second week of term for all students. Further
orchestral auditions will take place in the first week of the spring term and project schedules will be
issued in the second week of this term. All summer term schedules will be published by the final week
of the spring term. The schedules will be posted on the orchestral noticeboards opposite the Band
Room and on AIR and will be added to students’ agendas on ASIMUT. Students are expected to
keep a regular check on the noticeboards for any last-minute logistical alterations. Details of
rehearsals will be accurate at the time of going to print, but may be subject to alteration. Any
schedule alterations will be notified by email or text message. Communication will only be done via
Academy emails, so students must check this regularly. If a student has a mobile phone,
voicemail is essential in order to be contactable in an emergency.
2. Students are expected to be seated and tuned at least five minutes before the time published on the
schedule. All sessions are strictly compulsory and 100% attendance is expected. Lateness will not
be tolerated. Attendance will be recorded and will be reflected in each student’s end-of-year principal
study/Professional Portfolio mark through the penalty mark system. A penalty mark will be issued
each time a student is late or absent without permission from a session. (see Regulation G5,
Attendance at Scheduled Rehearsals and Performances)
Students must telephone the Concert and Orchestra Managers, Liz Williams on 020 7873 7326
(strings, wind & brass) or Rosie Larkins on 020 7873 7426 (percussion, harp, keyboard, guitar,
accordion) as soon as possible before a session is due to begin to inform them of absence due to
illness or if they are going to be late for a rehearsal. A note from the doctor will be required by the
Concert and Orchestra Manager if you miss a rehearsal due to illness. If you are late due to problems
on London Transport, you will still be issued with a penalty mark. However, in extenuating
circumstances, this may be appealed through the Special Circumstances Committee. For an appeal
to be considered, students will be required to produce official documentation to substantiate the
appeal.
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3. One-to-one lessons, coaching sessions or classes must not be arranged during scheduled
rehearsals. If another Academy commitment has been arranged before the publication of the
orchestral or chamber music schedules, students must see the relevant Concert and Orchestra
Manager within five working days of the date the schedule was produced to resolve the problem.
4. Leave of Absence must be granted by the relevant Concert and Orchestra Manager and the relevant
Programme Tutor before agreeing to any outside work, even if at the time of engagement your
diary appears clear. If release has not been granted, a student may be prevented from participating
in the outside work. Whilst every effort will be made to accommodate outside engagements, this may
not always be possible. You must not ask the conductor about missing any part of a rehearsal.
5. All music is kept in G7 and is generally available one month before the commencement of any given
project. If parts are taken out for practice, the signing-out sheet must be completed. Folders are not
to leave the office. Students are responsible for keeping their own music safe. Folders will be placed
on stands in the rehearsal venue for the beginning of each session. Music left after sessions must be
put in the folder, which should be closed for collection. The folders must remain on the stand after the
rehearsal. If the music is not in the folder, it is the responsibility of the student playing it. Music is
expensive and missing parts will be charged to the student responsible for them. Soft pencil only
should be used to mark parts.
6. Students are expected not only to learn their allotted part before a project begins, but also to be
familiar with the whole work. Recordings of all programmed works are usually available in the
Academy library. Recordings are made of all Academy concerts and an archive copy is held in the
library. Due to copyright laws, you are not permitted to make copies of these recordings.
7. Dress: Female students - please note that you are all required to have a long black dress or smart
long black trousers and black top for Academy concerts. Shoulders and backs should be covered.
Not sleeveless, not strapless, and with due consideration of professional appearance and sense of
occasion. Dresses should be floor length and trousers should not be casual in style. Both dresses
and trousers must be worn with smart shoes and tights or stockings. Hair ornaments and jewellery
should be in keeping with dress code.
Male students – you will all be required to wear a dinner jacket (with a white shirt and black bow tie)
or all black (a black jacket, shirt and trousers), depending on the type of concert. Smart black shoes
and black socks are also required.
The Academy does not require men to have acquired a tail suit, but it is likely that professional
orchestral engagements will need you to have this available, with white dress shirt and white
bow tie.
8. For most Academy concerts, performers are allowed one free ticket, subject to availability. These can
be collected in advance from the Box Office. Complimentary tickets may not be guaranteed for
external concerts.
Concert Requests
If you have a concert project in mind that you would like to put on at the Academy with fellow
students (lunchtime, early evening or main evening concert), you can submit an application to the
Artistic Planning Group. Students may also apply to play in the Tuesday and Thursday Lunchtime
Concert Series, which are our high-profile Diary of Events series, with a strong emphasis on
chamber music. Proposals should show imaginative and balanced programming, which will be an
important part of the consideration process.
Concert application forms are available on AIR or from the Concerts & Prizes Administrator or
Director of Artistic Planning. If any of the required information is not supplied then proposals will be
returned for resubmission before the next proposal deadline. Termly deadlines for submissions
are:
Thursday 17th September 2015(for Spring/Summer Term concerts)
Wednesday 3rd February 2016 (for Summer Term concerts)
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Wednesday 20th April 2016 (for Autumn Term 2016 concerts)
Forms submitted later in the term will be considered at the next Artistic Planning Group for 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.
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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 unless this is requested
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.
It is the responsibility of the ensemble to request large musical instruments (harpsichord/chamber
organ etc) to ensure they are provided in the relevant venue and tuned to the correct specification.
This must be done through the General Office as soon as the concert date is confirmed. Failure to
provide these details in good time may result in the instrument being unavailable.
Vocal Faculty students are expected to supply their own copies of text and translations or a
precis. Fifteen copies should be submitted to the Events Office (next to the Duke’s Hall) 24 hours
before the concert.
Concert vouchers can be found 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.
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.
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Academy Engagements, Including External Engagements – Right to work in the UK
Before taking on any work engagement through the Academy, all students must present their
passport or other evidence of the right to work in the UK. If you have not already done so at
enrolment, you must present your documents to the relevant administrator, or the External
Bookings Manager in the case of external engagements. Once documents have been checked and
copied you will be permitted to work.
International students studying at the Academy on Tier 4 visas can now perform unpaid and paid
musical engagements provided it is organised through the official Academy channels. The
placement must be considered to be part of the student’s professional development, and therefore
logged as part of their professional portfolio, and all students must complete a Tier 4 Checklist for
all performance-related work, signed off by their Head of Department. Three copies of this
documentation must be taken – one for the Registry, one for the External Bookings Office and one
for student portfolios.
Tier 4 students are not permitted to undertake any work on a self-employed basis, and therefore
any payment due must come through the Academy’s payroll, and is subject to deductions in
respect to National Insurance and VAT. Students must also ensure that they do not exceed their
20 hours work allowance per week.
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/
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Undergraduate Principal Study Weightings
Year 1 Principal Study (45cr)
• End of Year Recital (100%)
• Final Recital (100%)
Year 1 Professional Development Activity (25cr)
• Chamber Music (70%)
• Technical Testing (30%)
• Performance Class Reports (FA)
• Masterclass Reports (FA)
• Accordion demonstration/lecture (FA)
• Chamber Music/Ensemble performances
(70%)
A pass in all components is mandatory in all years.
Formative Assessment (FA) indicates Pass/Fail only.
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BMus Principal Study Syllabus
Undergraduate Classical Accordion
Year 1
From the outset you will need to establish a daily practise schedule that will enable you to cover
the course requirements in good time for the Mid-Year Technical Test, End of Year examination,
and your participation in chamber music performances, Academy concerts, accordion showcase
concerts, performance classes and master-classes.
You are encouraged to attend master-classes on other instruments too. It is all relevant to your
musical development. Especially string instruments master-classes can be very useful to explore
the connection between bowing and bellows technique. When attending master-classes take
notes for future reference, even if you are not playing yourself. It is a very good idea in this year to
establish contact with instrumentalists and singers with a view to future chamber music
collaboration.
Attending Mental Training for Musicians workshops can be extremely beneficial and provide you
with the tools to achieve your full potential on the concert platform and be able to cope with the
pressures of a career as a performing musician. Finally, remember to read the handbook carefully
regarding the examination and assessment procedures, use your holiday periods sensibly, and be
professional in everything you do.
Performance Studies
Individual lesson, masterclasses, performance classes.
The following must be passed as pre-requisites for entry to the Principal Study Examination:
Performance Class Participation/ Spring Term Technical Testing
Course requirements
Spring Term – Technical Testing
Scales: Legato and staccato and phrasing (see appendix ex 1), minimum tempo crotchet = 120,
four notes per beat.
1. All major and minor scales or Franck Angelis Asia Flashes, 3rd movement from Concert Suite.
Broken chords. Arpeggios, over two octaves. (Arpeggios in right hand only) or Hans Brehme
‘Paganiniana var 16 (book 2).*
*or work of a similar degree of difficulty which must be agreed with the Head of Accordion.
2. All forms of bellows shake – normal, and triplet, quadruplet and quintuplet ricochet (short
extracts from repertoire should be used to illustrate this).
3. Leif Kayser, Arabesque nr 4. This is a test in bellows stop and pre-bellows accent technique.
Summer Term – End of Year Recital (Formative Assessment)
The programme must include one (or two) Scarlatti Sonata(s), chosen in consultation with the
Head of Accordion. The majority of the programme must contain original works for classical
accordion. Memorisation is not compulsory but you are encouraged to memorise part, if not all, of
your programme. Length of recital: 20 minutes.
Duration of Programme
The timing of recitals will be from the first note played to the last, including breaks between pieces.
Provision of Music/Editions
• Students of all years from all departments should provide one copy of the full score for all pieces
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presented. You are expected to provide an edition which reflects your performance aims.
Chamber Music: Two performances per year, of different instrumentations. This can be with
orchestra or large directed ensemble.
Year 2
If you have laid a solid foundation for your instrumental technique in year 1, the additional
demands of your work in this year, and the examinations, should not pose undue problems. This
year however, you will be expected to respond to a wider range of musical challenges in the form
of more demanding repertoire. You are encouraged to play in as many Academy concerts as
possible. You will get a report on each performance from an Academy professor. That can be very
helpful to your musical development. Repeat any Mental Training for Musicians workshops missed
last year. You should be building the techniques into your daily practise routine.
Performance Studies
Professorial Report/ Performance Class Participation/ Spring Term Technical Testing
Course requirements
Spring Term Technical Testing
Scales:Legato and staccato and phrasing (see appendix ex 1), minimum tempo crotchet = 120,
•
•
All scales or Kusiakov ‘Autumn Sketches’ 2nd movement*
Scales in 3rds or Bent Lorentzen ‘Circus’ 2nd movement*
Summer Term – End of Year Recital
The programme must include any one Prelude and Fugue from 48 Preludes and Fugues (JS
Bach). The majority of the programme must be original works for classical accordion.
Memorisation is not compulsory but you are encouraged to memorise part, if not all, of your
programme. Length of recital: 30 minutes.
Duration of Programme
The timing of recitals will be from the first note played to the last, including breaks between pieces.
• Students of all years from all departments should provide one copy of the full score for all pieces
Chamber Music: Two performances per year. Can be with orchestra or large directed ensemble.
NB: It is not permitted to perform any piece previously played in an End of Year Recital.
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Year 3
In this year you should be getting to grips with the accordion’s top solo repertoire. And in chamber
music, you should have a reasonably substantial repertoire by the end of this year. Your concert
performances, both within and outside of the Academy, should display a growing maturity with
clear interpretative ideas. And if you have worked on Mental Training Techniques, your
performances should reflect a growing security on the concert platform. This is a tough year with a
great deal of academic work. Apart from your various performance activities, you have to present
an accordion demonstration project aimed at primary school children. Preparatory to your end-ofYear recital programme, there will be an interview to discuss related topics. You have the
opportunity to take an LRAM but may want to defer it until Year 4.
Performance Studies
Individual lesson, masterclasses, performance classes, accordion demonstration/lecture project.
Professorial Report/ Performance Class Participation/ Spring Term Technical Testing
Course requirements
Scales: Legato and staccato and phrasing (see appendix ex 1), minimum tempo crotchet = 120,
•
•
All scales in 6ths (major and minor). One note in left hand. Or Rachmaninov/Bestfamilnov
‘Italian Polka’ bars 21 to 36, and 69 to 85*
All scales in octaves (both hands) or Scherzo movement from Kholminov ‘Suite’.*
Accordion demonstration/lecture project
To prepare and perform an accordion demonstration concert for Primary or Secondary school
children, complete with script, duration about 40 mins.
Summer Term End of Year Recital
Programme must include an original cyclic work (complete), a baroque transcription, a cantilena
piece (fex Angelis; Romance). The majority of the programme must be original works for classical
accordion. Memorisation is not compulsory, but you are encouraged to memorise part, if not all, of
your programme. Length of recital: 40 minutes
Students of all years from all departments should provide one copy of the full score for all pieces
Chamber Music: Two performances per year, of different instrumentations. This can be with
orchestra or large directed ensemble.
NB: It is not permitted to perform any piece previously played in an End of Year Recital
17
Timing of B3 End of Year Recital
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 40 minutes.
Duration of the recital (ideal 40 minutes) More than 52 minutes 51.01 to 52.00 50.01 to 51.00 49.01 to 50.00 48.01 to 49.00 47.01 to 48.00 46.01 to 47.00 45.01 to 46.00 35 minutes to 45 minutes inclusive 34.00 to 34.59 33.00 to 33.59 32.00 to 32.59 31.00 to 31.59 30.00 to 30.59 29.00 to 29.59 28.00 to 28.59 Less than 28 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 18
Year 4
Before starting this year it is a good idea to shortlist pieces for your final recital and then decide on
a programme order during the Autumn Term. This is your show and the programme chosen to
represent your musical taste and personality. In the spring term there will again be an interview to
discuss your current repertoire and related topics. At this stage in your course you are likely to be
asked to participate in a number of master-classes and other events, giving you the opportunity to
perform and receive feedback on items from your programme. Even more so than with other endof-year recitals, you are well advised to organise several run-throughs before the day of the
examination. You are welcome to invite family and friends to your solo recital, as this is open to the
public.
Performance Studies
Performance Class Participation/ Spring Term Technical Testing
Course requirements
One of the following works:
Hans Brehme Paganiniana – theme and any 3 variations
Paganini/Liszt La Campanella
Strauss/Jaskevic Voices of Spring
Brahms/Jaskevic Hungarian Dance no. 5
Moritz Moszkowski Spanish Caprice
Bent Lorentzen Tears
or virtuoso piece of equivalent standard
Summer Term Final Recital (50 minutes)
A free-choice, balanced, contrasting programme. The majority of the programme will be original
works for classical accordion. The recital can include chamber music (10 - 12 minutes).
Memorisation is not compulsory but you are encouraged to memorise part, if not all, of your
programme.
Students of all years from all departments should provide one copy of the full score for all pieces
Provision of Programme Notes
Students are encouraged to submit programme notes, but they are not mandatory.
Please refer to the Examinations Procedures for details of programme notes.
19
Timing of Undergraduate Final Recitals
Duration of the recital (ideal 50 minutes)
More than 62 minutes
61.01 to 62.00
60.01 to 61.00
59.01 to 60.00
58.01 to 59.00
57.01 to 58.00
56.01 to 57.00
55.01 to 56.00
45 minutes to 55 minutes inclusive
44.00 to 44.59
43.00 to 43.59
42.00 to 42.59
41.00 to 41.59
40.00 to 40.59
39.00 to 39.59
38.00 to 38.59
Less than 38 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
Chamber Music
3 performances per year, of different instrumentations. Can be with orchestra or large ensemble
and one can be a Concerto.
NB: It is not permitted to perform any piece previously played in an End of Year Recital.
Technical Requirements
(see p.21)
20
21
Postgraduate Principal Study Weightings
• Final Recital (100%)
A pass in all components is mandatory in all years.
Formative Assessment (FA) indicates Pass/Fail only.
PG End of Year Recital Exams timings
The panel will apply a mandatory penalty, where applicable, according to the rubric set out
below.
Duration of the recital (ideal 20 minutes) More than 32 minutes 31.01 to 32.00 30.01 to 31.00 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 15 minutes to 25 minutes inclusive 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 9.00 to 9.59 8.00 to 8.59 Less than 8 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 22
Postgraduate Principal Study Requirements
In your first term there are no examinations, but you will probably be asked to participate in a
variety of performances and master-classes. As well as consolidating the works you already know,
this year should give you space to extend your artistic horizons. From listening to concerts and
master-classes across the Academy, you will be better able to select the fellow students with
whom you wish to play with in chamber ensembles. If you have not progressed from the RAM’s
undergraduate course, you will be required to sit the Mid-Year Technical Test and should set aside
adequate time to prepare for this. Later in the spring term you will have an interview to discuss
your present repertoire and related topics, while in the summer term you will have to present a
short recital. You are encouraged to attend the Mental Training for Musicians workshops. They can
be of immense benefit to you in your performing career. It will give you the tools to be able to
realize your full potential on the concert platform and cope with the pressures of a career as a
performing musician.
FINALISTS
50-minute final recital. Free choice of repertoire, which can include chamber music (max. 15
minutes). The programme must be approved by the Head of Accordion.
Concerto examination. Free choice of concerto, which must be approved by the Head of
Accordion.
Requirements and Penalties
Timing of Final Recitals
The panel will apply a mandatory penalty, where applicable, according to the rubric set out
below.
Duration of the recital (ideal 50 minutes) More than 62 minutes 61.01 to 62.00 60.01 to 61.00 59.01 to 60.00 58.01 to 59.00 57.01 to 58.00 56.01 to 57.00 55.01 to 56.00 45 minutes to 55 minutes inclusive 44.00 to 44.59 43.00 to 43.59 42.00 to 42.59 41.00 to 41.59 40.00 to 40.59 39.00 to 39.59 38.00 to 38.59 Less than 38 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 23
CONTINUING STUDENTS
Continuing students will be required to take an end-of-year exam. This will be a free choice
programme of 20 minutes duration (not including any chamber music), which must be approved by
the Head of Accordion. See above for duration of programme penalties.
You are encouraged to memorise works, although this is not compulsory.
Postgraduate Accordion Professional Development Activity for Continuing Students and
Finalists
By the middle of the autumn term you should have a reasonably clear idea of the programme you
wish to present for your final recital. Throughout the year there will opportunities to play these
pieces in classes and student concerts, but you should be ready to learn other works for special
Academy events. A concerto should be prepared for examination at the end of the spring term.
Regarding your final recital, remember that this is your personal statement as a musician to enter
the profession, and you are welcome to invite an audience of friends, relatives and anyone else
who may be able to help your future career.
Chamber Music – two performances per year
One of the following etudes: Hans Brehme Paganiniana – theme and any 2 variations
Paganini/Liszt La Campanella
Strauss/Jaskevic Voices of Spring
Brahms/Jaskevic Hungarian Dance no. 5
or virtuoso piece of equivalent standard
Performance Classes/Master classes
Minimum of 4 performances per year
24
Postgraduate 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. These are assessed holistically within Professional Development
Activity.
SKILLS
ONE
(Technical)
Two-year
students
(1st year)
REQUIREMENTS (including minimum required to
pass)
Technical Testing:
All forms of Bellows-shake: Normal; Triplet,
Quadruplet and Quintuplet richochets. Chose excerpts
from repertoire e.g. Bentzon ‘In the Zoo’, Lundquist
‘Botany Play’, Berinsky ‘Zarathustra’, Gubaidulina
‘Sonata et Expecto’.
Note-Bending. Relevant passages from Lorentzen
‘Tears’ and Gubaidulina ‘De Profundis’.
Feedback
mark
(Y/N)
Y
Written
report (Y/N)
Y
Y
Y
One of the following virtuoso works (or work of
equivalent standard):
Mendelssohn: ‘The Spinning Wheel’
Moszkowski: ‘Etincelles’
Lorentzen: ‘Tears’
Paganini/Liszt. Concert Etude no 2 in E flat
Brahms/Jaskevic. Hungarian Dance no 5
Two-year
students
(2nd year)
Mussgorsky: ‘Spanish Caprice’
Rachmaninov/Bestfamilnov: ‘Italian Polka’
Paganini/Liszt: ‘La Campanella’
Mendelssohn/Lips: Scherzo from a Midsummer
Night’s Dream
Mid-Year Test: 15-20 minutes performance
comprising:
A Cantilena style piece, e.g. Franck Angelis
‘Romance’ or similar.
A piece from the Baroque Period, e.g. a Scarlatti
Sonata, a piece by Rameau, a Prelude and Fugue by
Bach, or movements from a Suite or Partita.
Any piece by Astor Piazzolla
25
One-year
students
Technical Testing:
All forms of Bellows-shake: Normal; Triplet,
Quadruplet and Quintuplet richochets. Chose excerpts
from repertoire e.g. Bentzon ‘In the Zoo’, Lundquist
‘Botany Play’, Berinsky ‘Zarathustra’, Gubaidulina
‘Sonata et Expecto’.
Note-Bending: Relevant passages from Lorentzen
‘Tears’ and Gubaidulina ‘De Profundis’.
Y
Y
Feedback
mark
(Y/N)
Y
Written
report (Y/N)
Y
Y
Mendelssohn: ‘The Spinning Wheel’
Moszkowski: ‘Etincelles’
Lorentzen: ‘Tears’
Paganini/Liszt: Concert Etude no 2 in E flat
Brahms/Jaskevic: Hungarian Dance no 5
Mussorgsky: ‘Spanish Caprice’
Rachmaninov/Bestfamilnov: ‘Italian Polka’
Paganini/Liszt: ‘La Campanella’
SKILLS
TWO
(Synthetic)
Two-year
students
(1st year)
pass)
Two-year
students
(2nd year)
The design and detailed curation of the following
programmes, with a short Artistic Director’s statement
written by the student. It should include a brief
introduction to the classical accordion and its unique
qualities in the performance of the chosen repertoire.
1. A full-length solo recital programme of
transcription and original repertoire which
displays an ability to link works, old and new,
in a meaningful and artistic way.
2. A lunch-time programme of ensemble works
suitable for a music festival. Works should be
linked in a meaningful and artistic way.
3. A contemporary, themed or mixed programme,
suitable for a music festival which brings
together literary, dance, or art themes, or
collaborates with other genres, ie. jazz or
world music.
A full-length ensemble concert programme suitable for
a major venue such as the Wigmore Hall.
A lunch-time solo recital programme suitable for a
music festival.
A programme designed for a contemporary music
festival of original solo works for classical accordion
written in the period 1958 to the present day.
26
Y
One-year
students
1. A full-length solo recital programme of
transcription and original repertoire which
displays an ability to link works, old and new,
in a meaningful and artistic way.
2. A lunch-time programme of ensemble works
suitable for a music festival. Works should be
linked in a meaningful and artistic way.
3. A contemporary, themed or mixed programme,
suitable for a music festival which brings
together literary, dance, or art themes, or
collaborates with other genres, ie. jazz or
world music.
Y
Y
pass)
Feedback
mark
(Y/N)
Written
report (Y/N)
Masterclasses (one by Visiting Professor) and
Performance Classes – minimum 4
performances/year
Attendance of Mental Training for Musicians
workshops greatly encouraged (4 per year divided
into 4 modules)
Accordion history and repertoire development
lectures
Y
Y
Two-year
students
(2nd year)
performances/year
into 4 modules)
lectures
Y
Y
One-year
students
performances/year
into 4 modules)
lectures
Y
Y
EXTERNAL
PERSPECTIVES
(Masterclasses
etc.)
Two-year
students
(1st year)
27
COLLABORATIVE
WORK
REQUIREMENTS (including minimum required
to pass)
Two-year
students
(1st year)
Students must present a minimum of two public
chamber performances per year, either within or
outside of the Academy, and marked by an
Academy professor
Academy professor
Academy professor
Two-year
students
(2nd year)
One-year
students
Feedback
mark
(Y/N)
Y
Written
report (Y/N)
Y
Y
Y
Y
Y
SELFGENERATED
PERFORMANCE
or RECORDING
REQUIREMENTS (including minimum required
to pass)
Feedback
mark
(Y/N)
Written
report (Y/N)
Two-year
students
(1st year)
Two-year
students
(2nd year)
3 hour recording session - free choice of
repertoire - solo, duo, chamber.
Y
Y
3 hour recording session - imaginative
programming is encouraged, supported by
programme notes.
Y
Y
One-year
students
3 hour recording session - imaginative
programming is encouraged, supported by
programme notes.
Y
Y
28

Accordion Handbook - Royal Academy of Music

Transcription

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