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Royal College of Music
Graduate School
MMUS IN ADVANCED PERFORMANCE
YEAR 2 UNIT DESCRIPTIONS
2010–11
INSTRUMENTALISTS
and
CONDUCTORS
If you would like any material
from this document in larger print,
please contact the Registry
Programmes Team
e-mail:
registryprogrammes@rcm.ac.uk
2
Contents
Pattern of study 4
Unit descriptions 5
• Pathway Units 6
• MMus Units 9
• Principal Study Units 11
• Principal Study syllabuses 16
Elective units 35
• Level M electives 36
• Level 3 electives 54
General Information 56
Who’s Who 61
3
Pattern of study for MMus in Advanced Performance, year two
one academic year of 10 months, total of 120 credits
MMus Unit (Level M) Pathway Unit Advanced Principal Study Elective Unit(s)
(Level M) Unit (Level M) (Level M and/or 3)
Level M
Lecture Presentation Orchestral Performance Principal Study 1 Major Second Study
30 Credits (Orchestral Pathway) (39 hrs/yr) (21 hrs/yr)
30 credits 80 credits 40 credits
OR Minor Second Study
Historical Performance Principal Study 2 (14 hrs/yr)
30 credits
Critical Project (Historical Performance (33.5 hrs/yr) Related Study
30 Credits Pathway) 70 credits (7 hrs/yr)
30 credits 20 credits
Principal Study 3 Concerto Competition *
Accompaniment (28 hrs/yr) 10 credits
(Accompanist Pathway) 60 credits Conducting
30 credits 20 credits
Principal Study 4 Contemporary Music in Action
(21 hrs/yr) 10 credits
(Solo/Ensemble Pathway 40 credits Continuo Accompaniment
10 credits
candidates do not take a Duo Performance
Pathway Core Unit). 20 credits
Experimental Music
10 or 20 credits
Historical Performance *
10 or 20 credits
Keyboard Improvisation
20 credits
Music, Culture Contemporary Media
10 or 20 credits
Professional Portfolio: Professional
skills
10 credits
Professional Portfolio: Studio
Experience
10 credits
Professional Portfolio: New Media
10 credits
Recital Accompaniment *
10 credits
Repertoire Project
10 credits
Sources of Performance History
10 credits
* when not taken as part of Pathway

Core or Principal Study
Level 3
Alexander Technique
20 credits
Chamber Music
20 credits
4
UNIT DESCRIPTIONS
This handbook contains unit descriptions for those that make up the second year of the MMus in
Advanced Performance. These are deliberately broad in their description of content. The information
that they contain is supplemented, where appropriate, by syllabuses that enable the detail of the unit
content and, for 1-to-1 practical units, the examination requirements (repertoire, etc) to be varied from
year to year within the parameters defined by the unit description.
PATHWAY UNITS
These units are specially designed to provide opportunities for advanced study, usually in a small group
situation, of repertoire or performance situations particularly associated with a given instrument or
genre. They complement the 1-to-1 Principal Study that all students undertake, covering ground directly
relevant to the Principal Study but in ways that are felt to be more effective. Students are free to take the
same Pathway unit in Year 2 as they did in Year 1. Note carefully when choosing your units that the
pathways have different credit weightings:
Orchestral Performance 30 credits

Historical Performance 30 credits
Accompaniment 30 credits
Solo and Ensemble Zero credits
In general terms, students taking a Pathway Unit are likely to take one of the lower credit-weighted
Principal Study Units. In particular, a student taking both an MMus Unit and a Pathway Unit will need
then to select Principal Study 3 (60 credits) to make up their remaining credits.
If a student does not choose any Pathway Unit, this effectively means that they are designated as being
on the Solo/Ensemble Pathway. This flexible pathway students to create their own timetable utilising
the many and varied performance opportunities the RCM provides.
Because of the intensive nature of the training in the Orchestral Pathway Unit and the need to provide
sufficient orchestral opportunities for all students on this pathway, entry by string, wind and brass
instrumentalists is strictly controlled. Every effort will be made to accommodate such students wishing
to take this pathway but it may be necessary from time to time to limit numbers. Under these
circumstances, a student accepted onto the programme is free to choose the Solo/Ensemble pathway
option.
As Pathway Units are assessed through examinations of a practical nature, the assessment criteria for
these are to be found in Practical Examinations Procedure at the Royal College of Music 2010-11, available
from the Registry.
5
PATHWAY UNIT: ORCHESTRAL PERFORMANCE
Unit Leader: Stephen Johns
Level Credit Rating Delivery Unit code
M 30 Seminars, College ensemble and M3B01
orchestral activity including
sectionals, performance platforms,
concerts
Unit objectives and learning outcomes

Successful completion of this unit means that you will have:
• enhanced your skill and confidence as a performer in some breadth and depth
• studied the orchestral repertoire of your instrument in some breadth and depth
• developed your rehearsal skills and ability to work quickly and professionally with conductors,
section coaches and performing colleagues.
Summary of unit
The core content of this unit is provided through repertoire seminars, usually in small groups, where
orchestral repertoire is explored and the necessary interaction between and within orchestral sections
discussed and practised. In addition to this, students are expected to draw upon the more general
activities organised by Performance Management to develop their experience and understanding of
orchestral performance. In a given year, these might include the following, or equivalent, provision:
• Sectional coaching sessions and orchestral rehearsals
• Side-by-side, sit-in or outreach experiences with professional musicians
• College orchestral concerts
Method of assessment
• Continuous assessment of rehearsal, ensemble and concert activities, as detailed in the Unit
Syllabus. 30 credits
6
PATHWAY UNIT: HISTORICAL PERFORMANCE
Unit Leader: Ashley Solomon

M 30 Project work and attendance at M3B02
Historical Performance classes
• enhanced your skill and confidence as an ensemble performer of early music, especially the
Baroque repertoire
• studied this repertoire in some breadth and depth, including discussion of sources, editions and
performance treatises
• developed your rehearsal skills and ability to work quickly and professionally, directed or
undirected, with performing colleagues.
Summary of unit
• Classes where repertoire is explored and the necessary interaction between instruments,
including the role of continuo, discussed and practised
• Preparation of ensemble projects
• Side-by-side experiences with visiting professional musicians
• RCM Baroque Orchestra concerts
• Assessed participation in two performance projects during year10 credits per project
• A 1,400–1,600 word written project or spoken presentation on a historical performance practice
topic. The choice of topic is to be approved by the unit leader. 10 credits
7
PATHWAY UNIT: ACCOMPANIMENT
Unit Leader: John Blakely

M 30 Regular group M3B03
classes
• enhanced your skill and confidence as an accompanist of singers and instrumentalists

• studied the repertoire in some breadth and depth, including developing an understanding of
languages in relation to the vocal repertoire
• developed your rehearsal skills and ability to work quickly and professionally with performing
colleagues, offering guidance and advice where appropriate
Summary of unit
• Repertoire classes, in small groups, where vocal and instrumental repertoire is explored and the
necessary interaction between piano and voice or melody instrument discussed and practised
• Preparation of themed projects
• Participation in Song Classes
• Assessed participation in themed performance projects at various times during year.
8
MMUS UNIT: CRITICAL PROJECT
Unit Leaders: Ingrid Pearson and Timothy Salter
Level Credit Prerequisite Delivery Unit Code

Rating
M 30 MMus Academic Seminars, 1-to-1 tutorials and M3A02
Portfolio supervision to prepare proposal, then
up to 8 hours 1-to-1 supervision
• displayed a mastery of a complex and specialised area of knowledge and skills

• enriched your understanding of musical structure and style and of the ways in which these
impinge upon the formation of a performance in relation to your specialist topic
• employed advanced skills to conduct research
• attained a high degree of fluency in written expression.
Summary of unit
• Preparation and submission of an abstract outlining the proposed project

• 1-to-1 supervision tailored to individual needs
• development of research skills intrinsic to topic development
• independent research to support all these activities
• linking research work to Principal Study repertoire, not only in performance but also through
self-directed listening – at concerts and to recordings.
• Completion of a 5,000–7,500 word Critical Project on a specialist topic which has been agreed by
an MMus panel in the Autumn term.
• A viva voce on the Project, if called.
9
MMUS UNIT: LECTURE PRESENTATION
Unit Leaders: Ingrid Pearson and Timothy Salter
Level Credit Prerequisite Delivery Unit Code

Rating
M 30 MMus Academic Seminars, 1-to-1 tutorials and M3A03
Portfolio supervision to prepare proposal, then
up to 6 hours 1-to-1 supervision and
recital ‘dry-run’ sessions with tutorial
feedback

• Demonstrated that you can work effectively and flexibly across the areas of performance and
scholarship
• enhanced your fluency of presentation and effective communication skills in addition to those
you have as a performer
• broadened your knowledge of repertoire, honed your interpretational abilities
impinge upon the formation of a performance
• acquired maturity and an individual voice as a performer
• focussed upon a specific topic to be presented through a composite of approaches.
Summary of unit
• Preparation and submission of an abstract outlining the proposed presentation

• participation in classes devoted to appropriate research methodologies and modes of
presentation for the Lecture Presentation
• 1-to-1 tutorial support tailored to individual needs
• Principal Study performance as appropriate
• independent practice and research to support all these activities
• continued exploration of Principal Study repertoire and its applicability to the Lecture
Presentation as a mode of presentation, not only in performance but also through self-directed
listening – at concerts and to recordings
• Completion of a Lecture Presentation (25 minutes, plus 5 minutes for open questions from Panel
and audience) on a specialist topic which has been agreed by an MMus panel in the Autumn
term.
10
PRINCIPAL STUDY UNITS
The four different types of Principal Study unit are ranged in descending order of credit value. In each
case, the amount of weekly provision decreases, as does the length of the examination you are expected
to take.
11
ADVANCED PRINCIPAL STUDY 1
Unit Leader: Head of Faculty
Level Credit Rating Prerequisite Delivery Unit Code

M 80 Principal Study 39 hours of 1:1 tuition, M8P05
Level M supported by faculty
classes, masterclasses
and other events

• enhanced your performing skills, broadened your knowledge of repertoire, honed your
interpretational abilities
• deepened your awareness of the current state of the profession and developed your contacts
with your future professional colleagues
• brought all of these qualities to the level of full professional readiness
• demonstrated the ability to act in complex, unpredictable and/or specialised contexts
• demonstrated the ability to adapt acquired skills indecently and develop new ones for new
situations.
Summary of unit
• 1-to-1 guidance tailored to individual needs – this may reflect some final finishing work on
technical aspects but is more likely to focus upon the exploration of new repertoire and
preparation for specific performances
• participation in faculty classes, masterclasses, College chamber concerts and other concerts of
similar standard outside the College
• performance as appropriate in duos, chamber ensembles and orchestras
• independent practice to support all these activities
• continued exploration of Principal Study repertoire, not only in performance but also through
self-directed listening – at concerts and to recordings
• See individual syllabus for details 80 credits
12

M 70 Principal Study 33.5 hours of 1:1 tuition, M7P06
and other events

situations.
Summary of unit
13

and other events
• enhanced your performing skills, broadened your knowledge of repertoire, improved your
situations.
Summary of unit
14

and other events
situations.
Summary of unit
15
PRINCIPAL STUDY SYLLABUSES
Below are the details of Principal Study practical examination requirements for the 2010/2011 academic
year, for these instruments, in alphabetical order: bassoon; cello; clarinet; flute; French horn; guitar; harp;
harpsichord; oboe; piano accompaniment; piano; recorder; tenor trombone; viola and violin.
You will find the following information for each type of practical examination:
• The length of the exam

• Any stipulations as to repertoire to be covered (this might mean a specific work or a work of your
choice of a particular genre or from a particular historical period). In some instances, there may also
be further information about the conduct of the exam.
Examination lengths
The issue of examination length is critical for you, for your examiners and for the smooth running of the
examinations process. You must show that you have prepared sufficient material but any over-running
will put pressure on your examiners and inconvenience any students being examined after you.
There are two types of examinations and each should be treated differently in terms of timing. The first
type is an actual examination, usually conducted in one of the teaching rooms in College, where the
examiners will tell you at each stage what they want you to perform; the second is an assessed recital,
usually given in one of the College’s performance spaces, where you must plan a programme and
perform it under concert conditions.
You must be available for the entire period in which your examination may be scheduled. The
examination periods are as follows: Spring exams: 30 March to 8 April 2011, BMus written exams: 16 to
20 May 2011, Chamber/Duo exams: 18 to20 May 2011, Summer exams: 25 May to 13 June 2011.
Examinations
You should prepare an amount of music corresponding to the time indicated in the syllabus. However,
the time indicated is also the length of the examination. Obviously, it would be impossible to get
through, say, 30 minutes actual music in a 30-minute exam. You should therefore be ready for the fact
that your examiners may select at the beginning of the exam those elements from your complete
programme which they wish to hear you perform or, alternatively, may stop you at suitable points in
mid-movement in some or all of your pieces, in order to complete the exam within the time stated.
Recitals
The Principal Study Repertoire Recital, or Final Recital, is the form of Principal Study examination used in
all postgraduate assessments. It is to be viewed as a concert, performed in full and without the
examiners directing proceedings or telling you what to perform and when. You should therefore plan
your programme so that it will fit comfortably within the stated time range (please note the use of time
ranges, rather than just a maximum length). Your timings should allow for reasonable gaps between
movements and pieces, for any stage adjustments that may be required and, where permitted, for any
interval built into the recital. The examiners will time your recital carefully from the first note of the first
piece to the final dying away of the last note of the last piece. If your complete performance, measured
in this way, is shorter than the minimum time or longer than the maximum, they will apply a penalty to
the mark they award you (details of this are given in the booklet, Practical Examination Procedures at the
Royal College of Music 2010-11, referred to below).
16
Provision of Music in Recital Examinations
Your panel requires a complete copy of each work that you perform. A complete copy means the music
for your instrument and any other instrument(s) involved. The music provided should be in the same
edition that you are using, unless you have consulted a range of editions (for one or more works) as part
of your preparations. If this is the case, we advise you to include, with your music, a short note to this
effect so that your panel understands your approach.
Photocopies
The use of photocopies of works in copyright is illegal unless prior permission has been obtained from
the publisher. It is your responsibility to obtain these, if necessary, though if you are in doubt about the
copyright status of the works you are performing, the RCM Library will be able to advise you. If you are
making a request to the Library for an extra copy of your music to be acquired, please bear in mind that
you need to provide ample notification time (a minimum of four weeks) and that, while in the vast
majority of cases the Library is able to meet this request, it cannot always guarantee to do so.
Penalties will be applied if you do not produce complete scores for all the works that you perform. For
further details about penalties in relation to the provision of complete scores, please see the Practical
Examination Procedures at the Royal College of Music 2010-11.
Other important sources of information

Please read this information in conjunction with the booklet entitled, Practical Examination Procedures
at the Royal College of Music 2010-11. The booklet is distributed along with other examination
information during the year.
What to do if you have any queries

If you or your professor are unclear about anything relating to your practical examination(s), it is
important to obtain a definitive answer as soon as possible. Any queries which you may have are best
taken to your Head of Faculty.
17
BASSOON
Principal Study 1, 2, 3 or 4
50-60, 42-50, 33-40 or 25-30
Recital Examination
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study
type taken. The programme should be planned to offer contrast and to illustrate the range of the
instrument’s and the player’s capabilities
The programming should be original and illuminating, offering some fresh insight into the nature of
the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
entail one or more of the following approaches:
• Including little-known repertoire of which the student has made a particular study
• Including one or more new works, perhaps written for the student
• Planning the programme around the systematic exploration of a particular area of the
repertoire
• Planning the programme to include unusual and illuminating juxtapositions of pieces
• Making imaginative use of written or spoken introductions to explain these elements,

as appropriate, to the audience.
The programme should not include any work previously offered by the student in a Year 1 recital.
You are encouraged to play one piece or movement from memory.
18
CELLO
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
The performance of a well-balanced programme, chosen by the student. The chosen programme
should fulfil the following criteria:
• Presenting a high level of technical challenge and offering clear scope for applying the musical
imagination and for making significant interpretational decisions, whilst allowing, where
appropriate, for lighter material to produce a well-balanced overall sequence;
• Demonstrating a range of styles, genres or musical periods, but presenting these within a
coherent overall scheme;
• Including at least one item - usually an entire work but, exceptionally, a movement or
movements from a larger work - which would be regarded as among the more substantial,
both in terms of size and style, in the instrument’s repertoire;
• Calculated so as to fill comfortably but not exceed the overall time limit for the recital,
including pauses between works.
No more than one fifth of the programme may consist of material previously offered for assessment at the
Royal College of Music.
At least 15 minutes of the recital must normally be performed from memory, though a
programme that comprises sonata or chamber works may be exempt provided prior written
authorisation is given by the Head of Strings. It is then the candidate’s responsibility to ensure that
such written authorisation is presented to the panel of the day of the examination.
Up to one third of the programme may feature the student playing with an ensemble, providing
that his or her contribution is at least equal in prominence to those of the other performers.
The recital will be conducted under conditions resembling as closely as possible those of a public
performance. The student’s appearance and command of presentational matters should reflect this, and
will be taken into account by the examiners.
19
CLARINET
50-60, 42-50, 33-40 or 25-30
Recital Examination
mins
instrument’s and the player’s capabilities.
The programming should be original and illuminating, offering some fresh insight into the nature
of the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
repertoire

20
FLUTE
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
• Planning the programme around the systematic exploration of a particular area of

the repertoire

21
FRENCH HORN
Most orchestral excerpts listed within this document are obtainable from the following sources:
Max P. Pottag, French Horn Passages (Volumes 1 and 2)

Philip Farkas, Orchestral Passages for the French Horn
Richard C. Moore, Operatic Horn Passages
Richard C. Moore , Orchestral Horn Passages
Hans Pizka, Audition Album
Volumes 1 to 12, Chambers
Where the excerpt is not found in these books the student is encouraged, under the guidance of the
professor, to study the work from the full score or from orchestral material. All students are expected to
have read and be familiar with the contents of the following:
Bryant, Baker et al, The Business

Philip Farkas, The Art of French Horn Playing
Philip Farkas, The Art of Brass Playing
Fred Fox, Essentials of Brass Playing
Barry Tuckwell, The French Horn
John Wallace and Trevor Herbert, The Cambridge Companion to Brass Instruments
as well as current editions of Brass Bulletin, The Historic Brass Society Journal and Horn Call Journal
22
FRENCH HORN cont.
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
A recital, timed to run for 50-60, 42-50, 33-40 or 25-30 minutes, according to the Principal Study type
taken. An interval of up to10 minutes may be taken for a 50-60 minute recital, and up to 5 minutes for a
42-50 or 33-40 minute recital. No break should be incorporated into 25-30 minute recitals.
The programme should be planned to offer contrast and to illustrate the range of the instrument’s and
player’s capabilities.
The programme should be original and illuminating, offering fresh insight into the nature of the
instrument and its repertoire. How this is achieved is the student’s responsibility but it might
• Including little-known repertoire of which the student has made a particular study.
• Including one or more new works, perhaps written for the student.
repertoire.
• Planning the programme to include unusual and illuminating juxtapositions of pieces.
• Making imaginative use of written or spoken introductions to explain these elements as

appropriate to the audience.
Students are encouraged to play one piece or movement from memory. The programme should
not include any work previously offered by the student in a Year 1 recital.
23
GUITAR
MMus Year 2 Postgraduate Level M Advanced Performance students should also incorporate at least 3
of the generic and stylistic forms into their final recital programme but must not repeat those chosen in
Year 1. Two of these must be taken from those highlighted in bold which were not chosen in Year 1.
A Sonata of 3 - 4 movements (e.g. Jose / Ginastera);

Fugue (e.g. J.S. Bach);
Theme and Variations (e.g. Sor / Berkeley);
A major late 20th-century work written after 1950 (e.g. Britten / Tippett);
Concerto with piano accompaniment (e.g. Rodrigo / Villa Lobos);
A substantial solo or ensemble arrangement made by the student;

A Baroque Suite (e.g. J.S. Bach / Weiss);
Renaissance (e.g. Dowland);
Classical (e.g. Sor / Giuliani);
Romantic (e.g. Mertz);
Spain (e.g. Albeniz / Granados);
Latin America (e.g. Villa Lobos / Barrios / Piazzolla);
A major early 20th-century work written between 1900 – 1950 (e.g. Ponce / Tedesco)
Repertoire Recital 50-60, 42-50, 33-40 or 25-30 mins
The performance of a well-balanced programme, chosen by the student in accordance with the
repertoire guidelines above. The chosen programme should fulfil the following criteria:
both in terms of size and style, in the instrument’s repertoire.
No more than one fifth of the programme may consist of material previously offered for
assessment at the Royal College of Music. At least 15 minutes of the recital must be performed
from memory. Full memorisation will be credited. Up to one third of the programme may feature
the student playing with an ensemble, providing that his or her contribution is at least equal in
prominence to those of the other performers. The recital will be conducted under conditions
resembling as closely as possible those of a public performance. The student’s appearance and
command of presentational matters should reflect this, and will be taken into account by the
examiners.
24
HARP
The performance of a well-balanced programme, chosen by the student. The chosen programme should
fulfil the following criteria:
• Demonstrating a range of styles, genres or musical periods, but presenting these within a coherent
overall scheme;
• Including at least one item - usually an entire work but, exceptionally, a movement or movements
from a larger work - which would be regarded as among the more substantial, both in terms of size
and style, in the instrument’s repertoire;
• Calculated so as to fill comfortably but not exceed the overall time limit for the recital, including
pauses between works.
Royal College of Music. At least 15 minutes the recital must be performed from memory
Up to one third of the programme (two thirds for performers on the Historical Performance Pathway) may
feature the student playing with an ensemble, providing that his or her contribution is at least equal in
prominence to those of the other performers.
25
HARPSICHORD
General Bibliography
C. Lawson and R. Stowell, The Historical Performance of Music: An Introduction (Cambridge, 1999)
Figured Bass Accompaniment
C.P.E. Bach, Versuch über die wahre Art das Clavier zu spielen (Berlin 1752/62) [English trans., W.J.
Mitchell, Essay on the True Art of Playing Keyboard Instruments (London 2/1951)]
J.S. Bach: Precepts and Principles … for Playing a Thorough Bass, or Accompanying, in Four Parts …1738
from The New Bach Reader edited by Arthur Mendel, Christoph Wolff & Hans T. David
J.H. D'Anglebert, Principes de l'Accompaniment, (Paris, 1689) [English trans., K. Gilbert, Pieces de Clavecin
(Paris, 1975)]
J. Christensen, 18th Century Continuo Playing: a Historical Guide to the Basics (Kassel, 2002)
D. Ledbetter, Continuo Playing According to Handel (London, 1990)
N. Pasquali, Thorough-Bass Made Easy (London 1763, R/1974)
P. Williams, Figured bass Accompaniment (Edinburgh, 1970)
Fingering
T. Charlston, Preface to The Keyboard Music of Albertus Bryne (Oslo, 2008)

F. Couperin, L'Art de Toucher le Clavecin (Paris, 1716/17) [English ed. M. Halford (New York, c1974),
another English ed. A. Linde (Leipzig 1933): this edition presents Couperin's original text alongside an
English translation]
H. Ferguson, Keyboard Interpretation (London, 1975)
B. Ife and B. Sachs, Anthology of Early Keyboard Method (Cambridge, 1981)
M Lindley and M. Boxall, Early Keyboard Fingerings: a Comprehensive Guide (London, 1992)
P. LeHuray, The Fingering of Virginal Music (London, 1980)
Contemporary fingerings are also present in certain pieces by the English Virginalists: these are available
in volumes of Musica Britannica.
26
HARPSICHORD cont.
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
instrument’s and the player’s capabilities
• Including repertoire about which recent research has provided fresh insights and approaches
to performance
repertoire
• Making imaginative use of written or spoken introductions to explain these elements, as

appropriate, to the audience.
At least half of the total duration of the recital must be solo works: the remainder may comprise
all or excerpts from a solo concerto, a cantata, duo material or chamber music.
27
OBOE
Principal Study 1, 2 3 or 4
50-60, 42-50, 33-40 or 25-30
Recital Examination
mins
The programming should be original and illuminating, offering some fresh insight into the nature of
the instrument or its repertoire. How this is achieved is the student’s responsibility but it might
repertoire
• Making imaginative use of written or spoken introductions to explain these elements, as

appropriate, to the audience.
28
PIANO ACCOMPANIMENT
Principal Study 2, 3 or 4
42-50, 33-40 or 25-30
Repertoire Recital
mins
A recital, timed to run for 42-50, 33-40 or 25-30 minutes, according to the Principal Study type
taken. The programme should be planned to offer contrast and to illustrate the range of the
player’s capabilities. A short break may be included in the total time allowed. The programme
must contain some vocal repertoire, the remainder may be vocal or instrumental duo repertoire.
Repertoire with two or more other instruments is not permitted.
of the accompanist’s repertoire. How this is achieved is the student’s responsibility but it might
repertoire

29
PIANO
50 -60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
repertoire
All solo performances should be from memory unless specific permission has been given by the
Head of Keyboard to use the score. At least half of the total duration of the recital must be solo
works for piano: the remainder can be instrumental or vocal duo material or chamber music. A
break of up to and including 5 minutes can be taken but must be included in the overall time
allowed for the recital.
The programme should not include any work previously offered by the student in a Year 1 recital,
without the permission of the Head of Keyboard.
30
RECORDER
Recital Examination 50-60, 42-50, 33-40 or 25-30 mins
A recital, timed to run for 50 - 60, 42 – 50, 33 - 40 or 25-30 minutes, according to the Principal
Study type taken. The programme should be planned to offer contrast and to illustrate the range
of the instrument’s and the player’s capabilities. Up to 11 minutes can be as principal performer
in an ensemble.
repertoire.
31
TENOR TROMBONE
50-60, 42-50, 33-40 or 25-30
Repertoire Recital
mins
type taken. An interval of up to10 minutes may be taken for a 50-60 minute recital, and up to 5
minutes for a 42-50 or 33-40 minute recital. No break should be incorporated into 25-30 minute
recitals.
The programme should be planned to offer contrast and to illustrate the range of the instrument’s and
player’s capabilities.
The programme should be original and illuminating, offering fresh insight into the nature of the instrument
and its repertoire. How this is achieved is the student’s responsibility but it might entail one or more of the
following approaches:
repertoire.
Students are encouraged to play one piece or movement from memory. The programme should
not include any work previously offered by the student in a Year 1 recital.
32
VIOLA
both in terms of size and style, in the instrument’s repertoire;
Royal College of Music.
authorisation is given by the Head of Strings. It is then the candidate’s responsibility to ensure that
33
VIOLIN
both in terms of size and style, in the instrument’s repertoire. Works originally scored for
violin and orchestra are acceptable;
No more than one fifth of the programme may consist of material previously offered for
assessment at the Royal College of Music.
authorization is given by the Head of Strings. It is then the candidate’s responsibility to ensure that
34
ELECTIVE UNITS
Students who have credits available after making their Core and Principal Study choices can choose
from a range of further units on offer. The electives available this year are as follows:
Level M
Major Second Study, 40 credits
Minor Second Study, 30 credits
Related Study, 20 credits
Concerto Competition, 10 credits
Conducting, 20 credits
Contemporary Music in Action, 10 credits
Continuo Accompaniment, 10 credits
Duo Performance, 20 credits
Experimental Music, 10/20 credits
Historical Performance, 10/20 credits
Keyboard Improvisation, 20 credits
Music, Culture & Contemporary Media, 10/20 credits
Professional Portfolio: Professional Skills, 10 credits
Professional Portfolio: Studio Experience, 10 credits
Professional Portfolio: New Media, 10 credits
Recital Accompaniment, 10 credits
Repertoire Project, 10 credits
Sources of Performance History, 10 credits
Level 3
Alexander Technique, 20 credits
Chamber Music, 20 credits
35
MAJOR SECOND STUDY
Level Credit Rating Delivery Unit Code

M 40 21 hours of 1:1 tuition M4E01
• enhanced your performing skills on a second instrument relevant to your Principal Study,
mastered its distinctive technical demands and acquired fluency in transferring between
instruments
• broadened your knowledge of repertoire of this instrument
• gained performing experience on this instrument
• developed contacts with your future professional colleagues.
Summary of unit
• 1-to-1 guidance tailored to individual needs – this is likely to focus upon those technical aspects
which are distinctive to the instrument but will also be concerned with the exploration of new
repertoire and preparation for specific performances
• continued exploration of the instrument’s repertoire, not only in performance but also through
• See individual syllabus for details
If Major Second Study is taken for the first time in Year Two, then the examination format in
the Year One unit description is followed, which includes a Technical Examination.
36
MINOR SECOND STUDY

NB: Students intending to take Minor Second Study must first consult the appropriate Head of
Faculty
• enhanced your performing skills on a second instrument relevant to your Principal Study, largely
mastered its distinctive technical demands and acquired fluency in transferring between
instruments
Summary of unit
repertoire and preparation for specific performances
• continued exploration of the instrument’s repertoire, not only in performance but also through
NB: If Minor Second Study is taken for the first time in Year Two, then the examination format
in the Year One unit description is followed, which includes a Technical Examination. In this
case, the Repertoire Examination is only 15 minutes long.
37
RELATED STUDY

NB: Students intending to take Related Study must first consult the appropriate Head of Faculty
• enhanced your performing skills on a second instrument relevant to your Principal Study,
learning its distinctive technical demands and gaining some fluency in transferring between
instruments
Summary of unit
repertoire and preparation for the examination
• continued independent exploration of the instrument’s repertoire
38
CONCERTO COMPETITION
Level Credits Delivery Unit Code

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

• show the potential, in a performance with piano accompaniment, to deliver a performance as a
soloist, with conviction and authority
Unit content
The coaching for this unit is intended to complement and augment preparation undertaken as part of
the Principal Study lesson. This may be given by the Principal Study professor or by a different professor.
Content will focus upon the special performing qualities required of concerto soloist.
• the performance of a Concerto during the Faculty-stage round of the Concerto Trials, 100%
This may be undertaken in the Autumn, Spring or Summer Terms, although the Spring Term is
recommended.
39
CONDUCTING
Unit Leader: Peter Stark
Level Credits Prerequisite Delivery Unit

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

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

• score reading, including a knowledge of transposing instruments; instrumental capabilities
including details of bowing, phrasing, articulation and tone production, instrumental balance and
intonation
• rehearsal preparation, planning and techniques; consideration of the role of a conductor in
rehearsals and performance; practical experience of conducting
• techniques of developing personal interpretations and the ways of communicating this through
rehearsal
• rehearsal and concert performance by College ensemble of 10-15 minutes duration, 60%
• observed ensemble rehearsal of a short section of a set prepared work (approx 5 minutes)
followed by viva voce examination, 40%
40
CONTEMPORARY MUSIC IN ACTION
Unit Leaders: Timothy Salter and Jean-Philippe Calvin

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

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

• Advising each other in approaches to writing for the medium
• Writing, rehearsing, performing and recording the work(s)
• Writing a 1000-word commentary on a collaboration
• a short written account of at least 1000 words reporting on the collaborative process, 30%
• performance(s), live in concert and recorded (on CD) of the works that are the products of your
collaboration, totalling a minimum of five minutes. For composers your work is assessed by
score-reading supported by performance, 70%
41
CONTINUO ACCOMPANIMENT
(bassoon, cello, double bass, harpsichord, lute, organ, theorbo, viola da gamba)

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

• study of changing styles of continuo accompaniment and their application in practice
• participation in selected repertoire classes or coaching sessions exploring appropriate repertoire
• participation in selected rehearsals and performances
• Performance of between 10-15 minutes, of at least two contrasting movements, 100%
42
DUO PERFORMANCE
Unit Leader for Duo Performance: John Blakely
Level Credits Prerequisite Delivery Unit Code

M 20 Part of an established duo, both of 10 hours coaching tbc
whom should be taking this unit or
the Level 3 equivalent
NB Both members of the Duo must elect to take this option since the coaching provision is in
addition to Principal Study entitlements. There should be no duplication of repertoire between
the Duo Performance unit and the Principal Study recital examination in the year in which both
units are taken.
Learning outcomes
• demonstrate a high level of rapport with your duo partner, enabling work towards the
creation of unified, well-balanced performances in which the personal convictions and
views of the two partners are successfully blended
• perform, to a high standard, significant examples from the repertoire and be aware of the
overall extent and character of this repertoire, the contexts in which it has developed and
any issues regarding performance practice, historical or contemporary
• demonstrate strong inter-personal skills and the organizational and entrepreneurial
initiative required to secure external engagements and develop the duo’s professional
profile
Unit content
• selection, under the guidance of the duo tutor, of appropriate repertoire for detailed
preparation at this level
• coaching on issues of duo playing – balance, intonation, ensemble, interaction, rehearsal
protocols – as prompted by the repertoire covered
• exploration of wider repertoire: study of scores and some brief play-through exercises
• supervised preparation of 30 minutes’ music to concert standard
• Performance of a Duo Recital, usually held in May, during the Summer Term.
43
EXPERIMENTAL MUSIC
Unit Leader: Matthew Shlomowitz

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

• Individual supervision, largely responsive to individual plans and projects
• Preparation of solo and ensemble projects
This course combines practice and theory. Students will study and perform several works that relate to
these themes. Better to understand why such work is being created, students will read texts by
practitioners and theorists from the fields of dance, music and drama addressing practical and aesthetic
concepts.
10 credits:
• 1000-word summary of one set reading, 40%
• Preparation and performance of short solo and ensemble pieces, 60%
20 credits:
• Two 1000-word summaries of set readings, 40%
• Preparation and performance of short solo and ensemble pieces, 60%
44
HISTORICAL PERFORMANCE
Level Credits Delivery Unit

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

• preparation, rehearsal and presentation of ensemble projects;;
• College Historical Performance concerts
10 credits:
• Assessed participation in either one performance project during year, 100%
20 credits:
• Assessed participation in two performance projects during year, 50% each
45
KEYBOARD IMPROVISATION
Unit Leader: David Graham

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

• broaden your knowledge of different styles associated with this skill
• gain performing experience in this activity
Unit content
• guidance tailored to individual needs – this is likely to focus upon those technical and
theoretical aspects which are distinctive to this activity but will also be concerned with the
exploration of the ways this skill and can be used in a wide variety of musical situations and how
it can be used for educational purposes
• performance as appropriate
• continued exploration of this skill , not only in performance but also through self-directed
listening to both live and recorded music
• Practical Exam of 15 minutes duration, 100%
46
MUSIC, CULTURE & CONTEMPORARY MEDIA
Unit Leader: David Burnand

M 10 or 20 1 or 2 x 10 hours of project tbc
work, class attendance and
individual tutorials
Unit objectives
• develop the skills and methods necessary to promote a more informed awareness and
appreciation of Western Art music, using contemporary media;
• develop techniques in audio and video podcasting, microphone and camera use;
• display an awareness of copyright and intellectual property issues
Unit content
The course will begin with group discussions of these media and their potential to communicate ideas
about performance and composition. Students will then be introduced to the techniques of audio and
video podcasting, as well as presentation skills with microphones and cameras, in order to develop
programmes based on individual musical interests. Copyright issues will also be considered, where
necessary. Some podcasts may be broadcast on the RCM website.
10 credits:
• Designing a 9-10 minute audio podcast for uploading to YouTube, Vimeo, iPhone and/or
embedding in a web page, 100%
20 credits:
• Designing a 9-10 minute audio podcast for uploading to YouTube, Vimeo, iPhone and/or
• Designing a 5-6 minute video podcast for uploading to YouTube, Vimeo, iPhone and/or
47
PROFESSIONAL PORTFOLIO: PROFESSIONAL SKILLS
Unit Leader: David Bahanovich
Level Credits Unit Code

M 10 M1E05
Delivery
9 hours of lectures supported by 6 hours of group seminars, plus an hour’s individual tutorial support
Unit objectives
• enhance your understanding of the structures, management and financing of the professional
world of music
• identify ways in which your own career can be enhanced by entrepreneurial skills
• plan strategies for your own career management in a Personal Development Plan (PDP)
• reflect upon and document short-, medium- and long-term career strategies
Unit content
Lectures including following topics: Introduction to the situation and status of Western Art music in
the twenty-first century; promotional material, public relations and marketing; changing patterns in
the recording industry; internet and digital opportunities; professional decision making; Introduction
to business plans and an entrepreneur’s toolbox
Seminars for planning and writing the PDP, supported by an individual tutorial.
• Completion of a PDP, according to the given template, 40%

• Either a 1500-2000 word written critical evaluation of issues raised in lectures or a
business/marketing plan, 60%
48
PROFESSIONAL PORTFOLIO: STUDIO EXPERIENCE
Unit Leader: Timothy Salter

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

assessment tasks
• Performing in the studio environment
• Acting as producer for student performers
• Selecting takes for inclusion in the final submission
• Preparing clear packaging for the final CD
The assessment is based on a mark agreed between the unit leader and the studio producer who is the
sound engineer at the recording sessions. It reflects your attainment as a recording artist as evidenced by
the CD that is the product of this unit as well as your performance during the session, as a producer and
an editor in your post-session work.
49
PROFESSIONAL PORTFOLIO: NEW MEDIA
Unit Leader: David Rees
Level Credits Unit Code

M 10 tbc
Delivery
3 x 2 hr classes introducing practical ways of using emerging digital technology followed by 4 hours
‘drop-in’ workshops
Unit objectives
• become aware of the possibilities for career enhancement offered by emerging digital
technology
• make use of this technology in a way tailored to your own portfolio of skills and career
objectives
• learn to assess the effectiveness of digital tools and how their impact might be improved in
future
Unit content
• Assistance with establishing how using online technology might enhance your work and career
objectives
• Reviewing different strategies for engaging people online
• Guidance through the planning and development of a personalised set of digital tools.
• Learning to assess and strengthen the effectiveness of your work using analytics tools.
• Written proposal and plan for deployment, c. 1500 words, including where appropriate,
illustrative material, 30%
• Portfolio of resources and report on their impact c. 1500 words, including where appropriate,
illustrative material, 70%
50
RECITAL ACCOMPANIMENT
Unit Leader: John Blakely

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

Competition
• show the ability to complement the performance of a soloist colleague, adopting a prominence
appropriate to the nature of the repertoire
• demonstrate the reliability, sensitivity and musical awareness essential to a fine accompanist
Unit content
Coaching which complements and augments preparation undertaken as part of the Principal Study
lesson. It may be given by your own Accompaniment professor, by the soloist’s Principal Study professor
or by another professor. Content focuses upon the special performing qualities required of the pianist in
duo and chamber situations.
• Performance of a minimum of 12 minutes of accompanimental material, 100%
51
REPERTOIRE PROJECT
Unit Leader: Ingrid Pearson

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

• Collating and evaluating this information
• Presenting the material using the template
• Providing a rationale for performance decisions based upon this material and possibly your own
preparation and performance of the chosen piece
• Submission of a completed template, of between 2000 and 2500 words, 100%
52
SOURCES OF PERFORMANCE HISTORY
Unit Leader: Paul Banks

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

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

the collections of the Centre for Performance History, 100%
This might take the form of a study of one of the instruments or paintings in the CPH collections
and its significance for performance history, an essay drawing on evidence from the programmes
collection at the CPH collections, or a study of one or more historic recordings.
53
ALEXANDER TECHNIQUE
Unit Leader for Alexander Technique: Peter Buckoke
Level Credits Prerequisite Delivery Unit

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

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

• techniques for dealing with performance anxiety
• good use of the eyes in performance
• presentation skills for auditions and the concert platform
• awareness of the moment of choice in decision making
• exploration of the use of language and body language in communication
• a cooperative research project
• individually appropriate hands-on Alexander work from the professor
• Collaborative research project (with one/two other students in the group) selection of a topic
and exploration of issues relating to this including formulation of questionnaire for circulation
among RCM student body. Individual written report produced as final outcome (2,000 words
excluding appendices), due in January, 50%
• 2,000-word reflective report: critical evaluation of the effects of having followed the course, due
in Summer term, 50%
For full details see the Alexander Technique syllabus, available on MUSE.
54
CHAMBER MUSIC
Area Leader for Ensemble Activities: Elisabeth Cook
(Head of Undergraduate Programmes)
Level Credits Prerequisite Delivery Unit Code

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

performance in Week 3 of the Summer Term, 100%.
• the repertoire list outlining the material presented to the examiners must be submitted to the
exam panel before the start of the exam
For full details, see the Chamber Music syllabus, available on MUSE.
55
GENERAL INFORMATION
Vital and comprehensive details about most facets of College life are found on MUSE, the College’s
web portal, including:
• Absences
• Additional Studies
• Changing Professor or Mode of Study
• Competitions
• Course Documents & Forms
• Deferring Examinations
• Fees and Funding
• General Information for Students
• Information Communications Technology (ICT)
• International Exchanges
• Interrupting Studies or Leaving
• Opening Hours
• Performance Management Department
• Planning & Review Week
• Practical Examination Procedures
• Principal Study Syllabuses
• Procedures for Submission and Assessment of Postgraduate Written Work
• RCM Students’ Association
• Registration
• References
• Registry
• Regulations for Students
• Room booking procedures
• Studios
• Submission of assignments
• Travel and Student Oyster Card
• Virtual Learning Environment (vle)
All students are required to activate their College email account at the start of the academic year.
This is the primary means of communication between you and the College.
Access to Learning Fund (ALF)

ALF provides a limited amount of government money to assist undergraduate and postgraduate UK
students who are suffering financial hardship. The conditions and application forms are available
from Registry Services or Student Services. Application forms may be submitted to the Welfare
Officer. Meetings are held five times during the academic year. The Access to Learning Fund is not
available to Artist Diploma students. Students are advised to look out for the notices inviting
students to apply for Hardship Fund grants, or see the Welfare Officer. Application deadlines are
communicated to students via their RCM email address.
56
Appointments with Graduate School staff
Dr. Amanda Glauert, Director of Programmes & Research (Room G11) and Dr. Ingrid Pearson, Deputy
Head of Graduate School (Room 117) welcome regular contact with students. You can sign-up for a
time to see Ingrid on the noticeboard outside her office door, Room 117, on the first floor of the
Blomfield Building. Ingrid can be contacted at iepearson@rcm.ac.uk and tel. 020-7591 4364. Persons
wishing to see Amanda should arrange this with her assistant, Rebecca Mair, in Secretariat,
rmair@rcm.ac.uk tel. 020-7591 4312.
Centre for Music and Multimedia (CMM)

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

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

The CPS promotes collaborative research and teaching among musicians and scientists at the Royal
College of Music, London. From the investigation of music cognition and perception to the study of
expert performance, the CPS benefits from its position within a vibrant musical environment. As
such, the Centre is particularly well placed to explore the interface between skilled artistry and
scientific discovery. A number of postgraduate students are actively involved in the work of the CPS.
For further information see the CPS webpages at www.cps.rcm.ac.uk/CPS/Home
57
Grove Forum
Staff and students at the College are involved in a wide range of research activity. Grove Forums are held
on most Thursdays during term from 5:15pm, and offer an opportunity for all members of the College
to hear the fruits of research by colleagues and by a wide range of guest speakers. The format of the
meetings is flexible – including concerts, lecture-recitals, discussions and scholarly papers – and the
atmosphere is informal and friendly. Proposals for presentations from post graduates are welcomed, and
can be emailed to grove@rcm.ac.uk
Library
The Library is open from 9am to 7pm from Monday to Thursday, and from 9am to 5:30pm on Friday.
and offers a comprehensive service for advice, lending, reference, listening and research. One of the
world’s major collections, it offers a comprehensive service for advice, lending, reference and listening.
A wide range of reference material (dictionaries, encyclopaedias, catalogues, bibliographies, collected
editions and journals) is maintained, and an increasing number of works can be consulted on CD-
ROM or via the internet. There is a reading room for 40, a listening room for 20 and an IT room with
11 computers (additional computer access is provided in a multimedia room with Sibelius score-
writing facilities, one floor above). Audio-visual facilities include CDs, LPs, cassettes, tapes, DAT, mini-
disc, videos and DVDs. Postgraduates are strongly encouraged to make use of the excellent general
humanities library in neighbouring Imperial College for wider, interdisciplinary reading, and to join
the public music libraries in Kensington and Westminster. New postgraduates should attend a library
induction session during their first weeks at College. This vast resource will open many doors for you
and may well lead to life-changing experiences!
Noticeboards
The College has a range of noticeboards on which important information is posted. It is essential that
you locate those relevant to you and that you consult these on a regular basis.
Postgraduate Noticeboards Registry corridor (Registry side)
Faculty Noticeboards
Keyboard Registry corridor (side opposite Registry)
Strings Registry corridor (side opposite Registry)
Brass Walkway between Blomfield and South buildings
Woodwind Walkway between Blomfield and South buildings
Vocal Top of stairs leading to library
Composition Top of stairs leading to library
Historical Performance Top of stairs leading to library
Percussion Percussion Suite
Other Noticeboards
Chamber Music Registry corridor (side opposite Registry)
Competitions Registry corridor (Registry side)
Orchestral Registry corridor (Opposite side), also in Orchestral office
corridor
Alexander Technique Blomfield building 2nd floor corridor
External Engagements Blomfield building 2nd floor corridor
Students’ Association South end of walkway between Blomfield and South buildings
58
Questions and Problems
As a general rule, you can follow these lines of enquiry in order to find solutions to queries or
problems that arise:
activity (i) first step (ii) if not resolved (iii) finally
1-to-1 lessons Individual professor Head of Faculty Deputy Head of Graduate

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

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

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

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

Programmes Team Graduate School & Research
If you have a personal matter you wish to discuss, you should speak first to the Counsellor.
If your complaint is about a general programme matter and involves several students, you may wish
to take it first to the Students' Association to request that they take forward the complaint.
If the complaint is about the conduct of a member of staff, you should address it to the Registry
Manager, Elly Taylor, etaylor@rcm.ac.uk
Advice on College regulations and procedures may also be obtained from Rebecca Mair, in
Secretariat.
If you wish to appeal an examination decision refer to the procedure for a Review of a Decision by a
Board of Examiners in the College General Regulations for Students, available on the website.
If your complaint is about a serious disciplinary matter refer to the Student Code of Conduct in the
College General Regulations for Students.
The steps outlined above should be used for any problem or complaint you have. See also the steps
in the College's Complaints Procedure for students, in the College General Regulations for Students.
If you wish to use any of these procedures, you are asked to contact the Registry Manager.
Pigeonholes
All students have a pigeonhole situated half-way down the stairs leading to the Library. It is essential
that student check their pigeonhole daily whenever they are in College.
59
Woodhouse Professional Development Centre
The Woodhouse Professional Development Centre is on the second floor of the 1895 building.
It provides support and guidance to all RCM students and recent graduates, in preparation for a
lifelong career in music. This unique facility was established in 1999 and continues to thrive.
The Woodhouse team provide a range of performance opportunities, including education and
outreach work, and supports musicians through these experiences, encouraging them to develop the
initiative, flexibility and imagination required to thrive in an ever-changing profession. New
postgraduates are strongly advised to visit the Centre during their first few weeks in College.
The Department is open from 9.30am to 5.30pm (closing at 2pm on Wednesdays) and the following
resources are available:
• performance opportunities in a wide range of venues and situations

• education and outreach project work
• instrumental and vocal teaching experience
• advice on self promotion including CV, biography, publicity materials, and photography
• volunteering opportunities
• guidance and support in making job and trust applications
• funding advice including sponsorship, grants and trusts
• external competitions and scholarship information
• a weekly email jobs bulletin listing current work vacancies in music
• Library resources and information
• access to useful contacts throughout the music business
60
WHO’S WHO
Graduate School
Amanda Glauert, MA, PhD, ARCM, HonARAM Director of Programmes & Research
Ingrid Pearson, BMusHons, PhD, DipEd, LTCL, LMusA Deputy Head of Graduate School
Ashley Solomon, ARAM, HonRCM Head of Historical Performance
Faculty Heads
Nigel Black, FRCM Head of Brass
Simon Channing, BA, PGCert Head of Woodwind
David Hockings, DipRCM, ARCM Head of Percussion
Vanessa Latarche, HonARAM, FRCM, FTCL, LRAM, ARCM Head of Keyboard
Mark Messenger, LRAM, FRCM, FRAM Head of Strings
William Mival, MMus, FRCM Head of Composition
Nicholas Sears, MA Head of Vocal Studies
Research Centre Heads

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

MMUS IN ADVANCED PERFORMANCE

YEAR 2 UNIT DESCRIPTIONS

• Principal Study Units 11

• Principal Study syllabuses 16

* when not taken as part of Pathway

Orchestral Performance 30 credits

Unit objectives and learning outcomes

Level Credit Rating Delivery Unit code

Unit objectives and learning outcomes

Successful completion of this unit means that you will have:

Level Credit Rating Delivery Unit code

Unit objectives and learning outcomes

Successful completion of this unit means that you will have:

• enhanced your skill and confidence as an accompanist of singers and instrumentalists

• Assessed participation in themed performance projects at various times during year.

Level Credit Prerequisite Delivery Unit Code

Unit objectives and learning outcomes

Successful completion of this unit means that you will have:

• displayed a mastery of a complex and specialised area of knowledge and skills

• Preparation and submission of an abstract outlining the proposed project

Level Credit Prerequisite Delivery Unit Code

Unit objectives and learning outcomes

Successful completion of this unit means that you will have:

• Preparation and submission of an abstract outlining the proposed presentation

Level Credit Rating Prerequisite Delivery Unit Code

Unit objectives and learning outcomes

Successful completion of this unit means that you will have:

• See individual syllabus for details 80 credits

Level Credit Rating Prerequisite Delivery Unit Code

Unit objectives and learning outcomes

Successful completion of this unit means that you will have:

• See individual syllabus for details 70 credits

Level Credit Rating Prerequisite Delivery Unit Code

Unit objectives and learning outcomes

Successful completion of this unit means that you will have:

• See individual syllabus for details 60 credits

Level Credit Rating Prerequisite Delivery Unit Code

Unit objectives and learning outcomes

Successful completion of this unit means that you will have:

• See individual syllabus for details 40 credits

• The length of the exam

Other important sources of information

What to do if you have any queries

• Planning the programme to include unusual and illuminating juxtapositions of pieces

• Making imaginative use of written or spoken introductions to explain these elements,

• Planning the programme to include unusual and illuminating juxtapositions of pieces

• Making imaginative use of written or spoken introductions to explain these elements,

• Planning the programme around the systematic exploration of a particular area of

• Planning the programme to include unusual and illuminating juxtapositions of pieces

• Making imaginative use of written or spoken introductions to explain these elements,

Max P. Pottag, French Horn Passages (Volumes 1 and 2)

Bryant, Baker et al, The Business

• Planning the programme to include unusual and illuminating juxtapositions of pieces.

• Making imaginative use of written or spoken introductions to explain these elements as

A Sonata of 3 - 4 movements (e.g. Jose / Ginastera);

A substantial solo or ensemble arrangement made by the student;

Figured Bass Accompaniment

T. Charlston, Preface to The Keyboard Music of Albertus Bryne (Oslo, 2008)

• Planning the programme to include unusual and illuminating juxtapositions of pieces

• Making imaginative use of written or spoken introductions to explain these elements, as

• Planning the programme to include unusual and illuminating juxtapositions of pieces

• Making imaginative use of written or spoken introductions to explain these elements, as