MUSIC Guildhall Artist Handbook 2014-15

Guildhall Artist Masters Programme Handbook 2014-15
Guildhall Artist Masters Programme

Handbook 2014-2015
This Handbook is designed to guide you in your Postgraduate Programme of
Studies at the Guildhall School of Music & Drama. It includes:
The overall aims of the Programme.

A description of your year of study, with required core and elective
modules.
The academic timetable for your year of study.
Information on academic, personal and administrative support.
Attendance and assessment regulations.
The Assessment Criteria for performance and written work.
A detailed description of the Core and Elective modules.
Important - this Handbook must be complemented by:

1. Your Principal Study Handbook, which contains detailed information
about your Principal Study module and Principal Study Department; including
teaching, assessment requirements other learning and artistic activities
2. The Student Handbook 2014/15, which includes information about the
Library; Student Affairs (health, counseling, Sundial Court accommodation,
hardship fund), Finance, Students Union, Registry, Guildhall Trust (for
bursary support), General Support and Administration (such as audio visual,
front desk, room booking, caf, security etc.), IT, floor plans of the School and
where you can find School Policies (e.g. Students Code of Conduct and the
full Appeal Procedure).
If you need more information about this Handbook, or clarification on its
content, please dont hesitate to contact Alessandro Timossi, Head of Music
Programmes and Academic Studies, room 102, tel. 020 7382 7271,
alessandro.timossi@gsmd.ac.uk.
The Guildhall Artist Masters Programme is validated by City University
London. The programme is owned, delivered and managed by the Guildhall
School of Music & Drama and the successful completion of the programme
leads to a City University award. A guide for students on validated
programmes is available from the City University website at
http://www.city.ac.uk/adu/vandp/validation.html
This Handbook is available on the Student Intranet, and, on request, in
alternative formats (i.e. large print).
Contents
Aims of the Guildhall Artist Masters Programme
Learning Outcomes
5
5
Programme Structure
Graduate Certificate Year

Graduate Certificate Year Timetable: 2014/2015
Guildhall Artist Masters Part One
Part One Timetable: 2014/2015
Guildhall Artist Masters Part Two
Part Two Timetable: 2014/2015
6
9
10
14
15
17
Guildhall Artist Masters Programme Management

Students Contribution to Programme management
Student Support
Principal Study
Academic Support
Personal Support
Administration and General Information
Senior Members of Staff
Communication
School Activities
Concert Opportunities
Outside Engagements
Internal Prizes and Competitions
Pianos
Instrument Loan
Room Booking Policy
AV Services
18
18
18
18
19
19
19
19
21
21
21
21
22
22
22
22
22
Information for students in receipt of Scholarship awards
23
Template for Programme biographies (internal and external)
25
Attendance Regulations
Swiping In
Attendance Monitoring
Clashes
Leave of Absence for outside engagements
Absence for medical and personal circumstances
26
26
26
26
27
27
Practical Assessment regulations

Programmes for assessments
Submission and considerations of Extenuating Circumstances
ECM Extenuating Circumstances Medical
ECP Extenuating Circumstances Professional
ECO Extenuating Circumstances Other
27
27
27
27
27
27
Written submissions regulations

Content of written work
Cover sheet for Written Submissions
Submission deadlines and late submission
Extensions to submission deadlines
Incomplete folios/submissions
Presentations: total penalties up to 10 points
Referencing: total penalties up to 15 points
Academic Misconduct
28
28
28
28
28
29
29
29
29
End of Masters Part 1 Final Recitals procedures

Choice of Music
Timing of Recital
Recital Programme Notes
30
30
30
30

Provision of scores for Examiners
Stage Management and Platform Manner for Recitals
Memory Requirements
Orchestral Auditions
Jazz Performance
31
31
31
31
32
Masters Part Two Internal Recitals
32
Assessment specialist instrument, prepared or

additional piano request information
33
Assessment specialist instrument, prepared or

additional piano request form
34
Charges for resits and deferrals
35
Arrangements and timings of feedback to students on their

Assessed work
35
Are you over the limit? Information sheet
36
Assessment Regulations
37
Appeals and Complaints Procedures

Academic appeals
Complaints
Where to find information
39
39
39
40
M Level Assessment Criteria

Performance Pathway
Performance Pathway (Jazz)
Composition Pathway (written submission and viva voce)
Leadership Pathway (written submission and viva voce)
Written work
Self-Reflective Account
41
41
42
43
44
45
46
Core Contextual modules

Induction to the Guildhall Artist Programme (Masters Part 1)
Guidelines for the Self-Reflective Account (induction module)
Integration and Professional Development
Guideline for the Self-Reflective Account (integration module)
Critique of Personal Development (Masters Part 2)
Guidelines for the Critique of Personal Development
Professional Practice 1 and 2 for Leadership Pathway only
Performance Practice 1 and 2 Performance Pathway, Opera Specialism only
Written English (module without credit)
47
48
51
52
56
58
61
62
65
67
Electives
Additional Principal Study
Aesthetics and the Philosophy of Art
Analysis
Baroque Studies
Body Matters
Chamber Music
Classical Studies
Collaborative Practice: Cross-Arts contexts
Collaborative Practice: Education contexts
Conducting
Counterpoint
Dramatised Poetry and Song
Electro-Acoustic Music
Historical Performance: Principals and Research
Interpretation through Improvisation
Introduction to Fugue
68
69
71
73
75
77
79
81
83
86
89
91
93
95
97
99
101

Jazz Composition and Arranging
Jazz Improvisation
Medieval and Renaissance Studies
Music for Media
Opera and Theatre
Piano Works
Research in Performance, Composition or Leadership
Song Accompaniment
Song Interpretation (for singers)
Voiceworks
103
105
107
109
111
113
115
118
120
122
Aims of the Guildhall Artist Masters Programme

The Programme aims to:
Develop each students abilities as a practical musician, according to the individual pathway/professional
specialism, demonstrating technical facility and musical flexibility, the acquisition of an individual artistic
voice projecting musical intention at professional level, and a capacity for critical self-reflection.
Develop understanding and experience of the nature of research as it may relate to the relevant pathways,
including aspects of contextualizing artistic practice and planning, and implementing and evaluating
developmental projects. Make explicit a range of transferable lifelong learning skills embedded within such
practice-based research, which help to broaden and sustain opportunities for future employment.
Give opportunity to acquire specialist or additional knowledge in at least one area of supportive study of the
students choice.
Promote each student's process of continuing and refining their personal and artistic development,
integrating physical, emotional and intellectual aspects of music making.
Prepare musicians for entry in the profession at the highest level, and give them the flexibility, imagination
and evaluative tools to be able to contribute to and to develop artistic and professional practice in
contemporary music life, building self-reliance and the confidence to further their career independently.
Develop the ability to communicate clearly and effectively in both written and oral format to both specialist
and non-specialist audiences and to articulate their musical processes and experiences in a manner which
demonstrates self-awareness and research capacity.
Encourage students to recognise, develop and consolidate themselves as intelligent musicians and
practitioners, through expanding and integrating their own intellectual, emotional and physical resources,
reflecting on the nature of musical excellence, challenging themselves and taking risks within their field of
expertise, planning and implementing their own projects, either through independent action or as a member
of an appropriate ensemble or project team.
Provide the students with a learning environment that enables them to recognise and nurture their
strengths, recognise and surpass their limitations, assimilate feedback from different sources including
peers and integrate it in their development, and supports their need for individual study and reflective
practice.
Learning Outcomes
Professional Training & Technical Skills
At successful completion of the programme, students are expected to:
A1
Have developed technical proficiency and artistic skills to a level commensurate with
professional expectation, in their principal study and in any other area complementary or additional to
principal study, identified by them as essential to their artistic and professional development. (3.1.1,
3.1.5, 3.2.1, 3.2.5, 4.1.2, 4.1.3)
A2
Have acquired and refined all technical and artistic resources for tackling progressive and unexpected
professional challenges. (4.2.2)
A3
Be capable of successfully approach and internalise complex musical material and concepts. (4.1.1,
4.2.1)
A4
Be capable of establishing an appropriate integration between imaginative, cognitive, Physical and
emotional involvement in music. (2.0.4, 4.2.2)
A5
Be able to deal with research material of both practical and theoretical nature, both systematically and
creatively. (4.2.1)
A6
Be capable of critically evaluating, synthesizing and expressing in artistic form intellectual and emotional
experiences. (4.1.4, 4.2.1)
Knowledge and understanding
On successful completion of this programme the students will have knowledge and understanding of:
B1
Repertoires and resources relevant to their principal study, both in terms of general critical
awareness and of identifying, within them, specific areas, styles, works and practices where they
individually have particular capacity and empathy. (3.1.1, 3.1.3, 3.1.5, 3.2.5, 4.1.4)
B2
Reflective and creative processes appropriate to individual, duo and small group contexts.
B3
Methods and strategies that enable independent enquiry into practical and musicological aspects
relevant to their principal study. (4.2.1)
B4
Specific areas, either complementary or additional to principal study, identified by them as essential to
their artistic and professional development. (4.1.4)
B5
Professional practice, in terms of awareness of performance and creative opportunities and of the
5

implications of the multi-disciplinary nature of music for contemporary society. (4.2.2)
B6
Processes that foster and develop their individual interpretation and creation, through the combination
of theory, practice, self-reflection and interaction with other realms of human experience and activity.
(3.1.4, 4.0.1, 4.2.1)
Transferable Skills
On successful completion of this programme the student will be able to:
C1
Learn independently, and apply the skills of reflective practice to their actions as artists and practitioners,
to enable continuing professional development.
C2
Take initiatives and interact professionally with others, in complex and unpredictable situations. (4.2.2)
C3
Present themselves publicly and project ideas clearly and intelligently in oral and written modes to a
range of audiences, both specialist and non-specialist, and in audition and interview contexts. (4.2.2)
C4
Generate professionally presentable written and audio-visual material. (4.2.2)
C5
Deliver a high-quality product to requirement. (4.2.2)
C6
Be confident in their own individual artistic voice and purpose, and in their technical and intellectual
abilities to plan and implement performances and creation at a professional level, and take direct
responsibility for their own professional future. (4.2.2)
C7
Maintain an intense, regular and highly energised work pattern.
C8
Lead projects and promote personal responsibility, self-discipline and professional codes of conduct.
(4.2.2)
C9 Recognize challenges, respond positively to personal criticism, and apply critical capabilities constructively
to both their own work and the work of others. (4.2.2)
Programme structure
Flow diagram to show entry points, progression and qualifications
Possible exit
award
Possible
entry point
Possible
entry point
Graduate
Certificate
Guildhall Artist
Part 1
Guildhall Artist
Part 2
1 year Full
time
1 year Full
Time or 2
years PartTime *
1 year Full
time
*or 2 years Full-time (Opera and Leadership only)

Students are enrolled on the programme in one of the following pathways:
Performance
AIS (Advanced Instrumental Study)

Chamber Music
Historical Performance
Jazz
Opera (please note that Part 1 is taken over two full-time years rather than one)
Orchestral Artistry
PACC (Piano Accompaniment)
VT (Vocal Training)
6
Graduate
Certificate
PGDip or MMus
MPerf, MLead or
MComp

Composition
Leadership (please note that Part 1 is taken over two full-time years rather then one)
Number of Parts to the programme & their duration
Each year of your programme (Grad Cert, Part 1 or Part 2) contains a mixture of core elements and
elective modules.
The table below shows an outline of the requirements and the
credits associated with each component.
You will also be involved in extra curricular activities that are vital to the training of musicians and
these are both organized by the school and initiated by the students themselves.
Year
of Core Modules and credit weighting
Programme
Elective
Total
Modules
and credits
credit weighting
Graduate
Certificate
Guildhall Artist
Part 1
N/A
Principal Study
(90 credits at H6 level)
Principal Study
(120 credits
at M7
level)
Induction
(10 credits at M7 level)
Induction
Integration
&
Professional
Development
Guildhall Artist Principal Study Projects Critique of Personal
Part 2
Portfolio
Development
(150 credits at M7 level) (30 credits at M7 level)
2 or 3 electives 180
(totalling
40
credits at H6 or
M7 level)
N/A
Progression and awards

Progression from one year of the programme to the next is conditional as follows:
From Grad Cert to Part 1: an overall pass with a minimum merit level (60%) in
the PS module aggregate mark.
From Part 1 to Part 2: an overall pass with a minimum merit level (60%) in the
PS module aggregate mark, and submission of a plan of Artistic and
Professional Development.
Awards
The following awards and their credit values and notional learning hours are
associated with the programme:
Graduate Certificate (GradCert) at successful completion of the Graduate Year with
specific modules for 100 credits.
PGDip at successful completion of specific modules for a total of 130 credits.
MMus at successful completion of the standard one year pathway with specific
modules for a total of 180 credits* with a minimum of 160 at level M7.
MPerf (Guildhall Artist), MLead (Guildhall Artist) or MComp (Guildhall Artist) at
successful completion of the two year standard pathway, 360 credits* with a minimum
of 320 at level M/7.
* Students undertaking the Grad Cert year followed by Part 1 and Part 2 will be
expected to have taken and passed an additional 90 credits at Level H6.
100
180

Content
The Graduate Certificate Year consists of two core modules as outlined below:
Credit
value
Code
Level
Title
GMPER4003N
GMCOM4033
GMLEA4043
GMCON4001N
H/6
Graduate Certificate Principal Study in

Performance or Composition or Leadership
90
M/7
Induction to the Guildhall Artist Programme
10
Your Principal Study/Pathway Handbook will provide for detailed information about the
requirements for the Graduate Certificate Principal Study module.
Details of the Induction module are given on page 48-51.
Requirement to pass the Graduate Certificate year

In order to pass the Graduate Certificate year, you need to complete and pass both core
modules achieving a total of 100 credits. Each module consists of a number of
components and your grades are calculated according to the weighted aggregate marks of
all module components. Details of weighting can be found in your Principal Study
handbook.
Minimum pass marks for each module are as follows:
(i)
40% in all components of the Graduate Certificate Principal Study module
(ii)
50% for the Induction module.
Please note that:
In the Induction module, one grade falling between 40% and 49% can be
compensated by higher grades achieved in the other component of the same
module. Any component falling below 40% must be retaken.
In the Principal Study module, any component falling below the pass mark (40%)
must be retaken.
Requirements for progression to Part 1

In order to progress to Part 1 you must achieve a merit level (60%) in the principal study
end-of-year aggregate mark.

Timetable: 2014/2015
Any change to this timetable will be communicated as soon as possible. Please check the
notice boards for further communications. A more detailed timetable for principal study
classes is in the principal study handbooks.
Term 1: 15th September 5th December 2014

th
Week 1 (15-19 Sept) Induction and Orchestral Auditions

th

th
Week 2 (26 Sept) Induction concerts

Week 2 and 3 Induction seminars
rd
Week 8 (Monday 3 November, 4pm) Deadline for the essay submission of the Induction to
the Guildhall Artist Programme module (late submission penalties apply)
st
Week 12 (1 Dec) Exam schedule for Mid-year, APS, Advanced Ensemble and End-of-Year
exams published
st
Week 12 (1 Dec, 4pm) Deadline for the Self Reflective Account submission of the Induction
to the Guildhall Artist Programme module (late submission penalties apply)
Term 2: 12th January 2nd April 2015

th
Week 5 (9 Feb) Start of Mid-year Principal Study exams. Absence penalties apply
Term 3: 27th April 17th July 2015

th
Week 2 (5 May, 4pm) Deadline for Final Recitals repertoire submission to Music Office
th
Week 2 (5 May, 4pm) Deadline for Final Recital Specialist instrument requests to
jim.dean@gsmd.ac.uk (A special form is required)
th
Week 4 (18 May, 4pm) Deadline for submission of Final Recital programmes for exam packs
sh
Week 6 (from 1 June) Start of end-of-year Principal Study. Absence penalties apply
Composition students should consult their handbook for additional important dates.
st
Friday 21 August 2015, 4pm: RESIT and DEFERRED written submission are due (late
submission penalties apply).
th
Monday 7 September 2015: RESIT and DEFERRED examinations commence (absence

penalties apply); resits and deferrals for Performance Matter and Collaborative Skills may be
scheduled for August 2015.
Guildhall Artist Masters Part One

Content
Part 1 of the Guildhall Artist Masters consists of three core modules and 2 or 3
elective modules (totalling 180 credits).
Core modules:
Credit
value
Code
Level
Title
GMPER4004
GMCOM4034
GMLEA4044
GMCON4001N
GMCON4002
M/7
Principal
Study
in
Performance
Composition or Leadership
M/7
M/7
or
120

10
Integration of studies and Professional
10
Development
Your Principal Study / Pathway Handbook will provide detailed information about the
requirements for the Principal Study module.
Details of the Induction Module and the Integration Module are given on pages 48-51.
Please note that if you have previously successfully completed a Graduate Certificate
year, you do not have to take the Induction Module again.
Elective Modules:
Elective modules must total 40 credits. You may select 2 or 3 for a total of 40 credits from
the module list below: (please note that you can take some modules for 10 or 20 credits,
but not both).
Code
Level
Title
Credits
GMELE4009
GMELE4034
GMELE4043
GMELE4044
GMELE4045
GMELE4022
GMELE4046
GMELE4047
GMELE4011N
GMELE4024N
GMELE4048
GMELE4012
GMELE4031
GMELE4039
GMELE4040
GMELE4041
GMELE4042
GMELE 4061
GMELE4036
M7
M7
M7
20
20
10
20
10
20
10
20
10
20
10
20
20
10
20
10
20
10
20
GMELE4015
GMELE4017
GMELE 4060
M7
M7
M7

Aesthetics and the Philosophy of Art
Analysis
Analysis
Baroque Studies
Baroque Studies
Body Matters
Body Matters
Chamber Music
Chamber Music
Classical Studies
Classical Studies
Conducting
Collaborative Practice: Cross-Arts Contexts
Collaborative Practice: Cross-Arts Contexts
Collaborative Practice: Education Contexts
Collaborative Practice: Education Contexts
Counterpoint
Dramatised Poetry and Song (for singers and
pianists)
M7
M7
M7
M7
M7
M7
M7
M7
M7
10
20
20
10

GMELE4049
GMELE4050
GMELE4019
GMELE4018
GMELE4051
GMELE4020
GMELE4016
GMELE4027N
GMELE4029N
GMELE 4362
GMELE 4063
GMELE4021
M7
Historical Performance: Principles and Research

M7
M7
M7
Jazz Composition and Arranging (for jazz students)

Jazz Improvisation (for jazz students)
Music for Media
Opera and Theatre (for singers)
Opera and Theatre (for singers)
PianoWorks A (pianists)
PianoWorks B (pianists)
Research in Performance, Composition or
Leadership
Research in Performance, Composition or
Leadership
Song Accompaniment A (for pianists)
Song Accompaniment B (for pianists)
Song Interpretation (singers)
Song Interpretation (singers)
M7
M7
M7
M7
GMELE4051
GMELE4032
GMELE4053
GMELE4037A
GMELE4037B
M7
ELE4055
ELE4056
ELE4057
M7
M7
Voiceworks A (singers, composer)

Voiceworks B (singers, composer)
Voiceworks C (singers, composer)
10
20
20
20
10
20
20
10
20
10
10
20
40
10
20
10
10
10
10
10
*Students on the Leadership Pathway or the Opera Specialism of the Performance

Pathway take additional pass/fail only credits as follows:
Code
PPL4046 (20 credits)
PPL4047 (40 credits
PPO4048 (30 credits)
PPO4049 (30 credits)
Level
M7
M7
Title
Credit Value
Professional Practice I & II (Leadership 60 credits
Pathway only)
Performance
Practice
I
&
II 60 credits
(Performance
pathway,
Opera
specialism only)
Requirement to pass Part 1

In order to pass Part 1 of the Guildhall Artist Programme, you must complete and pass all
core and elective modules achieving a total of 180 credits (If you have previously
undertaken and passed the Induction Module Grad Cert year, your total will be 170
credits). Each module consists of a number of components and your grades are calculated
according to the weighted aggregate marks of all module components. Details of the
weightings for your Principal Study modules can be found in your Principal Study
handbook.
The minimum pass mark for each module is 50% (aggregate).
Please note that:
Module components must be retaken if any grade falls below 40%
In the Induction and Elective modules, one grade falling between 40% and 49%
can be compensated by higher grades achieved elsewhere in the same module
In the Principal Study module, lower grade are not compensatable and all
components must be graded at 50% (pass mark) minimum.
11
Requirements for progression to Part 2

In order to progress from Part 1 to Part 2, you must pass achieve an overall pass for Part 1
and a minimum final aggregate of 60% in the Principal Study module
AND
You must submit and have approved a Plan of Artistic and Professional Development. This
needs to be approximately 500 words in length and should include:
(i)
(ii)
An outline of proposed developmental work (technical and artistic) in Principal

Study for the following year.
A sketch of appropriate Principal Study projects that originate and support this
development.
The plan will be assessed on its feasibility and appropriateness in relation to your
progress, specialisms, and the resources of the School. This plan must be handed into
Administrator of the Postgraduate Programmes in the Music office by Monday 30th March
2015.
PGDip exit award

It is possible to finish your studies with a Postgraduate Diploma rather than the MMus
degree. If this is your preferred option you only need to complete the Induction to the
Guildhall Artist Programme and Principal Study modules. Please note that there will be no
possibility to progress to Part 2 from the PGDip. Notification of intention not to undertake
modules, for a PGDip exit award, please see Ayca Ibrahim in the Music Office to complete
and return the form before 21st November 2014.
Part Time
The part-time timetable is split over two years as follows:
Part-time Year 1:
Mid-Year assessment of Principal Study
Electives*: a minimum of either 1x20 credits module or 2x10 credit modules
Part-time Year 2:
Electives*: for a total of 20 credits to complete 40 credits of electives overall
Final assessment of Principal Study
Integration of studies and Professional Development
*must be whole electives in the part-time year (i.e. a 20 credit module should not be
spread over 2 years)
Leadership students:
Leadership students undertake Part 1 over 2 years as a full-time course. The timetable is
as follows:
Year 1:
Mid-year Principal Study assessment
Electives for a total of 40 credits
Professional Practice I
Year 2:
Professional Practice II
12

Opera students:
Opera students undertake Part 1over 2 years as a full-time course. The timetable is as
follows:
Year 1:
Mid-year Principal Study assessment
Performance Practice I
Year 2:
Performance Practice II
Transfer from full-time to part-time

It is possible to transfer from one status to another after the beginning of the academic
year applications must be made to the school by 21st November 2014. Please complete
the change of mode of attendance form (available in the Registry or on the school intranet)
and submit a statement of support of the change, signed by your Principal Study Teacher
or Head of Department.
Changing electives
It is possible to change your electives once you have made your initial choice but
applications must be made to the school by 27th October 2014. Please see Ayca Ibrahim
in the Music to complete a change of elective form.
13
Guildhall Artist Part 1 Timetable: 2014/2015


th

th

th

Week 2 and 3 Induction seminars
th
Week 4 (6 Oct) Start of Elective classes

rd
Week 8 (Monday 3 November, 4pm) Deadline for the essay submission of the Induction to
the Guildhall Artist Programme module (late submission penalties apply)
st
Week 12 (1 Dec) Exam schedule for Mid-year, APS, Advanced Ensemble and End-of-Year
exams published
st
Week 12 (1 December, 4pm) Deadline for the Self Reflective Account submission of the
Induction to the Guildhall Artist Programme module (late submission penalties apply)
Term 2: 12th January 2nd April 2015

th
Week 5 (9 Feb) Start of Mid-year Principal Study exams. Absence penalties apply
th
Week 6 (16 Feb, 4pm) Application deadline to progress to MPerf

th
Week 12 (30 Mar, 4pm) Deadline for MPerf Artistic Plan

th
th
th
sh
Week 6 (from 1 June) Start of end-of-year Principal Study. Absence penalties apply
nd
Week 9 (22
June, 4pm) Deadline for PG Integration for Opera and Leadership
th
Tuesday 26 August, 4pm Deadline for PG Integration for all other students
st
Friday 21 August 2015, 4pm: RESIT and DEFERRED written submission are due (late
submission penalties apply).
th

scheduled for August 2015.
14
Guildhall Artist Masters Part Two

Part 2 of the Guildhall Artist Masters consists of two core modules (totalling 180
credits)
Code
Level
Title
Credit value
GMPER4005N
GMCOM4035
GMLEA4045
GMCON4033
M/7
Performance or Composition or Leadership

Portfolio
150
M/7
Critique of Personal Performance

Development
See below for outline requirements of the Principal Study module.

Study/Pathway Handbook will provide further information.
30
Your principal
Details of the requirements of the Critique Module are given on pages 58-60.
Performance/Composition/Leadership Portfolio
The assessment of your Principal Study module consists of three projects/performances.
You are required to submit a proposal for these projects to Ayca Ibrahim by Monday 1st
December 2014, including a short statement (approximately 500 words) describing and
justifying the artistic and professional nature of these projects in relation to your own aims.
Please note that repertoire/submissions cannot be repeated as part of the assessment
package. The proposal is evaluated and approved by the Head of Programmes and Head
of Department.
Please consult carefully your Principal Study Handbook for specific information on what
these three projects are, as the three pathways have different requirements. The three
projects must be completed normally by August of the academic year to give time to the
assessment and moderation processes to be finalized.
The following are the requirements for the performance pathway:
Project A is internal and organised by the school. It is comparable to a Final Recital in
scope and focus. You will be given a date for this assessment at the beginning of the year.
The school organises the assessment panel and a recording for moderating purposes.
The overall performance duration for students on the AIS course is 55-65 minutes; for
those on vocal training the overall performance duration is 45-50 minutes and for wind,
brass and percussions, a programme of 45-60 minutes duration, containing not less than
35 minutes of music. For all students, the inclusion of a short interval is at the discretion of
the students, and will be included in the overall performance time.
Project B can be internal or external (including abroad) and is organised by the student.
You must recommend an examiner to the School (see below for procedure). You must also
record the project (audio, or preferably video) and provide the School with the recording for
moderation purposes. If the project is at the Guildhall School, you should ask the AV
Department to organise or assist you with the recording, but please note that they will not
record it automatically if you fail to book them.
Project C must be external (including abroad) and is organised by the student. You must
recommend an examiner to the School (see below for procedure). You must also record
the project (audio, or preferably video) and provide the school with the recording for
moderation purposes. You can ask the Schools AV department for assistance (i.e. in
lending a portable video recorder).
15

Your Principal Study Handbooks have information on what these three projects can
normally consist of. But in general, while Project A, as mentioned above, is normally an
solo recital, Projects B and C can include a variety of artistic and professional set ups,
including performances as soloist with orchestra (e.g. Concertos, oratorios, external opera
roles), chamber music, and leading a section in an orchestral concert.
Students procedure for Recommendation of the Assessor, Projects B and C:
Submit the CV of the proposed assessor to Ayca Ibrahim at least two weeks in
advance of the project.
Assessors need to demonstrate considerable
professional and educational experience at the appropriate level.
Approval is agreed internally by the Head of Academic Studies and Head of
Department.
The assessor is then contacted by Ayca and supplied with the assessment
requirements and criteria. The School will provide an assessment fee to the
assessor for their time.
Requirement to pass Part 2

In order to pass Part 2 of the Guildhall Artist Programme, you must complete and pass
both core modules achieving a total of 180 credits.
All components of the PS module must achieve 50% minimum. Any mark falling below
50% must be retaken.
16
Guildhall Artist Part 2 Timetable: 2014/2015


th

th

th

th
Week 3 (29 Sept) Phase 1 of Seminars of the Critique of Professional Development module
st
Week 12 (1 December, 4pm) Deadline for the submission of the proposal for the three
Principal Study projects.
st
Week 12 (1 Dec) Exam schedule Performance A assessments published

th
th
th
Week 3 week 10 Phase 3 of preparation of the Critique of Personal development: Peer
Presentations
th
Tuesday 25 August, 4pm Deadline for the submission of the Critique of Personal Development.
th

scheduled for August 2015
17
Guildhall Artist Masters Programme management

The management structure of the Guildhall Artist Masters is there to assume responsibility for the
programme, to offer support and guidance, to provide information and to answer your questions. The
members of senior staff listed below, together with the Director of Music, form the primary education
management group for the music programmes of the School.
The Head of Music Programmes (Alessandro Timossi) has overall responsibility for management,
evaluation and delivery of the programme. Through senior members of staff, he is also responsible for
the delivery of the Elective and Contextual modules (Induction, Integration etc)
The Head of Advanced Performance Studies (Ronan OHora) is responsible for overall artistic
leadership of the Performance Pathway. Academic accountability for this pathway lies with the Heads
of the Principal Study Departments: Head of Strings, Wind/Brass & Percussion, Keyboard, Vocal
Studies, Jazz, Opera and Historical Performance Practice, and the Head of Chamber Music.
The Head of Creative and Professional Practice (Gabby Vautier) has academic and artistic
responsibility for the Leadership Pathway and the Head of Composition (Julian Philips) for the
Composition Pathway.
The Music Office coordinates the administration of the modules and the Programme in general. The
Head of Music Administration (James Alexander) and Postgraduate Academic Studies coordinator (Ayca Ibrahim) and the team of Departmental Administrators are also happy to answer any
questions you may have either in person, by phone or e-mail.
Students contribution to Programme management

Student contribution to the management of the programme is undertaken via the Student
Representatives. Each Principal Study Department/Pathway has a student representative to speak for
the departments students issues, concerns and suggestions. Currently all student representatives
have a place at the Music Programme Board and 'Student Matters' is a standing item on the agenda.
The student representative is reallocated yearly. If you are interested in becoming a student
representative please talk to the Students Union President and to your Head of Department. It is a
good idea to know who your representatives are so that you can approach them if you want to make a
contribution to the staff-student dialogue at institutional level.
The School is interested in how you evaluate your experience on the programme. We therefore ask
you to complete a feedback questionnaire for each module, every year. Your responses are analysed
and acted upon as appropriate by the music faculty.
Student Support
Teachers and the senior members of staff who are responsible for your education are in regular
contact with each other and form a support network that you can activate from any point whenever you
need. If they cannot directly solve your concerns, they will point you in the right direction.
Principal Study
As soon as you arrive in the School, you should make contact with your Principal Study professor in
order to arrange for a first meeting. Your departmental Head or departmental Administrator will be able
to provide contact details during the initial departmental meeting on the first day of term. In this
meeting, your departmental Head will also clarify the number of hours you should be entitled to for
lessons.
Lessons should normally take place in the School on a weekly basis. Individual professors sometimes
prefer different teaching schedule/arrangements, but it is important that you are consulted and agree
with any change from the normal pattern.
Most Principal Study arrangements work very positively, but occasionally it is necessary for students
to consider a change of Principal Study professor. The reasons for this can be wide-ranging and to
help a smooth transition it is best if you speak first with the Director of Music to plan the way forward.
The outcome of this initial conversation is likely to be:
18

1. A conversation with your Head of Department;
2. A conversation with your current teacher;
3. The Director or Postgraduate Programmes Leader speaking with your Head of Department
and / or current teacher.
It is important that these initial steps are taken before any approach is made with another member of
staff in order that the possibility for change is not compromised in any way.
Academic Support
For guidance and support in any particular subject (both performance and academic) approach first
your teachers, particularly but not exclusively your Principal Study teacher and your Mentor
You will be given a Mentor at the beginning of the Academic Year that will be available to you for
academic and artistic guidance. The mentor will arrange meetings with you to discuss briefly your
development and support your written work. It is important to be both responsive and proactive in
relation to this.
When appropriate, they liaise with the Heads and Deputy Heads of Department and if necessary with
the Head of Music Programmes and the Director of Music.
You can also talk directly to your Head and Deputy Head of Department, to the Head of Music
Programmes and the Director of Music.
Personal Support
In addition to the support mechanisms outlined above, if you encounter personal circumstances that
might effect your progress, you can approach Student Affairs, particularly for health and medical
circumstances, or for counselling. In these situations, a confidential meeting can is held with
appropriate staff to address the issue and negotiate a solution.
Administration and General Information
The Music Office is your one-stop call for the administration of your programme of studies, for
information on academic timetable (exam dates, deadlines), for handing in your written submissions,
for making appointments with senior members of the Music Faculty, for Leave of Absence forms, for
extensions to written submission deadline, for entering internal competitions, for submitting
Extenuating Circumstances Professional and Medical, and for many other administrative issues.
Please go directly to the Administrator of the relevant Department.
Senior Members of Staff

Department
Strings
Wind, Brass and

Percussion
Keyboard
Vocal
Head/Deputy Head/Coordinator
Louise Hopkins (Head)
Evan Rothstein (Deputy)
Matthew
Jones
(Senior
Tutor
Chamber music)
Richard Benjafield (Head)
Jo Hensel (Deputy)
Joy Farrall (Senior Tutor Chamber
music)
Ronan OHora (Head)
Pamela Lidiard (Deputy)
Caroline Palmer (Senior Tutor
Chamber music)
Linnhe Robertson (Head)
Armin Zanner (Deputy)
Opera
Dominic Wheeler (Head)
Composition
Julian Philips (Head)
19
Departmental Support
Corinna Robins (Administrator)
Crorinna.sanett@gsmd.ac.uk:
7382 7392
020
Fiona Merrit (Administrator)

Fiona.Merritt@gsmd.ac.uk; 020 7382
7180
Antoine Kaiserman (Administrator)
Antoine.kaiserman@gsmd.ac.uk; 020
7382 6159
Michal Rogalski (Administrator)
Michal.Rogalski@gsmd.ac.uk;
020
7628 2571 ext 8019
Janet Farmer (Opera Department
Manager)
Janet.Farmer@gsmd.ac.uk;
020
7382 7164
7382 6159

Jazz
Martin Hathaway (Head)
Historical
Performance
Practice
Chamber Music
Jane Booth (Head)
Professional
Development
(Leadership)
Gabby Vautier (Head of Creative and

Professional Practice)
Sigrun Griffiths and Nell Catchpole
(Programme Leaders)
Academic
Studies
Alessandro Timossi
(Head of Music Programmes and
Academic Studies)
Dr Kate Romano (Deputy Head Postgraduate)
Dr Claire Taylor-Jay (Deputy Head
Undergraduate)
Laura Roberts,
(Senior Postgraduate Tutor)
Alasdair Tait (Head)
Fiona Merrit (Administrator)

Fiona.Merritt@gsmd.ac.uk; 020 7382
7180
Michal Rogalski (Administrator)
Michal.Rogalski@gsmd.ac.uk;
020
7628 2571 ext 8019
Ayca Ibrahim (Administrator)
Ayca.Ibrahim@gsmd.ac.uk; 020 7382
6129
Jose Martins, Connect Projects
Manager
Tel.
(020)
7382
7199;
Jose.Martins@gsmd.ac.uk
Clare Catchpole, Administrator for
Professional Development/Connect
Tel:
(020)
7382
2378;
Clare.Catchpole@gsmd.ac.uk
7382 6159
Ayca
Ibrahim
(Postgraduate
Academic Studies Administrator)
Ayca.Ibrahim@gsmd.ac.uk; 020 7382
6129
Students can also discuss any academic, artistic or personal concern or projects related to
their programme of studies and musical activities with:
Jonathan Vaughan, Director of Music
via Rachel Williamson, Tel (020) 7382 7144; Rachel.williamson@gsmd.ac.uk
Alessandro Timossi, Head of Music Programmes and Music Studies
Room 102, tel. (020) 7382 7271; Alessandro.Timossi@gsmd.ac.uk
Ronan OHora, Head of Keyboard, Head of Advanced Performing Studies
(for appointment contact Antoine.kaiserman@gsmd.ac.uk)
Key members of staff in the Music Office:
James Alexander, Head of Music Administration; tel. (020) 7382 7159; James.Alexander@gsmd.ac.uk
Ed Siebert, Deputy Head of Music Administration (Admissions and Assessments); tel. (020) 7382
6128; Ed.Siebert@gsmd.ac.uk
James Dean, Orchestral Manager, tel. (020) 7382 7196; Jim.Dean@gsmd.ac.uk
Jo-Anne Cooper, Music Events Coordinator; tel. (020) 7382 7197; Jo-anne.Cooper@gsmd.ac.uk
20
Communication
During term time the School will contact you as follows:
1. email: the primary method of formal communication with all registered students is via the
your Guildhall School email address issued at enrolment. It is your responsibility to ensure that
you activate your School email account and regularly check it for messages. Failure to check
your School email account regularly will not be accepted as a reason for failing to observe an
instruction sent by email. The format for student accounts is as follows:
Joe.Bloggs@stu.gsmd.ac.uk
2. telephone: for short notice communications (e.g. change of rehearsal schedules etc.) it is vital
that the School is able to contact you by phone. Please let your departmental Administrator
and the Orchestral Manager (if you play in the orchestra) know immediately of any changes to
your enrolment details. In certain circumstances SMS text messages maybe used.
3. notice-boards: Departmental notice-boards are located as follows:
Strings:
Opposite Music Office
Wind, Brass and Percussion:
Opposite Room 227
Keyboard:
Outside Room 226
Vocal:
Opposite Room 122
Opera:
Outside G01C
Composition:
Outside Room 234
Jazz:
Outside Room B6
Historical Performance Practice:
Outside Room 208
Chamber Music
Professional Development:
Outside Room 104
Postgraduate
Orchestra
4. pigeon-holes: each student has a pigeon-hole. These are located along the bottom corridor,
opposite the Music Office.
5. contact address: if the school needs to contact you by post.
6. school intranet: this is accessible from all computers in the school network and contains
important information, resources (i.e. the Grove Dictionary of Music on line) and documents.
You should familiarise yourself with its use and content as soon as you start the academic
year.
Out of term-time, the School will contact students at their permanent address (or personal email
address in cases of urgency)
School Activities
In addition to your lessons and classes, you are expected to take part in and / or attend a wide range
of concerts and activities which take place both in the School and around London.
Concert Opportunities
The School hosts over three hundred concerts each year. To be considered for a concert, you should
submit details of programme and personnel to the Director of Music by Week 10 of term. Please note
that opportunities for concerts in the Summer Term are really limited and that you are well advised to
apply for events earlier in the year.
Outside Engagements
Outside organisations (Livery Companies, Choral Societies etc) contact the school requesting
students to perform everything from background music to solo recitals. There are about 500 official
outside engagements each year. The Music Office makes all the arrangements: booking performers,
securing payment, compiling programmes etc. Students interested in being considered soloists and
21

especially groups (all kinds) should contact the Music Office to arrange an outside engagement
audition.
Internal Prizes and Competitions

The Music Office organises all the internal music competitions and produces the new prize syllabus
each year. If you want to know about the prizes, you should speak to someone in the Music Office or
pick up a copy of the syllabus once it is produced. This can be found on the schools intranet.
Pianos
The Head of Music Administration organises the maintenance, tuning, moving and buying of all the
Schools pianos. Malcolm McKeand is the Piano Technician: a tuning and maintenance request book
is held at the Front Desk.
Instrument Loan
The Guildhall School owns a range of instruments which are available for students to borrow. The
majority are the responsibility of the Orchestral Manager who organises their storage and care, and
manages a signing out procedure for them. They are lent firstly to students playing in orchestral
projects, but may be borrowed over the weekends for private practise. Instruments include most of the
doubling wind instruments for use in orchestras: woodwind - piccolo, alto flute, cor anglais, bass
clarinet, E flat clarinet, 2 basset horns and contra bassoon; brass - a set of Wagner tubas, two hand
horns and 4 sackbuts.
The percussion department has an extensive range of instruments including 4 sets of timpani, 2
marimbas, 2 xylophones, 3 sets of vibraphones.
Two high quality violins are owned by the School and may be borrowed with permission of the Head of
Strings. These are loaned to talented students or, alternatively, if a student has a significant
competition or concert scheduled they would be able to request use of them.
The School also owns 2 cellos, 8 double basses, 5 harpsichords and 2 fortepianos. In addition, 4
baroque violins, 2 baroque violas and a baroque cello are available, with students on the early music
course receiving preference for the loan of these instruments.
Room Booking Policy

Students are able to book many of the practice spaces themselves via Asimut. Please see the Room
Booking Policy for full information.
Audio Visual Services

The AV department comprises:
Dave Foister (AV manager)
Mark Rainbow (AV Technician)
AV Co-ordinator (tbc)
Surrey University Tonmeister placement student
The departments role is to provide recording services (both audio and video, live and in the studio),
live sound for performances, and AV support for teaching and learning. Our core business is audio
recording, editing and mastering, and we are all Tonmeisters with specialist training in music and
recording; we also have expertise in video recording, editing and DVD authoring; live sound for jazz
and contemporary classical music; recording-related computer systems; and general AV. Our main
base is the AV office, which is room 223 near the Student Common Room, but we also run the
recording studio in the basement and are often involved in rehearsals, performances or equipment
setups right across the campus.
22
Information for Students with Scholarship Awards

All students who have received financial awards from the Guildhall School Scholarships Fund
are required to satisfy a number of conditions detailed below. Please read this information carefully
if you fail to meet these requirements, your scholarship award will be withdrawn and you will be
required to return the full amount of your award for the year.
Named Awards & General Awards (new for 2014-15 academic year)
From Autumn 2014 scholarship awards will fall into one of two categories: Named Awards (supported
by a specific Individual, Trust or Company) and General Awards (supported by the Guildhall School
Trust). You will be informed at the beginning of the Autumn Term if you hold a Named Award or a
General Award.
Induction session: Tuesday 23 September, 1.10pm
All award holders must attend the Scholarship Induction Session with the Director of Music on
Tuesday 23 September 2014 1:10-1:50pm in Milton Court Concert Hall. At this session you will find
out for further information on what you will need to do during the year in connection with your award as
well as having the opportunity to ask questions.
Communication about awards
The Development Office will communicate with you by email via your School email address, so it is
vital that you check your School email account regularly. If you need help in accessing your email
account remotely, please contact the IT Department.
It is also essential that you provide the Development Office with copies of letters and reports to the
Principal and your supporters. If you do not do this, it will be assumed that you have failed to meet the
published deadline and your scholarship award will be withdrawn. Please note that it is your
responsibility to send letters and reports to your supporters through the post: the Development Office
will not send these on for you.
Requirements for Named Award Holders
1. Write and thank the supporters of your award as soon as you receive their details.
The Development Office will provide you with your supporters contact details early on in the autumn
term; as soon as you receive these you should write and thank them for their support and provide a
copy
to
the
Development
Office.
DEADLINE: 5pm on Thursday 16 October 2014
2. Attend the Supporters Evening 2014
This years Supporters Evening will take place on Monday 17 November 2014 from 7pm. The
Supporters Evening is a reception for donors to the Schools Scholarships Fund, giving them an
opportunity to meet the student(s) they are supporting and chat to you in an informal setting. Please
keep the date and time free unless you are told otherwise.
3. Write an end-of-year report to send to the supporters of your award giving an overview of the
past year.
The report should outline the progress you have made over the past year and include details of
performances and projects you have been involved in. You should send this report directly to your
supporters and provide a copy to the Development Office.
th
DEADLINE: 5pm on Thursday 14 May 2015
Requirements for General Award Holders

1. Attend the Scholars Recital 2015
This year the School will be holding a Scholars Recital on Wednesday 25 February 2015 from 7pm.
The Scholars Recital is a reception for donors to the Schools Scholarships Fund, giving them an
opportunity to meet Scholars and be thanked for their support. Please keep the date and time free
unless you are told otherwise.
23

2. Write an end-of-year report for the Principal (Professor Barry Ife)
The report should outline the progress you have made over the past year and include details of
performances and projects you have been involved in. You should send this report directly to
Professor Barry Ife thanking him for the support you have received through the Guildhall School Trust
and provide a copy to the Development Office.
th
DEADLINE: 5pm on Thursday 14 May 2015
Acknowledgement of support
Your award from the Scholarships Fund should always be credited in your biography and CV, and in
publicity for any School-based performances. If you have a Named Award please make sure that the
correct title for this appears in publicity.
Community Service
The music department will ask you to participate in up to 20 hours of community service as required
over the course of the year.
Further information
If you have any further queries about the requirements for your scholarship award then please contact
Jennifer Slater in the Development Office at John Trundle Court on 020 7382 7179 or
jennifer.slater@gsmd.ac.uk.
24
Template for programme biographies

External events
Nationality and pre-college Education
UG and PG education including current professor
Competitions
Past concerts and future plans including recordings if applicable
Sponsors
Style points
Guildhall School of Music & Drama use Frutiger Font on all marketing publicity.
When referring to the Guildhall School of Music & Drama this must be written out in full never
initials and with an ampersand (&) not and. Once you have referred to the Guildhall School of
Music & Drama in full anytime after during your biography it can just be the Guildhall School.
You never need to put the Guildhall School of Music & Drama, London unless performing
outside of the UK.
Well known and easily recognised organisations can be reduced to initials if that is in there
marketing policy eg ROH RPO, LSO, SMITF but never GSMD!!
st
Degrees should appear thus: BMus (1 class Hons)
Education section concludes with current situation in the following format: Postgraduate
performance course studying with
Brackets only enclose limited factors, e.g: MMus (Piano accompanying).
Titles of works to be in Italics, composers in Roman and titles of pieces in italics.
Maximum words 200.
Please make sure your biog has been proofed before submission and where possible to your
Head of Department.
Internal events
This should be a brief listing and include the following
Your Name
Where you are from
Who you are studying with
What course
Whether you are supported by anyone and thanking those people
25
Attendance regulations
You are required to attend all scheduled lessons, classes and activities, to be on time and to be
available for the duration of the full academic year (from day one to the last day of every term) and for
any resit and deferred assessment as scheduled by the School.
It is your responsibility to ensure that the arrangements of your personal circumstances enable
you to participate in all aspects of your programme as required.
You are required to comply with any and all procedures established by the School and/or
department to monitor your attendance. Mechanisms may include, but will not be limited to,
electronic swipe-in, signature against a register in Music Office, and class registers.
In case of persistent attendance or lateness problems, you might face disciplinary procedures. A
Progress Review Committee might be convened to investigate a students case (see the COURSE
PARTICIPATION REGULATIONS, CASE CONSULTATIONS AND PROGRESS REVIEW
PROCEDURES on the School Intranet / Policies).
In addition, where an international student with a student visa misses ten expected
consecutive contacts (lessons, classes or activities) and has not responded to
communications from the Music Office, the School is required by law to report these absences
to the UK Border Agency.
You must tell your teachers or let your departments know when you have problems for attending; late
communication or non-communication always leads to complications.
Swiping In
All students are required to swipe in at least once a week. However, it is advisable to do so each
time you come into college. For details please see the attendance Monitoring document provided with
you ID card.
Attendance Monitoring
The Guildhall operates an electronic touch-in attendance monitoring system. All taught students are
required to swipe-in each day they are in School, a minimum swipe-in of once every five School days
is expected. All research students are required to submit their supervision reports to the Research
Office within one week of a supervision.
In addition, Tier 4 students must re-enrol in person at the start of each term by bringing their passport
and current visa to the Registry. Some taught postgraduate music students will also be required to
keep a log of their academic engagement throughout the programme. The Contact Log for Tier 4
(General) Student Visa Holders should be signed at each class by an appropriate signatory.
Clashes
If you think that you may miss a class due to a timetable clash (e.g. due to a scheduling of a formal
School rehearsal), you must inform the department administrator as soon as possible. If there is a
regular clash, you should also see your Head of Department or the Head of Music Programmes. In
principle, all activities that involve a large number of students (i.e. orchestral and opera rehearsals)
take priority. If a one-off clash occurs, you should inform all parties.
The School will make every effort to keep the number of timetable clashes to a minimum and, where
notified of a clash that affects meeting the minimum requirement for the programme of study, the
School will make alternative arrangements for you. These arrangements are designed to support you
in meeting the learning associated to the missed class and may include, but will not be limited to, a
short one to one tutorial, additional directed reading, or a recommendation to attend another
scheduled class.
If you need to be absent from orchestra, you need to apply to the Director of Music via Jim Dean.
26
Leave of Absence for outside engagements

You are encouraged to seek appropriate performance opportunities outside the School environment.
When such opportunities occur during term time you are expected to obtain clearance from the School.
Please use the Leave of Absence form that is available on the School Intranet/Music and follow the
instructions as indicated on the form. You are expected to take responsibility for informing relevant staff
of any absence which will occur as a result of you taking an outside engagement.
Absence for medical and personal circumstances

If you are not able to attend school during term time for medical or personal circumstances, you must
contact your respective departmental administrator before 9:30am on the first day, and each
subsequent day unless formal signed-off sick. Prolonged absence (of more than 5 days) must be
supported by medical certification from either (i) a practitioner recognised by the GMC, GDC or HPS,
or (ii) a nurse practitioner (or their overseas equivalents).
The Music Office shall report this to the appropriate member of staff.
Adequate reasons for absence include illness covered by doctor's note and serious illness or death of
close family member.
Practical Assessment regulations

The schedule of practical assessments (including exams) is communicated via noticeboard.
You are required to attend all practical assessments /exams on the date and at the time arranged by
the School, including referred assessments (assessments that were previously failed) and deferred
assessments (assessments not taken at the normal time because of a legitimate reason).
It is your responsibility to ensure that the arrangements of their personal circumstances enable
them to attend these assessments as required.
If you fail to attend without adequate reason, you will receive a grade of 0% for the assessment.
Programmes for assessments

You may not present the same piece of music for more than one formal assessment at any module
and module component level, during the duration of the Programme.
Submission and consideration of Extenuating Circumstances

If you are unable to attend an assessment or meet a submission deadline due to extenuating
circumstances it is your responsibility to inform your relevant departmental Head of Administration
without delay.
ECM Extenuating Circumstances Medical

If you cannot attend an assessment for medical reasons, you must provide to the Music Office at the
earliest opportunity a medical certificate from either (i) a practitioner recognised by the GMC, GDC or
HPS, or (ii) a nurse practitioner (or their overseas equivalent); self-certification will not be sufficient.
ECP Extenuating Circumstances Professional

If you cannot attend an assessment for external professional engagement, you can apply for a reschedule of the assessment submitting a deferral form, which is available on the Intranet; you might also
need to provide evidence to support this deferral.
ECO Extenuating Circumstances Other

If you cannot attend an assessment for other circumstances that does not fall under ECM or ECP, you
can apply for a re-schedule of the assessment submitting a deferral form, which is available on the
Intranet; you might also need to provide evidence to support this deferral. These circumstances can
cover bereavement, family difficulties, change of teacher.
You will be notified if your application for deferral is successful
27
Written submissions regulations

Content of written work
You may not present the same written submission for more than one formal assessment at any
module and module component level, during the duration of the Programme.
All written work should comply with the style guidelines included in the Academic Studies section of
the BMus Programme Handbook (please ask Ayca Ibrahim in the Music Office for a copy of this
section). Penalties can be applied on presentation and referencing when it is appropriate.
Cover Sheet for Written Submissions

When submitting any written work, you must insert a cover sheet that includes all factual information
on the assignment: nature and title of the assignment, date, name of the candidate, year of study,
class, tutors name, and word count/duration.
It should also include the following statement:
I certify that the coursework that I have submitted is my own unaided work, and that I
have read, understood and complied with the guidelines on plagiarism as set out in the
student handbook. I understand that the School may make use of plagiarism detection
software and that my work may therefore be stored on a database which is accessible to
other users of the same software. I certify that the word count declared is correct.
Submission deadlines and late submission

All written submissions are regulated by a deadline schedule circulated at the beginning of each
academic year. Deadlines fall on a Monday at 4pm.
Lateness not covered by an adequate reason (e.g. illness covered by recognised medical practitioner
or serious illness or death of a close family member) will incur the penalties below:
In the first week (week one) of lateness, progressive deductions apply to all work of
pass quality (down to, but not below, the minimum pass mark):
Tuesday:
5 percentage points deducted
Wednesday:
Thursday:
Friday: 20 percentage points deducted
From Monday to Friday 4pm of the following week (week two), all work of a pass quality will be capped
at the minimum pass mark.
After Friday 4pm of week two, a mark of 0% on the grounds of non-submission will be officially
recorded. Any work received after this date will be considered resit work (ie. a second attempt) and a
resit
fee
will
be
payable.
In these cases, an automatic resit deadline will be applicable which will be two weeks before the
School Assessment Board charged with the formal consideration of the result of that assessment.
Extension to submission deadlines

Extensions to submission deadlines can be requested by filling in the application for extension for
written work form available from the School Intranet/Music, or the Music Office. Please follow the
procedures indicated on the Intranet.
Adequate reasons for extension include:
illness covered by doctor's note. You must provide a current medical certificate from (i) a
practitioner recognised by the GMC, GDC or HPS, or (ii) a nurse practitioner (or their overseas
equivalent); self-certification will not be sufficient.
serious illness or death of close family member;
professional engagement previously approved by the School (see: Leave of Absence)
Poor time management or IT problems on the part of the student will not warrant an extension.
28
Incomplete Folios/Submissions
Any work missing from folios will be marked with 0 and the final mark calculated proportionally.
Presentation - total penalty up to 10 points
Essays: spelling and grammar mistakes; poor page layout including title page, illustrations and
graphs; weak command of the English language. Essays and essay-type assignments
included in the folio without being typed will be downgraded by a further 10 marks.
Compositions: inaccuracies and mistakes; poor alignment and layout. Scores do not
necessarily need to be presented using Sibelius or Finale; however, the clarity of presentation
of hand-written scores must be impeccable.
Submissions will not be accepted by the Music Office without a cover sheet.
Essays which are substantially under or over the required length; 5 marks will be deducted for
every 100 words under or over the specified word limit.
Referencing total penalty up to 15 points

Written work must clearly acknowledge sources; penalties apply for the incomplete acknowledgement
of sources and the wrong format. A bibliography must be included in addition to references. In the
most serious cases, if reference is absent the work might fail.
Academic Misconduct
Where a case of misconduct has been proven, sanctions open to the Academic Misconduct Panel
include:
Written warning
Mark reduction for affected sections
Fail mark for component
Fail mark for module
Capping of assessments
29
End of Part 1 Final Recitals

Choice of Music
All students who are presenting a Final Recital must submit an A4 word-processed sheet listing their
choice of repertoire with exact timings and countersigned by your principal study professor and Head of
th
Department, to the Music Office by 5 May 2015, 4pm. All programmes for the exam packs are to be
th
submitted to the Music Office by 18 May 2015, 4pm.
Any requests for additional instruments must be sent using the form on page 34 to the Music Office by
th
5 May 2015, 4pm.
Students failing to meet these requirements may be debarred from taking their recital.
You should follow the guidelines and repertoire requirement included in the relevant Principal Study
Handbooks. General guidelines are that works should be chosen from what is generally regarded as
recital repertoire, largely music for solo or duo with piano. Arrangements, particularly concertos,
should be avoided although singers may include arias from oratorios or operas. Complete pieces
should normally be given, but the inclusion of one or more movements of J.S. Bachs solo string
repertoire is acceptable. Programme planning should be adventurous, but recitalists obtain credit for a
group performance only when the standard of the performance is as high, or higher, than the rest of
the programme. The performance of early music with appropriate group accompaniment is
encouraged, but you should take seriously the complications of stage-management, tuning and proper
rehearsal. A weak group performance can detract from the grade.
Most recitals will include a variety of composers styles and moods, but the exploration of a particular
specialist repertoire is acceptable for those who have the confidence in their ability to sustain the
interest. Programmes should contain a work of substance and instrumentalists will normally present
three or four pieces. Singers should avoid trying to span the complete repertoire. It is recognised that
some instruments do not have a large solo repertoire and that the above guidelines may be
inappropriate. In such cases, students should seek the guidance of their Head of Department or the
Director of Music.
Timing of the programme

It is imperative that final recitals adhere to the set time requirements as indicated in the various
Principal Study Handbooks. Timings are taken from when the student first performs until when he or
she has finally left the stage. The following regulations are applied if recitals are either too long or too
short:
Recitals more than 5 minutes short of the minimum requirement will be penalised by 1% per
minute starting at 6% for 6 minutes short.
A recital will be terminated when it exceeds the maximum time by 5 minutes and a 5% penalty
imposed as part of the mark agreed by the examiners.
Recitals more than 5 minutes over the maximum time will be stopped and a 5% penalty may be
imposed by the Final Assessment Board in relation to the grade given to the assessment.
Recital Programme Notes

For recitals, you are required to submit to the Music Office a full programme with programme notes.
The programme notes are not graded but are a mandatory part of the recital examinations. If you want
your programme notes to be duplicated by the Music Office, the deadline for submission is 19 May
2014. After this date you will need to provide copies for the panel (four) and audience members.
Programmes must be word-processed on A4 paper, giving full details including date and time of
recital, movement headings, and the names of accompanists and other participants where applicable.
This should come to a maximum of two sides of A4 paper, or approximately 500 words. Students
failing to meet these requirements may be debarred from taking their recital.
30
Provision of Scores for Examiners

The examiners may wish to consult copies of the pieces being performed; students may be penalised
for not providing music for examiners. Provision for extra copies should be made in good time;
photocopies of works in copyright are acceptable, but only if you can show possession of a legitimate
copy of the score at your final recital. The stewards at your final recital will check this. Photocopies will
NOT be returned to you at the end of the recital, but will be destroyed.
If the work is in copyright but not in print, you may use a photocopy as long as you have a statement
from the publisher or from the Schools Senior Librarian confirming that it is not currently available. In
brief, a piece of music is out of copyright if:
a) the composer, editor, arranger, and lyricist (ie. all of the people who had a creative input into the
item in question) died more than 70 years ago; AND
b) the printed edition was published more than 25 years ago.
If you are using a facsimile edition, it must be published more than 70 years ago. If you cannot find out
the death dates for any of the people involved, you should add 110 years to the publication date, to be
on the safe side. Generally speaking such so-called orphan works (where the rights situation is not
clear, because one cannot track down the rights holders) are copyright protected by British copyright
laws. Even if a work is out of print, it is still in copyright (however, in such cases it is advisable to try to
contact the publisher if possible, in order to ask for a copyright waiver).
Stage Management and Platform Manner

Students wishing to use the School instruments other than pianos (e.g. harpsichord, fortepiano,
percussion etc) must discuss this with the Music Office at least one month before the examination.
Failure to observe this may result in instruments not being available, or in the student being charged a
fee. The School will not be responsible for the hire of music or instruments for Final Recitals.
Major stage management (e.g. setting up a group) should be discussed with the Music Office well
before the Recital. Other movement of stands and chairs should be kept to an absolute minimum.
Those giving Recitals should ensure that accompanists and helpers (e.g. page-turners) are aware of
the importance of the occasion and dress accordingly. A stage management request form will be
emailed to you before your recital.
Principal Study teachers should be consulted for advice about platform manner. The following,
however, are some initial guidelines:
Recitalists should remember that their performance begins immediately they enter the
performance area and does not end until they leave it.
Music should not be carried on or off stage by soloists unless absolutely necessary.
Singers should introduce songs in foreign languages with a short explanation in English and should
set operatic excerpts into their context. Shorter songs may be grouped together as above.
Applause should be acknowledged confidently. On entry to the platform, performers should try not
to cross in front of each other: If necessary a bow should be taken before assuming performing
position.
Memory Requirements
The memory requirements for Final Recitals are the same as would be expected at a professional
public recital. For example, pianists and singers should perform from memory throughout: string
players should play sonatas with piano and other duos from the music, but unaccompanied Bach and
virtuoso pieces from memory. The cases for other instruments are not so clear-cut, but recitalists are
encouraged to play from memory.
Orchestral Auditions
The orchestral audition will be approximately 30 minutes in length and will consist of performance of
the instrumental repertoire and orchestral excerpts. It will be conducted in the manner of an audition
except that it may be requested that the instrumental repertoire be performed complete. Students may
be asked to explain how the extracts fit into the context of the whole work or to repeat extracts taking
into consideration points made by the assessment panel (e.g. tempo suggestions). Candidates submit
a Curriculum Vitae instead of the Programme Notes.
31

The requirements are as follows:
a movement at least from each of two contrasting pieces of solo repertoire
orchestral excerpts (included in the relevant handbook available from the Music Office and
Library)
Jazz Performance
The programmes are necessarily group-based: the challenge for the performer is to find different ways
of presenting the instrument or voice, both through the variety in the choice of pieces and by changing
the role and nature of input in relation to the ensemble.
Masters Part Two, internal recitals (project A)

One of the performance projects for Part Two is an internal recital of circa 60 minutes.
All recommendations and procedures listed in the previous section for Part One Final Recitals apply,
including choice of programme, score for examiners, memory requirements, timing penalties, stage
management and platform manners.
You need to provide a programme with all the details of the pieces you perform to the Music Office by
th
4pm on 18 May 2015, for copies to be prepared for the audience. Programmes must be wordprocessed on A4 paper, giving full details including date and time of recital, movement headings, and
the names of accompanists and other participants where applicable. This should come to a maximum
of two sides of A4 paper, or approximately 500 words.
Programme Notes are not necessary, but if you intend to provide them, these need to be of the
highest standard, both in content and presentation.
Importantly, you should treat this performance first of all as an event where you present yourself
professionally and artistically at the highest level.
32
ASSESSMENT SPECIALIST INSTRUMENT

PREPARED or ADDITIONAL PIANO
REQUEST FORM
A piano tuned to A=440Hz is provided for all assessments. This piano is for standard classical use only. If
you intend to perform a piece that requires unconventional use of a piano (i.e. anything other than fingers
on the keyboard) or if you require 2 pianos you should also use this form.
For Final Recitals where a specialist instrument is required (harpsichord, chamber organ, prepared piano)
the School will always try to provide the appropriate instrument.
For Midyear, BMUS1-3 End of Year, Orchestral Audition Assessments and elective assessments where
harpsichord or chamber organ are required for accompaniment an electronic instrument will be supplied.
Although we always try to provide the type of instrument you request we cannot guarantee the exact
instrument will be available
You will be informed if an alternative instrument is being arranged
ALL INSTRUMENT REQUESTS ARE SUBJECT TO BUDGET RESTRICTIONS
If you request an instrument for a final recital and then defer for professional reasons, or if you require a
specialist instrument for a resit examination, you will be required to cover the tuning cost of any specialist
instrument as well as the resit fee.
Please email this form to
jim.dean@gsmd.ac.uk (for harpsichords/Chamber Organ requests)
and
jp.williams@gsmd.ac.uk (for prepared piano/Additional Piano requests)
SPECIAL NOTE
IT IS YOUR RESPONSIBILITY TO ENSURE THAT ANYONE PLAYING ANY OF THE ABOVE
SPECIALIST INSTRUMENTS IS FULLY COMPLIANT WITH THE SPECIFICATIONS AND FUNTIONS
OF THE INSTRUMENT (I.E. CHANGING PITCHES AND USE OF VOICING STOPS) THE SCHOOL
CANNOT BE HELD RESPONSIBLE IF YOUR ASSESSMENT, OR THAT OF ANY OTHER STUDENT,
IS DELAYED DUE TO INSUFFICIENT KNOWLEDGE OF ANY ACCOMPANIST USING A SPECIALIST
INSTRUMENT.
33

Harpsichords: remember to specify single or double manual (usually single for
accompaniment).
IT IS IMPORTANT THAT YOUR ACCOMPANIST KNOWS HOW TO USE ALL FUNCTIONS
OF THE REQUIRED INSTRUMENT (Transposition etc)
Every effort will be made to supply the requested instrument for a Final Recital.
Where this is not possible an electronic alternative will be supplied.
ASSESSMENT TYPE
(final Recital/Midyear
etc.)
Venue
Assessment Date and
Time
Your name,
Programme and Year
Your inst/voice
1st kybd inst to hire
pitch (440/415 etc)
temperament
2nd kybd inst to hire
(If required)
pitch (440/415 etc)
temperament
3rd kybd inst to hire
(If required)
pitch (440/415 etc)
temperament
PIANO
Do you need an additional
Piano
Do you intend to use the
piano for an unconventional
performance?
34
Charges for resits and deferrals

Resit: if you fail an element of a course, you will normally be entitled to a resit. The fees are
as follows:
Resits (and defers where applicable)
Music
Resit
Written submission without supervision

Written submission with supervision
Practical assessment (including PSA,
Chamber music exams and elective
assessments)
Resit of non-PS/non-second study module
with attendance (per 10 credits)
Final recital without tuition
Final recital with tuition (incorporates 10
hours of extra mural lessons)
Fee for additional Elective module (per 10
credits)
Note: excludes principal study and is per
10 credits
46
115
115*
Defer for Professional

Engagement
46
N/A
115*
490
N/A
173*
1143*
173*
N/A
492
* Where a piano accompanist is required the charge will be borne by the student.
Where a specialist instrument is provided for a Final Recital an additional 80 will be
charged.
You will be notified of your resit fees when you receive the formal resit letter, and you will
also receive an invoice from the Finance Department, payable by Friday 21st August 2015.
Where payment is not received by the deadline the assessment will be cancelled. (Please
note that this is not deferral by default; non-payment will be considered a refusal by the
student to accept the offer of a resit and the student will not be entitled to another attempt.)
Deferral: if you are given a deferral for a module (usually on medical or professional
grounds), there is currently no charge; however, if a piano accompanist is required for a
deferral due to a professional engagement, you will have to pay the cost of the pianist.
Arrangements and timings of feedback to

students on their assessed work
Students will receive reports for principal study exams within a few days of the assessment
event.
For all written assignments, students receive their reports after marking and internal/external
moderation are completed. The School will attempt to provide students with feedback within
six working weeks of the hand-in deadline.
Students are advised that grades they might receive during the Academic Year are
provisional until they have been agreed by the Assessment Board.
35
36
Assessment Regulations
Requirements to pass a module
In order to pass a module and acquire the associated credit, a student must complete all the
assessment components of the module and achieve an aggregate mark of no less than 50% (level 7)
or 40% (level 6).
The pass mark for a module is the aggregate of the marks for each component listed in the module
specification, weighted according to the specified percentage, and assessed according to the stated
FHEQ level (7 or 6) and associated criteria.
If a student has been assessed in more than the standard number of module components, those with
the highest results are used for calculation.
Compensation at module component level
Compensation is not applicable to principal study module components.
Only one failed component between 40% and 49% (7) or 30%-39% (6) is allowed in any other
module, provided the overall aggregate of the module is a pass.
All components scoring less than 40% (7) or 30% (6) do not meet sufficiently the compensation
margin of the Learning Outcomes and need to be resat even if the overall aggregate of the module is
a pass.
These compensation rules do not apply at module sub-component level in any module, where fails
below 40% (7) or 30% (6) can be compensated.
Resit Provisions for a module or module components
In the case of a non-compensatable fail in a module component or of an overall module fail, the
Assessment Board requires the student to resit that component or module; the date, time and format
of the resit are determined by the Assessment Board but subject to the following conditions:
The resit activity must be equivalent to the original task.
A module component/module may be resat only once.
A student who successfully completes a resit is awarded the minimum pass mark for the failed
component for the purpose of calculation of the aggregate mark of the module. The only exception to
this is for an academic misconduct failure (e.g. plagiarism, collusion) where, even though the module
component may have been resat and passed, the failed mark is carried forward to the overall module
aggregate mark.
Requirement to pass a year or part and to progress
In order to pass a year/part, acquire its associated credit and progress/access to the next year/part, or
progress to award, a student must complete and pass all the modules associated to that year/part. If a
student has been assessed in more than the standard number of modules (i.e. electives), those with
the highest results are used for calculation.
The pass mark for a year is the aggregate mark of the individual module marks weighted
proportionally to their credit values.
Compensation at module level after first attempt
If, having made a valid attempt at resit, a student fails up to 10 credits, compensation provisions may
be applied by the Assessment Board if it can be demonstrated that the required Learning Outcomes
have been nonetheless achieved on the basis of the marks of the results of the resit and/or other
results. Where compensation is applied to any module included in the calculation for an award (see
16.3 below), the maximum classification awarded will be a Pass.
37

Progression
To progress from the Graduate Certificate Year to Part 1, a student needs to have passed all modules
of the GC and to have gained 60% minimum in the aggregate mark of the PS module.
To progress from Part 1 to Part 2, a student needs to have passed all modules of Part 1, have gained
60% minimum in the aggregate mark of the PS module, and have successfully submitted a plan for
professional and artistic development for Part 2.
Awards: Interim awards
Graduate Certificate
A student who, at the end of the Graduate Certificate Year, successfully passes the following modules
for a total of 100 credits:
GC Principal Study (90 credits)
Induction to the Guildhall Artist Programme (10 credits)
and ceases his/her studies, will be considered for the award of Graduate Certificate [Grad Cert] in
Music.
The result will be calculated on the basis of the overall aggregate of the module marks weighted
according to their credit value. The classification shall be determined as follows:
With Distinction
minimum 70%
With Merit
minimum 60%
Pass
minimum 40%
PGDip
A student who, at the end of Part 1, successfully passes the following modules for a total of 130
credits:
Principal Study (120 credits)
and ceases his/her studies, will be considered for the award of Postgraduate Diploma [PGDip] in
Music. The result will be calculated on the basis of the overall aggregate of the module marks
weighted according to their credit value. The classification shall be determined as follows:
With Distinction
minimum 70%
With Merit
minimum 60%
Pass
minimum 50%
Awards: Final Awards
MMus
A student who, at the end of Part 1,
(i) completes and passes the following modules for a total of 180 credits:
Principal Study (120 credits)
Integration of studies and Professional Development (10 credits)
2 or 3 Electives (40 credits in total), and
(ii) for Leadership pathway and Opera specialism only, has passed the additional 60 professional or
performance practice credits, and
(iii) ceases their studies,
will be considered for the award of Master of Music [MMus]. The result will be calculated on the basis
of the overall aggregate of the module marks weighted according to their credit value (excluding
professional or performance practice credits). The classification shall be determined as follows:
With Distinction
minimum 70%
With Merit
minimum 60%
Pass
minimum 50%
MPerf, MLead, MComp
A student who, at the end of Part 2, completes and passes the following modules for a total of 180
credits:
Performance Portfolio (150 credits)
Critique of Personal Development (30 credits)
and has achieved all 180 credits of Part 1, will be considered for one of the following awards:
38

Master of Performance [MPerf (Guildhall Artist)] ,
Master of Composition [MComp (Guildhall Artist)] or
Master of Leadership [MLead (Guildhall Artist)].
The result will be calculated on the basis of the overall aggregate of the module marks weighted
according to their credit value. The classification shall be determined as follows:
With Distinction
minimum 70%
With Merit
minimum 60%
Pass
minimum 50%
Policy on borderline classifications
The School Assessment Board may consider the award of a higher degree classification where the
aggregate result falls 0.5 percentage points below the percentage boundaries of the class above (i.e.
between 69.5 and 69.9. and 59.5 and 59.9). This is not applicable to the pass/fail boundary, or to
interim awards.
Failure of a year and the award of a lower level qualification
Where a student fails to meet the requirements for a particular year/part, having exhausted all resit
opportunities at module component or module level, but satisfies the requirements for an interim
award (Grad Cert, or PGDip for Part 1) or of the preceding part (Part 1 for Part 2), the student may be
considered by the School Assessment Board for an interim or lower level qualification.
Fail Withdraw
Where a student fails to meet the requirements for a particular year/part and is not eligible for the
award of an interim/previous level qualification, the School Assessment Board will require the student
to withdraw from the programme.
Periods of registration
The minimum and maximum periods for consideration for an award listed in 16.3 is as follows:
MPerf, MComp &
MLead
MMus
PGDip
Graduate Certificate
Min. period: 2 years FT*

Min. period: 1 year FT*
Min. period: 1 year FT*
Min. period: 1 year FT
Max. 4 years (5 years extended prog)

Max. 2 years
The maximum period of study will include any repeat year and/or periods of deferral or interruption.
* The minimum period may be reduced where a student has transferred from a relevant programme
offered by another higher education institution, see Regulation 3.2.1 of Section 2 of the Academic
Regulatory Framework.
Appeals & Complaints Procedures
Academic appeals
Validated programmes are subject to the Assessment Regulations of City University London and
these regulations include the procedure for appealing against the decision of a School Assessment
Board. The Appeals, Complaints & Enhancement Office at City University manages and administrates
formal appeals.
Complaints
The Schools Student Complaints Procedure covers all programmes and relates to any complaint
against the School except those which concern a students award or results which are covered by the
Appeals Procedure above. Examples of complaints covered by the Schools procedure include the
conduct of another student or member of staff, dissatisfaction with a School service, or an
accommodation problem.
The School seeks to solve complaints as near to the original source of the problem as possible and to
resolved matters informally whenever practicable. Before initiating the formal school procedure
students are asked to seek resolution of the matter informally at the point at which the incident/issue
which is the source of the complaint arose.
39
Where to find information

The Appeals Procedure and the Student Complaints Procedure are set out on the Registry page in
the student area of the Schools intranet and give full information about the processes and timescales.
The full academic appeals procedure is also reproduced in the School Student Handbook. Additional
advice can be obtained from Heather Swain, Assistant Registrar (Progression and Assessment),in
the Registry (heather.swain@gsmd.ac.uk).
40
M Level Assessment Criteria: Performance Pathway

%
MMus
Qualities recognisable in performance

Communication Musical Awareness
Control of Instrument
Quality of Sound
Ensemble
A performance displaying a genuine integration of musical insight, technical command and communicative conviction.
90
80
Compelling capacity to
move an audience
A revealing command of
stylistic detail and overview
Compelling mastery of
instrument
A captivating sound palette

projecting both subtle and
profound musical intentions
A communicative immediacy in
the shared music-making
producing a unified and original
interpretation
Clear and convincing

capacity to engage an
audience

evidence of pertinent aspects
of style and musical language
Sophisticated and secure

control of the instrument
A convincingly broad sound

palette with a clear and
pleasing sound and
communicating a wide
range of musical intentions
An excellent collaborative ethos

between members of the
ensemble resulting in an
integrated and engaging
performance
Consistent capacity to
engage an audience
Clear awareness of stylistic

aspects
Clear and convincing control of

instrument
An engaging sound with

consistent evidence of a
capacity to vary sound to
project musical intention
A clear and comprehensive

awareness of aspects of
ensemble with good
communication between
members of the team
Some capacity to
engage an audience
Recognisable awareness of
stylistic detail and of a sense
of overview
Generally proficient and

convincing control of
instrument
An acceptable sound quality

with evidence of a capacity
for variety
A generally good response to

others in the ensemble
Recognisable but not

yet consistent capacity
to engage an audience
Not always consistent

awareness of stylistic detail
and of a sense of overview
Issues of instrumental control

limit the capacity for the
projection of musical intention
An acceptable basic sound

but with limited variety to
A limited engagement with the

musical ideas of the ensemble
Limited capacity to
engage an audience
Limited and inconsistent

stylistic awareness
Inadequate control seriously

impinges on capacity to project
musical intentions
Insufficient quality and

variety of sound to project
musical intentions
Inadequate interaction between

ensemble members
Distinction
70
Merit
60
Pass
50
40
Below
40
Fail
41
M Level Assessment Criteria:

Performance Pathway (Jazz)
%
M Level
Qualities recognisable in performance

Communication
Musical Awareness
Control of
Instrument; Quality
of Sound
Improvisational
Technique; Craft
and Structure
Compelling
capacity to engage
an audience
A revealing command of
stylistic detail and
overview
instrument; a captivating
sound palette projecting
both subtle and profound
musical intentions
Clear and
convincing capacity
to engage an
audience
Convincing evidence of
pertinent aspects of
style and musical
language
Consistent capacity
to engage an
audience
Clear awareness of
stylistic aspects

control of the instrument;
a convincingly broad
sound palette with a clear
and pleasing sound and
range of musical
intentions
control of instrument; an
engaging sound with
capacity to vary sound to
improvisational
technique; an
impressive command
of musical structure
and material
Sophisticated and
secure control of the
improvisational
technique; clear and
convincing command
and material
Some capacity to
engage an
audience
Recognisable
awareness of stylistic
detail and of a sense of
overview

convincing control of
instrument; an acceptable
sound quality with
evidence of a capacity for
variety
Recognisable but
not yet consistent
capacity to engage
an audience

awareness of stylistic
detail and of a sense of
overview
Issues of instrumental
control limit the capacity
for the projection of
musical intention; an
acceptable basic sound
but with limited variety to
Limited capacity to
engage an
audience
Limited and inconsistent

stylistic awareness
Inadequate control
seriously impinges on
capacity to project
musical intentions;
insufficient quality and
variety of sound to project
musical intentions
80
Distinction
70
Merit
60
Pass
50
40
Fail
Below 40
42

control of
improvisational
technique; generally
convincing command
and material
Generally proficient
and convincing control
of improvisational
technique;
recognisable
awareness of how
musical structure and
material can be
controlled
Issues of
improvisational
technique limit the
capacity for the
projection of musical
intention; inconsistent
command of musical
structure and material
Inadequate
improvisational
technique seriously
impinges on capacity
to project musical
intentions; limited
control of musical
M Level Criteria: Composition Pathway (written submission & viva voce)

Qualities recognisable in composition
%
M Level
Communication
Compelling capacity
to engage an
audience
80
Distinction
capacity to engage an
audience
70
60
50
Merit
Pass
40
Fail
engage an audience
Imagination &
Personality
Establishes a captivating
sound world to project
both subtle and profound
transformations of
musical intention
Establishes a convincing
sound world
range of musical
intentions
Establishes an engaging
sound world with
capacity to communicate
a wide range of musical
intentions
Qualities required in the oral examination
Craft / Structure
Control of resources
An impressive command
of musical structure and
material
musical forces
Polished communication ~ the students answers are insightful and

indicate that they are able to analyse, and reflect upon, their work utilising
their comprehensive understanding of the nature of musical excellence
and contemporary directions in compositional research
Convincing command of
material

control of musical forces
Generally clear
command of musical
Clear and convincing control

of musical forces
Below
40
Establishes a basic
sound world with only
some evidence of a
capacity to communicate
a wide range of musical
intentions
Recognisable
awareness of how
material can be
controlled

yet consistent
capacity to engage
and audience
Establishes a fairly basic

sound world with only
limited capacity to
project musical
intentions

command of musical
Issues of control sometimes

limit the capacity for the
projection of musical
intention
Limited capacity to
engage an audience
Insufficient variety and

quality to project musical
intentions
Limited control of
material
Inadequate control impinges

on capacity to project
musical intentions
Some capacity to
engage an audience

convincing control of musical
resources
43
Careful and organised communication ~ the students answers indicate

that they can be self critical and are able to analyse their work utilising
their broad understanding of the nature of musical excellence and
contemporary directions in compositional research
Coherent communication ~ the students answers indicate that they can
describe their work with conviction and there is evidence of a sound
understanding of the nature of musical excellence and compositional
research methodologies
Communication that lacks coherence in places ~ the students answers

indicate that they can describe their work but they lack conviction at times
and there are gaps in their understanding and/or knowledge of the key
methodologies/theories in respect of musical excellence and
compositional research
Incoherent communication ~ the student is unable to describe their work,
and there is little evidence of understanding of the nature of musical
excellence and compositional research methodologies.
M Level Criteria: Leadership Pathway (written submission & viva voce)

%
M Level
80
Distinction
70
60
50
Merit
Pass
40
Fail
Qualities recognisable in leadership

Communication
Compelling capacity
to communicate with
and to respond to
participants and
audiences
capacity to
communicate with and
to respond to
participants and
audiences
to respond to
participants and
audiences
Some capacity to
to respond to
participants and
audiences
Qualities required in the oral examination
Awareness
Craft / Structure
Control of resources
Complete command of
context, musical detail
and artistic/educational
overview
An impressive command
of musical structure and
material
A complete mastery of
artistic forces
Convincing evidence of
overview

command of musical

capacity to control artistic
forces and to project musical
intention
Clear awareness of
and artistic / educational
overview
Generally convincing
command of musical
Generally convincing
intention
Careful and organised communication ~ generally convincing self-critical

attitude and ability to analyse their work, utilising a broad understanding
of the nature of musical and artistic quality and contemporary directions
of the portfolio practitioner
Recognisable
awareness of context,
musical detail and
artistic/educational
overview
Generally proficient
command of musical
Generally proficient capacity

to control artistic forces and
to project musical intention
Coherent communication ~ capable of describing their work with

conviction; evidence of a sound understanding of the nature of musical
and artistic quality and contemporary directions of the portfolio
practitioner
Below
40

yet consistent
capacity to
to respond to
participants and
audiences

awareness of context,
musical detail and
artistic/educational
overview
Generally proficient with

only occasional technical
limitations
Some evidence of a
intention
Limited capacity to
to respond to
participants and
audiences
Limited awareness of
overview
Limited control
command of musical
Insufficient control of
resources to project musical
intentions
44
Polished communication ~ impressive ability to analyse and reflect upon

their work as a leader/performer/composer; comprehensive
understanding of the nature of musical and artistic quality and
contemporary directions of the portfolio practitioner
Communication that lacks coherence in places ~ some recognisable

capacity to describe their work, occasionally lacking conviction;
inconsistent evidence in their understanding and/or knowledge of the
nature of musical and artistic quality and contemporary directions of the
portfolio practitioner
Incoherent communication ~ insufficient capacity to describe their work;

insufficient evidence in their understanding and/or knowledge of the
nature of musical and artistic quality and contemporary directions of the
portfolio practitioner
M Level Assessment Criteria: Written Work

Threshold points
Qualities recognisable in written work
M/7
H/6
Research
Synthesis
Content
Language
Presentation
75
Evidence of
imaginative,
relevant and
recent research
Imaginative and
compelling
synthesis of
complex concepts
and ideas
Capacity of
synthesising
complex concepts
and ideas
Capacity of
synthesising
concepts and ideas
Compelling and
well argued
personal ideas
Fluent and stylish

language and
structure
Fluent in all
presentation
parameters
Engaging and
well argued
personal ideas
Fluent language
and structure
Personal ideas
of interest,
supported by
good arguments
Personal ideas
and arguments
of some interest
Good clarity of
expression and
structure
Personal ideas
and arguments
of limited
interest,
supported by
some evidence
Recognisable
attempt at
individual
contribution, but
quite derivative
content
Limited personal
contributions,
heavily
derivative
content
Very limited
personal
contributions,
derivative
content of little
interest
Largely
irrelevant
content
Mostly clear in
expression and
structure
70
65
70
Evidence of
relevant and
recent research
Evidence of
relevant research
60
65
Evidence of some
relevant research
55
60
Some evidence of
research of
interest
50
45
40
50
Some evidence of
research
Some attempt at
synthesising
concepts and ideas
A recognisable
attempt at
research
Some attempt at
synthesising
concepts and ideas
Limited
evidence of
research
Limited attempt at
synthesising
concepts and ideas
Insufficient
evidence of
research
Insufficient attempt
at synthesising
concepts and ideas
45
40
30
30
Below
30
Below
30
Evidence of good
abilities in
synthesising
concepts and ideas
Showing some
abilities in
synthesising
concepts and ideas
Consistent clarity
of expression and
structure
Consistently good
presentation
Not consistently
clear in expression
and structure
Fairly consistent
presentation
Basic use of
language, with
occasional
problems
Showing a good
attempt at standards
of presentation
Limited capacity
of expression
Showing limited
familiarity with
standards of
presentation
Poor language
abilities impinge
on communication
of content
Careless and
inadequate
presentation
The work is of such poor quality in general that it needs to be resubmitted (i.e. serious misunderstanding of
the subject/assignment)
Non-serious attempt at the assignment (i.e. severely incomplete work)
Non-submission, Plagiarism
45
Assessment Criteria: Self-Reflective Writing

%
70
65
60
50
45
Below 40
40
Qualities recognisable in the SRA

Content
Presentation
Work of outstanding quality; an exceptionally thoughtful, original and
Fluently written, wellhonest response.
structured and
An exceptional capacity to reflect, observe and theorise, integrating
professionally
relevant evidence from primary and secondary sources with independent presented in all
thought
aspects.
strong evidence of open and balanced critical self-analysis.
Strong appreciation of an individual learning process and compelling
evidence of self-initiated learning.
Work of a very high quality showing considerable elements of originality,
deep thinking and honesty.
Strong evidence of a capacity to reflect, observe and theorise and
considerable integration of primary and secondary sources with
independent thought.
Strong evidence of critical self-analysis.
Convincing appreciation of an individual learning process and evidence
of self-initiated learning
Good work, showing elements of originality, thoughtfulness and honesty. Clear and stylish use
Clear evidence of an ability to reflect, observe and theorise.
of language,
Some integration of relevant evidence from primary and secondary
structured and
sources with independent thought.
professionally
Reasonable evidence of critical self-analysis
presented.
Awareness of an individual learning process and of self-initiated
learning.
Correct understanding of the work, showing some originality and depth
Clear use of
of thought.
language and a
Reflection, observation and theorisation are attempted, and some
comprehensible
acquisition of knowledge is evident.
structure. Convincing
Evidence of some critical self-analysis, of awareness of individual
presentation.
learning process and of beginnings of self-initiated learning.
Limited understanding of the work, showing limited originality and little
Comprehensible use
depth of thought.
of language but not
Largely superficial reflection, observation and theorisation but
fluent. Lacking in care
suggesting some acquisition of knowledge.
in all aspects of
Limited critical self-analysis.
presentation.
Some awareness of an individual learning process; occasional evidence
of self-initiated learning.
Poor understanding of the work and only occasional evidence of
Poor use of language
ownership of the ideas presented.
and lacking in clarity.
Little reflection, observation and theorization.
Poor presentation
Only occasional evidence of acquisition of knowledge.
Very limited critical self-analysis, little awareness of an individual
learning. process and limited or no evidence of self-initiated learning.
Work that is of such poor quality that it needs to be entirely re-presented (i.e. serious
misunderstanding of the subject/assignment); non-serious attempt at the assignment (i.e.
severely incomplete work).
Not fluent or comprehensible; poor use of language and poor presentation
Non-submission
46
For the following Principal Study

modules refer to the PS Handbook:
Graduate Certificate: Principal Study in Performance
Principal Study in Performance (Part 1)
Performance Portfolio (Part 2)
Principal Study in Orchestral Artistry (Part 1 and Part 2)
Graduate Certificate: Principal Study in Composition
Principal Study in Composition (Part 1)
Composition Portfolio (Part 2)
Graduate Certificate: Principal Study in Leadership
Principal Study in Leadership (Part 1)
Leadership Portfolio (Part 2)
Core Contextual modules

Integration & Professional Development
Critique of personal development
Professional Practice I & II (Leadership Specialism only)

Performance Practice I & II (Opera specialism only)
Written English (no credit weighting)
47
1. Module Title
Induction to the Guildhall Artist

Programme
2. FHEQ level
3. Credit Value
4. SITS module code
5. Location of Delivery
6. Applicable in the year of study
7. Module Leader
8. Department
7
10
GM CON 4001N
Guildhall School
Grad Cert Year or Part 1
Head of Music Programmes and Academic Studies
Academic Studies and PS Departments
9. Aims of the Module

This module aims to:
Familiarise students with the requirements of the Guildhall Artist programme and with the
opportunities for learning available within the School.
Introduce general research and professional development issues of relevance to all
postgraduate students.
Develop the students capacity to reflect intelligently on the nature of musical excellence
and on their own emerging professional relationship with musical performance,
composition and leadership.
Help students be open-minded in questioning the boundaries of traditional practice in
relation to self-reflection, research and professional development.
Ensure students are able to articulate and present their self-reflections and their ideas for
research and professional development in a manner which is appropriate.
10. Teaching & Assessment Methodology
This module consists of principle study school activities, a focussed period of study delivered
in seminar/workshop format and supplementary mentor support throughout the year.
Structure
An initial fortnight of activities to introduce the students to the programme of studies and
to the School and its facilities. All students take part in an ensemble or orchestral
performance at the end of these two weeks.
Mentoring support throughout the year; to complement the activities, students are
allocated a mentor who they will first meet in week 4 after the lectures and seminars
have been delivered. A mentoring circle further support and guides their personal and
professional development. Mentors supervise the Self-Reflective Account.
Students will attend two core sessions, which address the needs for setting goals and
objectives and for self-reflection.
1. Self-Reflection
2. Round0table with key members of Guildhall senior staff
Students then elect to attend 2 of 3 themes strands of seminars/workshops according to

their interest and requires: they may select from
1. Practice and well-being
2. Professional Skills and Promotion
3. Research and the Informed Musician
The two core lectures and the themed strands, which immediately follow are develieered on
Monday 29th September and Friday 3rd October 2014 from 4pm to 8pm. Students must
attend both days.
48
Assessment
Assessment comprising 60% of module grade, based on one of the two elective strands.
This will either be an essay (1350-1650 words) or a viva/presentation (c. 15 minutes).
Submission date: Monday 3rd November (draft essay deadline feedback from
lecturer/supervisor Friday 24th October). Viva dates to be arranged separately.
Written assessment comprising 40% of module grade. This will be a planning and goal
setting Self Reflective account (900-1100 words) identifying objectives and strategies for
achievement. Submission date: Monday 1st December (supervised by mentors)
11. Learning outcomes: On successful completion of the module students will have
achieved various skills and abilities. Please refer to the Programme Specification for
descriptions of the skills codes listed below:
A2, A3, A4, A5, A6, B2, B3, B4, B5, B6, C1, C4, C5, C7, C9
12. Module Pattern
a) Scheduled Teaching & Learning hours
Type
Seminar
Practical classes/workshops
Supervised time in studio/workshop/productions/rehearsals
Contact Hours
10
8
18
b) Assessment
Assessment Type
Detail
KIS
code
% Weighting
% Pass Mark
Essay/viva or
presentation
Essay (1350-1650
words)
Viva/presentation (15
minutes)
KCW
60
50
Self-reflective
account
900-1100 words
KCW
40
50
c) Independent Study hours

Personal practice/study
d) Total student learning hours for module
Notional Hours
64
100
13. Reading & Resources

The material will be specific to the students needs and pathways; the following list can be
considered as a general starting point:
Title
Author
Publisher
Year
Authenticities: Philosophical
Reflections on Musical
Performance
Learning journals: a handbook for
reflective practice and professional
development
Mentorship: the meaning of the
relationship for musicians
Kivy, Peter
Cornell University
Press
1995
Moon, J.A.
London:
Routledge
2006
Hays, T., Minichiello, V. and

Wright, P.
Research Studies
in Education 15,
p.3-14
2000
49
Musical Excellence: Strategies and

Techniques to Enhance
Performance
Music, Thought and Feeling:
Understanding the Psychology of
Music
Performing Music: Shared
Concerns
Practice-led Research, Researchled Practice in the Creative Arts
Psychology for Musicians:
Understanding and Acquiring the
Skills
Rethinking Music
The craft of research
The influence of deliberate practice
on the development of superior
expert performance
The Musicians Body
Williamon, Aaron
Oxford
2004
Thompson, William F.
Oxford University
Press
2009
Dunsby, Jonathan
Oxford University
Press
Edinburgh
University Press
Oxford University
Press
1996
Oxford University
Press
University of
Chicago Press
In The Cambridge
Handbook of
Expertise, CUP
Ashgate and
Guildhall School
of Music & Drama
Ashgate
1998
Cambridge
University Press
New York: Basic
Books
Oxford University
Press
1995
Smith, Hazel and Roger T Dean

(EDs)
Lehman, A. Sloboda, J. Woody,
R.
Cook, Nicholas, and Everist, Mark
(Eds.)
Wayne C. Booth, Gregory G.
Colomb and Joseph M. Williams
Ericsson, Anders
Rosset I Llobet J
Odam G
The Music Practitioner: Research

for the Music Performer, Teacher
and Listener
The Practice of Performance:
Studies in Musical Interpretation
The Reflective Practitioner
Jane Davidson (Ed.)
Ways of Listening: An Ecological

Approach to the Perception of
Musical Meaning
Johari window
Clarke, Eric
Rink, John
Schon, D.
http://www.noogenesis.com/game_theory/johari/johari_
window.html
50
2009
2007
2003
2006
2007
2004
1983
2005
Induction Module submission deadlines

The assessment of the Induction to the Guildhall Artist Programme module involves the
submission of two pieces of work:
1. An essay (1450-1550 words) 60% of module, deadline on:
Monday 03/11/14, 4pm Music Office

If you choose the option of a viva or presentation, you will be informed of
the date for this separately.
2. a Self-Reflective Account (900-1110 words) 40% of module, deadline on:
Monday 01/12/14, 4pm Music Office

Written work can be submitted in person, via post or email. If emailing, please send to
musicsubmissions@gsmd.ac.uk. It is strongly advised that if posting or emailing the work,
you follow this up with a phone call (020 7382 6129) to check it has arrived. If emailing you
must make sure the file is a word document, and can be opened on our computers. Always
keep a copy of your work, particularly if you are posting it.
Guidelines for the Self-Reflective Account:

This Self-Reflective Account (SRA) covers the first term of your study in the School on the
post-graduate programme, and it should be used as a way of setting targets and aims for
your professional and artistic development during the whole year. As part of the preparation it
is important to draft an initial version and discuss it with your mentor. The final submission
should also, however, include some reflections which are slightly distant from your first term
at school, to acquire some perspective on your work in the first term. The January deadline
allows for some retrospective reflection.
Targets, aims and lines of development that you indicate in this account should form a
starting point for the second SRA, due at the end of your Part 1 programme, and assessed
for the Integration module. Please consult the Guidelines for Self-Reflective Writing on
page 62 for more details information about the content of your Self-Reflective assignments.
51
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
Integration & Professional

Development
7
10
GM CON 4002
Guildhall School
Part 1
Academic Studies, Creative Learning and PS
Departments

With this module, students complete the cycle of reflection initiated by goal-setting at the
start of the programme (formalised in the Induction Self-Reflective Account).
Develop the students capacity to identify and undertake aspects of musical exploration
and research relevant to their artistic and professional development.
Develop the students capacity to reflect critically and reflexively on their personal and
professional artistic development, across the course of the programme.
Allow opportunity for consideration of aspects of the students longer term artistic
professional development.
Help students integrate their diverse experiences within the programme into a cohesive
whole.
Give students a framework and vocabulary for processing their experiences.
Provide academic support for the students as they progresses through Part 1 of the
programme.
This module consists of an introductory seminar and mentoring support throughout the year.
Structure
Core seminar outlining the programme and requirements
Additional seminars: Students are also invited to attend a series of seminars on
professional free-land information and skills organised in collaboration with Creative
Learning and shared with the BMus 4 Professional seminars is communicated via
email to students at the end of term 1.
Mentoring support throughout the year: Students are allocated a mentor and a
mentoring circle as for the previous year. Students with their mentors with the aim of
specifically referring back to the goals and aims identified in the previous submission
of reflective writing. Mentors encourage and support the students consideration of
their progress and development, musical exploration and research, and shre
experiences whenever possible.
Assessment
A Self-Reflective Account of 1800-2200 words (comprising 100% of module grade).
This responds to the goals set in the Induction Self Reflective Account. Content
should develop initial ideas and include an evaluation of progress made, a summary
of musical exploration and relevant research. Students must also append a log of
activity for the relevant period.
52
A2, A3, A4, A5, A6, B2, B3, B4, B5, B6, C1, C4, C5, C7, C9
12. Module Pattern
Type
Seminar
Group tutorial
Contact Hours
10
7
b) Assessment
Assessment Type
Detail
KIS
code
% Weighting
% Pass Mark
Self-reflective
account
1800-2200 words
KCW
100
50

Notional Hours
85.5
100

The material will be specific to the students needs and pathways; the following list
can be considered as a general starting point:
Title
Author
Publisher
Year
Performance
Learning journals: a handbook
for reflective practice and
professional development
Kivy, Peter
Cornell University
Press
1995
Moon, J.A.
London:
Routledge
2006
Hays, T., Minichiello, V. and Wright,

P.
2000
Musical Excellence: Strategies

and Techniques to Enhance
Performance
Understanding the Psychology
of Music
Concerns
Practice-led Research,
Research-led Practice in the
Creative Arts
Psychology for Musicians:
Understanding and Acquiring
the Skills
Rethinking Music
Williamon, Aaron
Research Studies
in Education 15,
p.3-14
Oxford
Oxford University
Press
2009
Dunsby, Jonathan
Oxford University
Press
Edinburgh
University Press
1996
Lehman, A. Sloboda, J. Woody, R.
Oxford University
Press
2007
Cook, Nicholas, and Everist, Mark

(Eds.)
Wayne C. Booth, Gregory G. Colomb
and Joseph M. Williams
Ericsson, Anders
Oxford University
Press
University of
Chicago Press
In The Cambridge
Handbook of
1998

The influence of deliberate
practice on the development of
Smith, Hazel and Roger T Dean

(EDs)
53
2004
2009
2003
2006
superior expert performance

The Musicians Body
Rosset I Llobet J
Odam G
The Music Practitioner:

Research for the Music
Performer, Teacher and
Listener
Jane Davidson (Ed.)
Ways of Listening: An
Ecological Approach to the
Perception of Musical Meaning
Johari window
Clarke, Eric
Rink, John
Expertise, CUP
Ashgate and
Guildhall School
of Music & Drama
Ashgate
Cambridge
University Press
New York: Basic
Books
Oxford University
Press
Schon, D.
http://www.noogenesis.com/game_th
eory/johari/johari_window.html
54
2007
2004
1995
1983
2005
Integration Module submission deadline

The Integration of Studies and Professional Development module is assessed with the
submission of a Self-Reflective Account made up of two items which are:
A Self-Reflective Account in relation to your programme of study in the School

(1800-2200 words: 100% of the overall mark for this module)
A Log of Activity for the year (no word limit: whilst this isnt actually marked, it is a
useful record both for us and for you, of your musical activities during your studies
here).
Deadline for Leadership and Opera year 2 students

4pm on Monday 22nd June 2015
The deadline for all other students is:
4pm on Tuesday 25th August 2015
musicsubmissions@gsmd.ac.uk It is strongly advised that if posting or emailing the work,
you follow this up with a phone call (020 7382 7195) to check it has arrived. If emailing you
must make sure the file is a word document, and can be opened on our computers. Always
NB: If you have a deferred final recital which is after the deadline of August 25th the deadline
of the SRA will be two weeks after the recital date and agreed by the Music Office. Please
speak to the Post Graduate Programme Co-Ordinator if you are in this situation.
Guidelines for the Self Reflective Account

The Self-Reflective Account should embrace the most significant elements of your musical
development this year. The starting point should be the targets, aims and lines of
development that you have indicate in the first SRA submitted in January. It should also,
however, include some final reflections which are slightly distant from your final assessment
(i.e. reflections during the summer) so that you can begin to give some perspective to your
work.
As part of the preparation it is important to draft an initial response and discuss it with your
mentor.
Log of Activities
This should be appended to your Self-Reflective Account and can just be a list of what you
have done, where and when.
55
Guidelines for Self-Reflective Writing

This reflective writing assignment is intended to help you focus on your activities on the
MMus programme and to extract from them what is important to you. Learning is an
individual process which depends on you to find meaning in new ideas and experiences.
Reflection plays a significant role in this and written reflection can be particularly useful in
allowing you to be objective: removed from the immediacy of the moment, the feelings,
context, interactions with colleagues, you can bring greater clarity to your perceptions and
your analysis of the whole. It would not be helpful to provide a prescriptive formula for this
essay, but instead you should consider what reflection is and bear this in mind while writing.
Reflection is more than making a record of your development: it is a purposeful activity in
which you revisit and re-evaluate the past in order to illuminate your present and future,
providing a source of energy and direction for your continued journey. When Kolb devised
his diagram of the learning cycle he showed the part reflection plays in learning. Reflection
moves the learner through observing, thinking, experimenting and evaluating into making
choices, planning new experience and taking the next step.
In reflective writing description of what you have learnt or experienced is accompanied by

noticing your own responses to this, emotional, intuitive and cognitive. Evaluation of
experience is likely to involve looking at how you are integrating old and new ideas within
your approach and making what you have learnt your own. This ownership allows you to
bring your intuitive and imaginative faculties into play and can lead to a growth in your sense
of artistic identity. For musicians, learning often takes place within relatively short term
projects and it is helpful then to re-examine the initial experience in the light of your long term
goals. Finding connections between different ideas and sources of inspiration or between
formal learning and wider personal experience and searching for meaning in all of this is
central to reflection and is also associated with the deepest learning.
Sometimes the impetus to reflect can come out of events that cause a loss of confidence or
sense of dissatisfaction; 'a state of doubt, hesitation, perplexity, mental difficulty, in which
reflective thinking originates, and an act of searching, hunting, inquiring, to find material that
will resolve the doubt, settle and dispose of the perplexity.' (Dewey, 1933, p. 12). But equally
reflection can be prompted by positive experiences such as completing a task you had
previously thought impossible. This may stimulate a reappraisal of other challenges and the
planning of new experiences. Learning can involve 'perspective transformation' when you
become aware of how your assumptions may have limited or distorted your understanding,
56
and this can occur as a sudden insight or a series of transitions. Negative feelings may need
thought if they inhibit learning in certain situations but positive feelings can also be very
important, helping you to persevere through difficult moments and sustain belief in yourself.
As part of reflection you can consider situations in which you have been successful and have
felt good about yourself. You can focus on what you found worthwhile, creative and
stimulating. Taking note of this can help you to make good choices and decisions, finding a
future pathway that will really reflect your enthusiasms and personality.
Reflection involves questioning yourself. Why are you engaging in a particular activity? What
are you hoping to get out of it? How will it help you towards your goals? How does it make
you feel? Has it changed you and if so how?
At your stage, a significant part of learning experience is self-initiated and will involve
exploration of source materials such as scores, recordings and books; this will contribute to
the substance of the essay, allowing for some real depth of analysis. It is normally best to be
selective about the number of things you include: concentrating on a few significant aspects
of your development, carefully examined and illustrated through your experiences, is more
likely to result in a profound level of reflection.
57
1. Module Title
Critique of personal development
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
30
GM CON 4033
Guildhall School of Music & Drama
Part 2
Academic Studies

Develop in the students a comprehensive understanding of, and demonstrable capacity
for, the research and self-critical skills involved in preparing and processing their artistic
and professional projects.
Encourage students to be innovative and self-challenging within their field of expertise.
Enable students to demonstrate self-direction in tackling and solving challenges related
to their specialisms.
Enable students to evaluate critically their performance/creative processes and
experiences in a manner which demonstrates self-awareness and research capacity.
Consolidate in the students the ability for communicating clearly and effectively in both
written and oral format to both specialist and non-specialist audiences.
Provide academic support for the students as they progresses through Part 2 of the
programme.
This module consists of seminars, lectures and mentoring support (including opportunities
for peer presentations)
Structure
Students attend 3 core seminars, which take place on Monday 29th September:
Detailed session on the requirements, rationale and expectations of the programme
The need for goal setting, planning objectives and self-reflection
Research, structuring and writing the critique
Additional seminars: a number of compulsory lectures including topics such as the
psychology of music, musical aesthetics and historical perspectives on self-reflection are
delivered in term 2. Details are communicated at the beginning of term. Students are asked
to attend at least three ResearchWorks seminars/talks organised by the Schools research
department, according to their own interests and availability.
Mentoring support and Peer Presentation: Students are allocated a mentor (who they
will first meet in week 4) and are placed within a mentoring circle. Mentoring
facilitates the development and application of reflective skills and research within
their wider personal and professional development as a whole. The mentoring
circles are particularly important in preparing for peer presentation and the written
submission. Small group submissions organised during in term 3 offer the students
the opportunity to share work in progress on the Critique of Personal Development.
Students deliver one presentation each, and are required to attend at least one
further session.
Library-based support is offered on individual needs basis.
58
Assessment
The assessment consists of one written submission comprising 100% of module grade:
Critique of Personal Development (4500-5500 words). Approaches will vary and guidance
from mentors and seminars will be valuable in determining the most appropriate ways of
structuring this submission. Critiques might address some of the following areas:
A commentary on the students development during the year.
An awareness of any relevant current relevant research both in relation to music
interpretation and creation, and to self-reflection.
A rationale of professional and artistic projects undertaken during the year.
An evaluation of both outcomes and process of their preparation methods and
delivery.
A projection into the future, outlining plans and aspirations
A2, A3, A4, A5, A6, B3, B4, B5, B6, C1, C4, C5, C7, C9
12. Module Pattern
Type
Group tutorial
Contact Hours
8
20
b) Assessment
Assessment
Detail
Type
Self-reflective
4750-5250 words
account
critique
KIS code
KCW

% Weighting
% Pass
Mark
100
50
Notional Hours
272
300

The material will be specific to the students needs and pathways; the following list
can be considered as a general starting point:
Title
Author
Publisher
Year
Authenticities: Philosophical Reflections
on Musical Performance
Kivy, Peter
Cornell University
Press
1995
Learning journals: a handbook for

reflective practice and professional
development
Musical Excellence: Strategies and
Techniques to Enhance Performance
Understanding the Psychology of Music
Performing Music: Shared Concerns
Moon, J.A.
London: Routledge
2006
Hays, T., Minichiello, V.

and Wright, P.
Williamon, Aaron
Research Studies in
Education 15, p.3-14
Oxford
2000
Oxford University
Press
Oxford University
2009
Dunsby, Jonathan
59
2004
1996
Practice-led Research, Research-led

Practice in the Creative Arts
Psychology for Musicians: Understanding
and Acquiring the Skills
Rethinking Music
The influence of deliberate practice on

the development of superior expert
performance
The Musicians Body
Smith, Hazel and Roger

T Dean (EDs)
Lehman, A. Sloboda, J.
Woody, R.
Cook, Nicholas, and
Everist, Mark (Eds.)
Wayne C. Booth,
Gregory G. Colomb and
Joseph M. Williams
Ericsson, Anders
Rosset I Llobet J
Odam G
The Music Practitioner: Research for the

Music Performer, Teacher and Listener
The Practice of Performance: Studies in
Musical Interpretation
Jane Davidson (Ed.)
Ways of Listening: An Ecological

Approach to the Perception of Musical
Meaning
Johari window
Clarke, Eric
Rink, John
Schon, D.
http://www.noogenesis.c
om/game_theory/johari/j
ohari_window.html
60
Press
Edinburgh University
Press
Oxford University
Press
Oxford University
Press
University of Chicago
Press
2009
2007
1998
2003
In The Cambridge
Handbook of
Expertise, CUP
Ashgate and
Guildhall School of
Music & Drama
Ashgate
2006
Cambridge
University Press
New York: Basic
Books
Oxford University
Press
1995
2007
2004
1983
2005
Critique Module submission deadline

The deadline for submission for the Critique is:
4pm on Tuesday 25th August 2015

musicsubmissions@gsmd.ac.uk. It is strongly advised that if posting or emailing the work,
you follow this up with a phone call (020 7382 7195) to check it has arrived. If emailing, you
must make sure the file is a word document and can be opened on our computers. Always
NB: If you have a deferred final recital which is after the deadline of August 25th the deadline
of the Critique will be three weeks after the recital date and agreed by the Music Office.
Please speak to the Post Graduate Co-Ordinator if you are in this situation.
Guidelines for the Critique of Personal Development:

The Critique is a substantial assignment of 4500-5500 words in which you should focus on
one or more works that have been important to you during the year and show how research
has helped you shape your interpretation of these pieces.
In his essay, 'Translating Musical Meaning' (Cook, Nicholas and Everist, Mark, ed.,
Rethinking Music, (Oxford, 1999)), John Rink has described this process as one that 'enlists
both historical and analytical evidence in an effort to capture the 'spirit' of a work as a prelude
to performance'. His essay, which presents a case study of Liszt's Valle d'Obermann, offers
an interesting model for this type of writing, and includes a discussion of approaches to
analysis that vary in their relevance to the performer. You might find the 'intensity curve' he
presents at the end a particularly helpful method. In Musical Thoughts and Afterthoughts,
the pianist, Alfred Brendel, reflects on the performer's goal of 'tracking down the character,
the psychological processes of the music'.
His opening chapter on Beethoven shows how his refusal to stay 'blindly' faithful to Urtext
editions has led him to scrutinise autographs, contemporary memoirs, to play historic
instruments and to amass a wealth of knowledge in his quest to understand the score more
deeply. Similarly Andras Schiff's lectures on Beethoven, which can be found on the Wigmore
Hall website, are another example of a very distinguished artist reflecting on the process of
interpretation and Schnabel's Beethoven edition offers something similar in an alternative
format. Of course these musicians are writing with the benefit of great experience. You may
find it more appropriate to present your material as you came across it through the year,
showing how you travelled towards your reading of the work for performance. It is important
to keep making connections between the material you have found and your experience of
playing the piece. You should also refer back to the Guidelines for Self-Reflective Writing
on page 62 of this handbook to remind yourself of the qualities that make your writing
reflective.
61
1. Module Title
Professional Practice I & II

(Leadership Pathway)
2. FHEQ level
7 (Masters)
3. Credit Value
20 credits in Year 1
4. SITS module code
Part 1, Year 1: PPL4046

Part 1, Year 2: PPL4047
Guildhall School, residential locations
6. Applicable in the year of study Part 1

7. Module Leader
Head of Creative and Professional Practice
8. Department
Creative Learning
The professional practice modules link to the Creation & Performance in Community
Settings and Collaborative Practice elements of the Principal Study Part 1 module for the
Leadership pathway. Through projects and residencies, techniques and skills learnt in the
Principal Study Module are consolidated.
These modules aim to:
enable students to take direct responsibility for their own professional future, through
having confidence in their musical abilities, artistic curiosity, and personal initiative and
determination;
encourage engagement in mutual learning with colleagues and project participants.
These modules are primarily formative in nature and are therefore offered on a pass/fail
basis only. To pass there is a minimum attendance requirement of 85% and tutors also
need to confirm that the students conduct and attitude has been professional. Each student
needs to be seen to work effectively within their team as a collaborative musician as well as
display the capacity to lead creative tasks with groups of varying standards and abilities. To
aid accurate assessment, a written confirmation should be attained from a project tutor or
organiser, where the performance of each student is addressed.
A1, A2, A6, B1, B5, B6, C1, C2, C5, C7, C8, C9
62
12. Module Pattern

Type
Contact Hours
* Exact title or combination of projects may change.
Supervised time in studio/workshop/
Projects will be selected at the start of each academic
projects/productions/rehearsals
year commensurate with the total contact hours
required.
Year 1 Projects and residencies
Mad Lab*
CPD training weekends*
St Mungos Homeless Centre*
35
72
35
Total 142
Year 2 Projects and residencies

(Im)possibilities*
Beit al Musica-Edward Said Collaboration in
Palestine*
City Cords*
Future Band*
St Mungos Homeless Charity*
50
85
50
80
35
Total: 300
b) Assessment In Year 1 and Year 2

Assessment
Detail
Type
Progress report
85% attendance required for

pass in each module
KIS
code
% Weighting
% Pass Mark
KPE
0%
Pass/Fail
Professional Conduct
To meet the assessment requirements of the Professional Practice module a student needs to attend
a minimum of 85% of the project sessions including the first and the last session of each project. If a
student fails to meet the attendance requirements without good cause then s/he will be assigned
another project or projects of equivalent length in contact hours. A student with certified mitigating
circumstances who misses either the first or last session, or who fails marginally to meet the 85%
attendance requirement, will be offered a viva to demonstrate that they have met the learning
outcomes of the project. The viva panel will be established in accordance with School regulation
Section 3, 8.3 and will comprise a minimum of two examiners. The panel will explore the students
understanding of the elements of the project that they missed and the relationship of those elements
to the projects objectives.

63
Year 1
Year 2
Year 1
Year 2
Notional Hours
58
100
200
400

Title
Improvisation: its Nature and
Practice in Music
A Year of Swollen Appendices
Music, Society and Education
Out of our Minds learning to
be Creative
Community Music: A
handbook
African Rhythm and African
Sensibility
Author
Publisher
Year
Bailey, D
1992
Eno, B
Small, C
Robinson, K
The British Library,

London
Faber and Faber
Wesleyan University Press
Capstone, Oxford
McKay, G and Moser, P
Russel House Publishing
2005
Chernoff, JM
The University of Chicago

Press
1979
64
1996
1996
2001
1. Module Title
Performance Practice I & II

(Opera specialism)
2. FHEQ level
7 (Masters)
3. Credit Value
4. SITS module code
Part 1, Year 1: PPO4048

Part 2, Year 2: PP04049
Guildhall School
6. Applicable in the year of study Part 1 only

7. Module Leader
Head of Opera
8. Department
Opera
The Performance Practice modules link to the Principal Study module for the Performance
pathway in Part 1 of the Guildhall Artist Masters programme for those students on the Opera
specialism. The classes in this module cover specific skills & techniques relating to dramatic
characterisation within the context of an operatic performance.
Develop the students technical and artistic capacity to physicalise a range of

characters and dramatic situations in the operatic context, through stillness, movement
and transformation.
Equip a student with the appropriate skills to be used in a broad range of imminent
professional contexts.
Develop a students confidence, independence and self-reliance necessary for a life of

changing professional expectations and demands.
This module is offered on a pass/fail basis only as the classes are essentially formative,
covering the complementary skills that are later assessed holistically as part of an operatic
performance within the Principal Study module. To pass there is a minimum attendance
requirement of 85%, and drama and movement tutors will also need to confirm, by way of a
written report, that the students conduct and attitude has been professional.
A1, A2, A6, B1, B5, B6, C1, C2, C5, C7, C8, C9
65
12. Module Pattern

Type
Contact Hours
Year 1 Performance practice

Drama classes
Movement classes
Make-up classes
Introduction to combat
Manual handling
63 (7x3x3)
22.5 (5x1.5x3)
18 (9 x2)
3
2
Total 108.5 for Year 1

Year 2 Performance practice
Drama classes
Movement classes
Character realisation (make-up, wigs & costume)
consultations & execution
Combat refresher
34.5 [(3.5x3x3) + (1x3)]

24 [(5x1.5x3) + (0.5x3)]
10.5 [3x1.5 +12x0.5}
3
Total: 72 for Year 2

b) Assessment In Year 1 and Year 2
Assessment
Detail
Type
KIS
code
% Weighting
% Pass Mark
85% attendance required for

pass in each module*
KPE
Progress report
0%
Pass/Fail
Professional Conduct (tutor
report)
* A register of all classes is kept to monitor attendance: any student in danger of not meeting the 85%
threshold will receive a warning.

Personal practice/study in Year 1
Personal practice/study in Year 2
d) Total student learning hours for module in each year
Title
The singing and acting
handbook
Singing, acting, and
movement in opera: a guide to
singer-getics
The art of auditioning
Care of the professional voice
Stage makeup
Notional Hours
191.5
228
300
Author
Publisher
Year
Thomas de Mallet
Burgess and Nicholas
Skilbeck
Mark Ross Clark
Routledge
2000
Indiana University Press
2002
Anthony Legge
D Garfield Davies &
Antony F Jahn
A Corson
Peters
Black
2001
2004
Englewood Cliffs, NJ:

Prentice Hall
1990
66
1. Module Title
Written English
2. FHEQ Level
N/A
N/A
3. Credit Value
Notional study time is equivalent to a 5 credit module
4. SITS module code
GMMST0140
Guildhall School
6. Applicable in the year of study Any
7. Module Leader
Deputy Head of Academic Studies (Postgraduate)
8. Department
Academic Studies
This class focuses on development of skills in written English. It includes written and spoken
exercises for developing the acquisition of grammar and vocabulary. The module aims to:
provide, where necessary, support in written and spoken English for students
beginning the BMus course.
develop the students language skills so that they can complete their written
assignments.
ensure that students can communicate effectively with staff and colleagues.
provide, where necessary, additional support in written English for students preparing
their dissertation submissions in Year 3.
The module is assessed with a test.
C1
12. Module Pattern
Type
Class
b) Assessment
KIS Assessment
Detail
Type
English Language test
Written exam
Contact Hours
26
KIS
code
n/a
% Weighting
% Pass Mark
100%
40%
Notional Hours

Specific learning material is recommended by the tutor at the beginning of the module.
67
24
50
Elective modules
Aesthetics & the Philosophy of Art
Analysis
Baroque Studies
Body Matters
Chamber Music
Classical Studies
Collaborative Practice: Cross-Arts Context
Collaborative Practice: Education Context
Conducting
Counterpoint
Dramatised Song & Poetry
Jazz Composition & Arranging
Jazz Improvisation
Medieval & Renaissance Studies
Music for Media
Opera & Theatre
PianoWorks
Research in Performance, Composition or Leadership
Song Accompaniment
Song Interpretation
Voiceworks
68
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
20
GM ELE 4009
Guildhall School
Part 1
Head(s) of relevant PS Department
Relevant PS Department(s)

Provide a means by which students with a high degree of abilities in a principal study
area other than their main one may benefit from one-to-one lessons.
Provide expertise, experiences and opportunities appropriate to their specific talents so
that students can feel confident in identifying and understanding their own artistic vision
through integrating this additional area of study into their portfolio of skills.
Students demonstrating a high degree of expertise in a second principal study area can shift
up to 15 hours of one-to-one tuition from the main principal study to the additional principal
study. The level of abilities is expected to be equivalent to that of the main principal study,
demonstrated by audition or portfolio and interview.
The module is assessed with one 40-minute performance of contrasting repertoire, or
submission of a portfolio of compositions (12-18 minutes in total) or leadership spoken
presentation or a performance of the student own work followed by a viva voce.
A1, A2, A6, B1, B4, B6, C1, C5, C6, C7, C9
12. Module Pattern
Type
One- to one class/tutorial
Contact Hours
(up to) 15
69
b) Assessment
Assessment
Type
Detail
KIS code
Performance (40 minutes)

Composition (folio of 12-18
minutes)
Assessment
Leadership (presentation/
performance and viva voce
)
KPE
% Weighting
% Pass
Mark
100
50
Notional Hours
185
200

Students should refer to the reading lists of the principal study modules of the three pathways.
Teachers advise repertoire and reading lists to students individually.
70
1. Module Title
Aesthetics & the Philosophy of Art
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
20
GMELE4034
Guildhall School
Part 1
Deputy Head of Academic Studies (Undergraduate)
Academic Studies

This module is for students who wish to gain a wider and more systematic understanding of
musical practices in relation to the arts as a whole. Besides studying key texts in
contemporary and historical aesthetics, participants will consider subjects such as the
meaning of artistic activity, the social and cultural value of music, and the relation of
aesthetic value to ideas of truth and goodness.
broaden students awareness of the place of music in the wider context of culture and
society.
develop techniques of philosophical analysis and critical reading, thinking and writing.
encourage reflection on the value of musical performance in the context of contemporary
society.
give a substantial grounding in the history and contemporary practice of the philosophy
of art.
The course consists of 18 group lectures/seminars (1hr lecture 30min discussion), 4
specialist group tutorials (1hr) and 2 one-to-one tutorials (0.5 hr). There are two assessed
projects: one spoken presentation to be delivered in class; one essay (3800-4200 words)
written in response to a set question.
A5, B3, B4, B6, C1, C3, C4, C5, C6, C7, C9
12. Module Pattern
Type
Lecture
Seminar
Contact Hours
27
4
1
71
b) Assessment
Assessment
Type
Presentation
Coursework
Detail
In class
Essay (3800/4200 words)
KIS
code
KPE
KCW
% Weighting
% Pass Mark
20
80
50
50

Self-directed group rehearsal/study
Title
Notional Hours
171
200
Author
Publisher
Year
Aesthetics
Values of Art: Pictures, Poetry
and Music
Aesthetics and Music
Aesthetics: A Comprehensive
Anthology
Performance
Music and Meaning
Music, Philosophy, Modernity
Colin Lyas
Malcolm Budd
Routledge
Penguin
1997
1995
Andy Hamilton
Steven M Cahn and Aaron
Meskin (eds)
Kivy, Peter
Continuum
Blackwell
2007
2008
Cornell University Press
1995
Robinson, Jenefer (ed.)

Bowie, Andrew
1997
2008
Elective Affinities
Philosophers on Music
The Aesthetics of Music
Music and the Ineffable
On the Musically Beautiful
Goehr, Lydia
Stock, Kathleen (ed)
Scruton, Rober
Jakkelevitch, Vladimir
Hanslick, Eduard

Cambridge
University
Press
Columbia University Press
Oxford University Press
Princeton University Press
Hackett
72
2008
2007
1995
2003
1986
1. Module Title
Analysis
2. FHEQ level
3. Credit Value
10 or 20
4. SITS module code
GMELE 4043 (10 credits)

GMELE 4044 (20 credits)
Guildhall School

7. Module Leader
8. Department
Academic Studies

Guide students through careful listening to their typical repertoire, so as to become
aware of what shapes and gives impact to such music. Specifically, to give them further
experience of, and confidence in, discovering for themselves elements of rhythm,
melody, harmony and counterpoint, and texture, and to develop awareness of how these
may interact in that shaping and impact.
Foster an awareness of the wide diversity of analytic approaches to tonal music, their
different purposes and rationales, and to gain a working knowledge of a set of specified
approaches.
Encourage students to discover for themselves appropriate approaches to twentiethcentury music not often covered in analytic writing.
The class includes studying a number of analytical approaches, including:
Leonard Meyer, especially in relation to grouping and hierarchic structures
Contrapuntal reduction
Hierarchic interaction of harmony and tonality
Theories of musical metre
The analytical methodologies are applied through guided listening to selected pieces from
relevant periods of music history, including mid-twentieth century.
The module is assessed with the submission of a portfolio with two written analyses of
agreed pieces/movements, one from the tonal repertoire, and the other from the mid-20th
Century. Each analysis is 1900-2100 words, diagrams can replace part of the text (one
diagram is equivalent to 400-500 words) (100% for 10 credits, 50% for 20 credits). In
addition, students taking the 20-credit option write an essay (3000-3300) critiquing particular
analysts approaches (50%).
A5, A6, B3, B4, B6, C1, C3, C4, C5, C6, C7, C9
73
12. Module Pattern

Type
Seminar
One-toone class/tutorial
b) Assessment
Assessment Type
10 credits
Assessment
20 credits
Assessment
Coursework
Contact Hours
(10 and 20 credit) 24
( 20 credits only) 2
1
Detail
Portfolio with two written

analyses (1900-2100
words each)
Portfolio with two written
analyses (1900-2100
words each)
Essay (2850-3150)

Library-based study

Title
Structural Hearing
Sonata Forms
Explaining Music
A Guide to Musical Analysis
A Generative Theory of Tonal Music
The Aesthetics of Music
Music in the Galant Style
KIS
code
% Weighting
% Pass Mark
KPE
100
50
KPE
50
50
KCW
50
50
10 credits
20 credits
10 credits
20 credits
Notional Hours
76
171
100
200
Author
Publisher
Year
Salzer, F
Rosen, C
Meyer, L
Cook, N
Lerdahl, F
Jackendoff, R.S.
Scruton, S
Gjerdingen R.
Dover Publications
Norton
University of Chicago
OUP
MIT Press
1962
1980
1973
1987
1983
Clarendon Press
OUP
1997
2007
74
1. Module Title
Baroque Studies
2. FHEQ level
3. Credit Value
7
10 or 20
GM ELE 4045 10 credits
4. SITS module code
Generally Room 209
7. Module Leader
Head of Historical Performance
8. Department
Develop students awareness of historical music-making practices appropriate to the
interpretation of European repertoire from the Baroque period (1600-1740), with
reference to the (r)evolutionary characteristics of musical practice during this period.
Provoke students to a sophisticated questioning and understanding of their personal
interpretative stances in relation to this knowledge.
Develop artistic and technical fluency through a practical investigation of interpretative
principles detailed in primary and selected secondary source material.
Provide a supportive and critical forum in which students are encouraged to experiment
with novel interpretative perspectives and recognise the potential worth and limitations of
their trials in different current-day contexts.
The group meets twenty-one times each year for two-hour sessions. Typically, the first part
of class is led by the tutor, who introduces and discusses series of topics germane to
investigating historical performance practice. Students are asked to prepare for this
component of class by reading identified source materials and learning didactic musical
examples appropriate to their principal study. The second part of class is usually open
coaching of ensembles which students are expected to contribute to as players and
discussants. The tutor suggests repertoire to students appropriate to the modules themes
current from week to week, or work on pieces that students are preparing for concert,
audition or competition performance.
The module is assessed with a thirty-minute lecture-recital on a topic approved in advance
by the module tutor. This would be on an aspect of performance practice that has been
discussed in class and which has changed the way the student interprets repertoire from this
period, and it needs to illustrate appropriate depth of insight, and a range of the knowledge
acquired during the module.
It is compulsory to perform during this presentation: a 50:50 balance between talking and
playing works well, and a ratio of playing to talking less than 40:60 will need an exceptionally
strong performance element to persuade that ideas discussed have been fully integrated in
practice. The commentary element must illustrate in specific detail an interpretative dilemma
found in the piece(s) performed and the students resolution of it through research and
rehearsal. Students present their topic to their learning group; they may offer handouts to all
attendees but must as a minimum requirement submit a research bibliography to the
assessors, who may choose to ask questions during the presentation.
In addition, students taking the 20-credit option will, in consultation with the course tutor(s),
devise and lead two class presentations (one in each of Terms 1 and 2, a minimum of 10
75
minutes plus questions) further demonstrating the acquisition of relevant stylistic and /or
performance practice issues and an ability to apply these appropriately in a practical setting.
A1, A2, A4, A5, A6, B1, B2, B3, B4, B6, C1, C2, C3, C4, C5, C6, C7, C9
12. Module Pattern
Type
b) Assessment
Assessment
Type
10 credits
Assessment
20 credits
Assessment
Assessment
Contact Hours
42
Detail
KIS
code
Lecture recital (30 mins)

Two class presentations
(10 mins each)
KPE
100%
50
KPE
50%
term 1- 20%
Term 2-30%
50
KPE

Library-based study
Title
The Holy Bible, Authorised of
King James version
nd
On Playing the Flute, 2
Edition
Roger North on Music
The New Monteverdi
Companion
Source readings in music
history, revised ed
J.S.Bach a Life in Music
% Pass
Mark
% Weighting
Author
50
Notional Hours
108
50
200
Publisher
Year
Various
Quantz, J.J.
Faber
1985
Ed. Wilson
Ed. Arnold and Fortune
Novello
Faber
1959
1985
Strunk, O
WW Norton
1997
Peter Williams
CUP
2007
76
1. Module Title
Body Matters
2. FHEQ level
3. Credit Value
10 or 20
4. SITS module code
GM ELE 4046 (10 credits)

Guildhall School

7. Module Leader
8. Department
Academic Studies
Give students the opportunity to study in depth aspects of physiology and psychology
relevant to practice and performance.
Encourage musicians to adopt a healthy approach to both their bodies and their minds.
Promote students application of theory to their musical practice.
Encourage students to identify, investigate and work towards resolving personal
performance-related difficulties.
The module consists of classes and individual study on the interaction between the psyche
and the soma (body) in the context of musicians performance and creation. The taught
content of the course includes a range of body and mind issues relevant to learning,
practising, creating, making and performing music. The links between mind and body is
explored. Students have the opportunity to build upon ideas disseminated in class by
choosing, in negotiation with their tutor, a particular focus for their own research, essay
submission and presentation. Examples of study topics are:
performance anxiety
anatomical difficulties experienced by instrumentalists
the prevalence of pain in musicians
maintenance of good health and fitness
how to perform to maximum potential
facilitation and inhibition of musical creativity
managing competition in the profession
the inner critic
stage presence
The assessment consists of two parts:
a) an essay (1900-2100 words, 10 credits; or 3800-4200 words, 20 credits)
b) a 20-minute group presentation for both 10 and 20 credits (all members of the group will
usually receive the same mark, unless extenuating circumstances make it clear that
differentiated marks should be applied).
11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of
the skills codes listed below:
A4, A5, A6, B3, B4, C1, C3, C4, C5, C7, C9
77
12. Module Pattern

Type
Seminar
One-toone class/tutorial
Contact Hours
(10 and 20 credits) 24
(20 credits only) 2
1
b) Assessment
Assessment Type
Detail
KIS
code
% Weighting
% Pass Mark
KCW
60
50
KPE
40
50
KCW
70
50
KPE
30
50
10 credits
Coursework
Group Work
Essay (1900-2100
words)
Group Presentation
20 mins
20 credits
Coursework
Group Work
Essay (3800-4200
words)
Group Presentation
20 mins


Title
The Musicians Body
Essentials of Anatomy and
Physiology
The Science of the Singing
Voice
The Athletic Musician: a guide
to playing without pain
The Musicians Hand
The Psychology of Music
10 credits
20 credits
10 credits
20 credits
Notional Hours
71
168
100
200
Author
Publisher
Year
Rosset I Llobet J
Odam G
Martini FH , Bartholomew
EF
Sundberg J
Ashgate and Guildhall

School of Music & Drama
Prentice Hall
2007
Paull B and Harrison C

Winspur I and Wynn Parry
CB
Deutsch D
78
2000
Northern Illinois University

Press
Lanham Scarecrow Press
1997
London M Dunitz
1998
San Diego Academic

Press
1999
Chamber Music
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
6. Module Type
7. Module Leader
8. Department
7
10 or 20
GM ELE 4011N (10 credits)
GM ELE 4024N (20 credits)
Guildhall School
Taught
Part 1
Head of Chamber Music
Chamber Music

Develop technical and artistic abilities in chamber music.
Develop the co-operative skills necessary for the chamber player.
Develop technical and artistic cohesion within a particular ensemble group.
Enhance knowledge of the repertoire through study of chamber music.
After initial sessions in which postgraduate students come to know each other, groups are
formed from amongst the student body with support from the Co-ordinator of Chamber Music
and departmental staff. Groups have lessons, coaching and masterclasses with internal staff
and visiting groups in residence. Groups are encouraged also to seek external opportunities
for performance as well as internal concerts.
The 10 credit module is assessed with a 20 minute performance of one major chamber work.
The 20 credit module should be assessed with a 40 minutes performance of two major
chamber contrasting works. Repertoire cannot be repeated across different assessments.
A1, A2, A3, A4, A6, B1, B2, B4, B6, C1, C2, C5, C6, C7, C8, C9
12. Module Pattern
Type
Contact Hours
24 (10 credit module)
b) Assessment Assessment Type
Detail
KIS
code
% Weighting
% Pass Mark
Performance
20 mins
KPE
100
50
Performance
40-50 mins
KPE
100
50
10 credits
Assessment
20 credits
Assessment
79

10 credits
20 credits
10 credits
20 credits
Notional Hours
76
152
100
200

Principal study teachers and chamber music coaches advise the repertoire. Scores and
recordings for most standard repertoire works and many lesser-known works are located in
the Guildhall School Library. Students are encouraged to use Urtext scores whenever
possible.
80
1. Module Title
Classical Studies
2. FHEQ level
3. Credit Value
7
10 or 20
4. SITS module code
Guildhall School
7. Module Leader
8. Department

interpretation of European repertoire from c1740 to c1810, with particular reference to
contrasting national styles of performance.
Provoke students to a sophisticated questioning and understanding of their personal

interpretative stances in relation to this knowledge.
Develop artistic and technical fluency through a practical investigation of interpretative

principles detailed in primary and selected secondary source material.
Provide a supportive and critical forum in which students are encouraged to experiment
with novel interpretative perspectives and recognise the potential worth and limitations
of their trials in different current-day contexts.
investigating historical performance practice. Students will be asked to prepare for this
discussants. The tutor will suggest repertoire to students appropriate to the modules
themes current from week to week, or work on pieces that students are preparing for
concert, audition or competition performance. The fluent movement between reading,
thinking, practising and listening modelled by the tutor during group sessions is illustrative of
the way in which knowledge of historical performance practice develops.
81
12. Module Pattern
Type
b) Assessment
Assessment
Type
10 credits
Assessment
20 credits
Assessment
Assessment
Contact Hours
42
Detail
Lecture recital (30

mins)
Lecture recital (30 mins
Two class
presentations
(10 mins each)
KIS
code
% Weighting
KPE
100%
50
KPE
50%
50
KPE
term 1- 20%
Term 2-30%
50

Library-based study
Title
% Pass Mark
Notional Hours
108
50
200
Author
Publisher
Year
Essay on the true art of

playing the keyboard
A treatise on the fundamental
principles of violin playing
School of clavier playing
Bach, CPE
Translated edition by WJ Mitchel. WW

Norton
Translated edition by E Knocker. OUP
1949
1982
On playing the flute
Quantz, JJ
Ausfhrlicher und grundlicher

Unterricht die Flte zu Spielen
The Singers Preceptor
Tromlitz, J.G
Translated by R.H. Haggh, University of

Nebraska Press
Berlin - Translated edition by ER
Reilly. Faber and Faber
Translated A. Powell, CUP
Corri, D
Garland, Facsimile Edition
Lart du Violon
Baillot,P
Translated Louise Goldberg,

Northwestern University Press
19931995
1991
Mozart, L.
Trk, D.G.
82
1951
1752
1982
1991
1. Module Title
Collaborative Practice:
Cross-Arts Context
2. FHEQ level
3. Credit Value
4. SITS module code
7
10 or 20
Guildhall School
Part 1
Creative Learning
7. Module Leader
8. Department

Give students the opportunity to explore ensemble music-making in cross-arts and/or
trans-cultural contexts.
Allow students to push the boundaries of traditional music practice in way which
contributes to them to begin to find an individual voice.
Challenge students to reflect on their strengths and capacities as tested in diverse and
challenging contexts.
The content is delivered through a combination of group and 1:1 tutorials, personal practice
and research and one (10 credits) or two (20 credits) collaborative projects run by
Barbican/Guildhall Creative Learning Division. Each project requires the student to
collaborate in a specific cross-arts context, often drama, dance or visual arts.
The Elective tutors support the students reflections on the context of the work, the
methodological approach, and the development of their personal practice. The project
leader supports the student on the practical work and project evaluation.
Additional content comes through cross-departmental activities co-ordinated by the Creative
Learning Division.
The intensive nature of these collaborations means that students, during the projects, need
temporary exemption from other aspects of the programme. Projects take place at moments
in the year in which it is possible to accommodate these exemptions, including vacation
periods. Some projects involve international placement; students choosing these options
may need to pay for travel.
The module is assessed with two components (each weighted at 50%) as follows:
Component A: A tutor report on the students participation and development in their first
project and (50% of component). Submission of 900-1000 word self-reflection (50% of
component). The essay should include analysis and self-reflection demonstrating the
students awareness of the wider context of the work, their own learning and development
and their evaluation of the project undertaken.
Component B: A tutor report on the students participation and development in the second
project (40% of component). Submission of 1000-1200 word self-reflection (60% of
component). The essay should include analysis and self-reflection demonstrating the
students awareness of the wider context of the work, their own learning and development
and their evaluation of the project undertaken.
83
Students taking the 10-credit point option undertake only the first Assessment Type above.
A1, A2, A3, A4, A6, B1, B2, B4, B5, B6, C1, C2, C3, C5, C6, C8, C9
12. Module Pattern
Type
Contact Hours
b) Assessment
Assessment Type
Detail
KIS
code
% Weighting
% Pass Mark
Tutor report on
participation (50%)
900-1000 word selfreflection (50%)
KPE
100
50
as above
KPE
50
50
Tutor report on
participation (40%)
KPE
50
50
10 credits
Assessment A
20 credits
Assessment A
Assessment B

10 credits
20 credits
10 credits
20 credits
Notional Hours
20
60
100
200

Title
Author
Publisher
Year
The Re-enchantment of Art
Gablik, S
1991
Inside the Music Conversations with

Contemporary Musicians about Spirituality,
Creativity, and Consciousness
Music of the Common Tongue. Survival and
Celebration in African American Music
Ocean of Sound
Audio culture: Readings in modern music
Ehrlich, D
Thames and Hudson,

New York
Shambhala
Publications, Boston
Wesleyan University
Press, New England
Serpents Tail, London
Continuum Press
1998
Marion Boyars
Continuum Press
1961
2006
Silence
Background noise - perspectives on sound
art
Small, C
Toop, D
Ed. Cox, C and
D Warner
Cage, J
Labelle, B
84
1997
1995
2004
Musics of Many Cultures: an Introduction
May, E
Improvisation: its Nature and Practice in

Music
Participation (Whitechapel: Documents of
Contemporary Art)
Bailey, D
Audio Culture, Readings in Modern Music
Cox,
C.
Warner, D.
Creative Collaboration
John-Steiner, V.
Musical Identities
Macdonald A.R.,
Hargreaves,
D.J. & Miell, D.
Sawyer, R.K.
Group Genius: The creative power of

collaboration
Together: The rituals, pleasures and politics
of cooperation
Bishop, C.
Sennet, R.
85
&
Berkeley, University
Of California
Da Capo Press , USA
1981
Whitechapel Gallery
Ventures Limited
Texts
The Continuum
International
Publishing Group Ltd.
Oxford University
Press
Oxford University
Press
2006
Basic books
2007
Allen Lane, Penguin

Books
2012
1992
2004
2006
2002
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
Collaborative Practice:
Education Contexts
7
10 or 20
Guildhall School and external partners
Part 1
Creative Learning

Develop an awareness of approaches to instrumental/vocal teaching and learning for all
ages and abilities.
Develop core skills in voice and body work, percussion skills, approaches to structured
and free improvisation, group composition and communication skills.
Devise creative and repertoire-linked projects appropriate for educational contexts and
which embrace imaginative approaches to performance in different educational contexts.
Offer students relevant and meaningful connections with teaching organisations in the
wider community.
Provide a forum for skill-sharing and self-assessment, contextualised and supported
through links with the various instrumental departments and the Research Centre for
Teaching and Learning.
The content is delivered through a combination of group and 1:1 tutorials, personal practice
and research and one (10 credits) or two (20 credits) creative educational projects run by
Barbican/Guildhall Creative Learning Division. The Elective tutors support the students
reflections on the context of the work, the methodological approach, and the development of
their personal practice. The project leader supports the student on the practical work and
project evaluation.
Additional content comes through cross-departmental activities co-ordinated by the Creative
Learning Division
The module is assessed with two components (weighted at 50% each) as follows:
Component A: A tutor report on the students participation and development of their critical
reflection in their first project (50% of component). Submission of a 900-1000 word selfreflective essay (50% of component). The essay should include analysis and self-reflection
demonstrating the students awareness of the wider context of the work, their own learning
and development and their evaluation of the project undertaken.
Component B: A tutor report on the students participation and development of their critical
reflection in the second project (40% of component). Submission of a 1000-1200 word selfreflective essay (60% of component). The essay should include analysis and self-reflection
demonstrating the students awareness of the wider context of the work, their own learning
and development and their evaluation of the project undertaken.
Students taking the 10-credit point option undertake only the first assessment component
above.
86
12. Module Pattern
Type
Contact Hours
b) Assessment
Assessment Type
Detail
KIS
code
% Weighting
% Pass Mark
Tutor report on
participation (50%)
KPE
100
50
as above
KPE
50
50
Tutor report on
participation (40%)
KPE
50
50
10 credits
Assessment A
20 credits
Assessment A
Assessment B

10 credits
20 credits
10 credits
20 credits
Notional Hours
20
60
100
200

Title
Author
Publisher
Year
Effective Teaching and Mentoring
Daloz, L
1986
Sound Waves
The Inner Game of Music
Instrumental Teaching: A Practical Guide to
Better Teaching and Learning
How Children Fail and How Children Learn
Davies, L
Green, B
Hallam, S
London: JosseyBass
Unwin Hyman Ltd
Pan
Oxford: Heinemann
Holt, J
Penguin
A Teachers Guide to Classroom Research
Hopkins, D
Experiential Learning
Kolb, D
The Sounding Symbol
Odam, G
Music Mind and Education

Teaching Music Musically
Education (Whitechapel: Documents of
Swannick, K
Swannick, K
Allen, F.
Open University
Press
New Jersey: Prentice
Hall
Cheltenham: Stanley
Thorne
Routledge
London: Routledge
Whitechapel Gallery
1982/
1983
1993
87
1985
1985
1988
1984
1985
1998
1999
2011
Contemporary Art)
Creativity in Schools: Tensions and dilemmas
The creative music workshop: a contextual
study of its origin and practice
Fuelling The Necessary Revolution:
Supporting best practice in collaborative
working amongst creative practitioners and
organisations a guide for public and private
funders
ArtWorks: Developing practice in participatory
settings
Engaged Passions: Searches for quality in
community
contexts
Collaborative Learning: A catalyst for
organisational development
Nurturing Creativity in young People: A report to

Government to inform future policy
Out of Our Minds: Learning to be creative

Music and conversation
Facing the Music: Shaping Music Education

From a Global Perspective
Musicians as Lifelong Learners: Discovery
through biography
Creating a Land with Music. The work,
education and training of professional musicians
in the 21st century
Craft, A.
In G. Odam and
N. Bannan (Eds.),
The Reflective
Conservatoire
Mission Models
Money
Ventures Limited
Texts
Routledge Farmer
Guildhall School of
Music &
Drama/Aldershot:
Ashgate
www.missionmodels
money.org.uk
Paul Hamlyn
Foundation
www.phf.org.uk/page
.asp?id=746
2011
Renshaw, P.
Eburon Academic
Publishers
2010
In H. Gaunt. & H.
Westerlund
(Eds.),
Collaborative
Learning in
Higher Education
Roberts, P.
Ashgate Publishing
Ltd
2013
www.culture.gov.uk/r
eference_library/publ
ications/3524.aspx
2006
Robinson, K.
In D. Miell, R.A.R.
MacDonald
& D.J.
Hargreaves (Eds.)
Schippers, H.
Capstone
Oxford University
Press
2001
2005
Oxford University
Press
Eburon Academic
Publishers
Youth Music
2010
Smilde, R.
Youth Music
88
2005
2005
2010
2009
2002
1. Module Title
Conducting
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
20 credits
GM ELE 4031
Guildhall School
Part 1
Head of Academic Studies
Academic Studies

Develop in the student the ability to rehearse and perform with ensembles and
orchestras.
Equip students with appropriate technical skills which can be used in a broad range of
contexts.
Ensure the requisite capacities of confidence, independence, self-reliance and selfreflection.
Provide some practical experience and opportunity appropriate to their needs.
Develop appropriate communication and interaction skills.
Support the student in acquiring some understanding of the supporting materials
available.
There are eight places in this class every year. Students requesting this module are selected
through practical assessment of abilities and potential at the beginning of the year. The
module is taught in classes where students receive group and individual tutorials.
The content includes conducting technique, score preparation and interpretation, and a
knowledge of instruments and style with consideration of historical context; organisational,
management and communication skills.
The assessment consists in one twenty-minute performance platform at the end of the
module. This might be split into two sections: one with an ensemble, the other with piano.
A1, A2, A3, A4, A6, B1, B2, B4, B6, C1, C2, C3, C5, C6, C7, C8, C9
12. Module Pattern

Type
b) Assessment
Assessment
Detail
Type
Assessment
Performance Exam
20 mins
Contact Hours
24
KIS code
KPE
89
% Weighting
% Pass Mark
100
50

Notional Hours
136
40
200

The tutor advises students on repertoire for this elective collectively and where appropriate,
individually. Repertoire usually includes ensemble, orchestral and vocal music from the
baroque to the present.
Title
Author
Publisher
Year
Orchestral technique
Anatomy of the orchestra
Orchestration
Art of Conducting - great conductors of the past
Art of Conducting - legendary conductors of a
golden era
Music as Alchemy, Journeys with Great
Conductors and their Orchestras
Conducting and Rehearsing the Instrumental
Music Ensemble: Scenarios, Priorities, Strategies,
Essentials, and Repertoire
The Cambridge Companion to Conducting
Orchestral Music, A Handbook
Jacob, G
Del Mar, N
Piston, W
-----
OUP
Faber and Faber
Gollancz
Teldec Video
Teldec Video
1981
1983
1973
2002
2002
Tom Service
Faber and Faber
2012
Colson John F.
The Scarecrow
Press inc.
2012
Ed. Bowen, J.A

Daniels, D
CUP
Scarecrow Press
2003
1996
90
1. Module Title
Counterpoint
2. FHEQ Level
Level 7
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
10
GMELE 4061
Guildhall School
Part 1
Academic Studies

Develop the writing of vocal counterpoint in the styles of classical and baroque
polyphony, including relevant practical skills and theoretical parameters.
Provide the students with an ability to control an increasingly richer musical texture
both vertically and horizontally.
Consolidate part writing in open score and the use of C clefs.
Develop analytical tools and historical/aesthetical perspectives on relevant repertoire.
Develop the ability to transfer counterpointal notions and experiences into other
areas of music making (e.g. performance, composition).
There are no pre-requisites for this module, and the class might be split in two groups
according to levels and prior experience.
The content includes both eighteenth-century vocal counterpoint, through the five species on
cantus firmus in two and three parts (Fux and Dubois), and sixteenth-century counterpoint
(Zarlino). By the end of the year, the cantus firmus is abandoned for the writing of short
three-part motet-type compositions based on imitation on short Latin texts. The essentially
practical study of counterpoint is complemented by the study of its historical and stylistic
contexts.
The class might be split according to levels and prior experience, reaching for slightly
different and more advanced content (including four-part to eight-part double choir).
Students complete a number of exercises every week. The assessment is based on the
submission of a portfolio that includes all exercises completed during the year.
A3, A4, A5, B4, B6, C4, C5
12. Module Pattern
Type
b) Assessment
KIS Assessment Type
Folio Written Work
Detail
Folio
Contact Hours
24
KIS code
KCW
91
% Weighting
100
% Pass Mark
50

Library-based study
Notional Hours
76
100

Title
Author
Publisher
Year
A Treatise on counterpoint and fugue
Cherubini, L
Kalmus
Counterpoint: polyphonic vocal style of the

sixteenth century
Il contrappunto a doppio coro
Il contrappuno nella polifonia vocale
classica
La tecnica del contrppuno vocale nel
cinquecento
Preliminary exercises in counterpoint
The art of counterpoint
Jeppesen K.
Dover
--(1833)
1992
Broussard, F
Cervenca, B
Carish
Bongiovanni
1971
1965
Gjerdingen R.
Dionisi, R and
Zanolini, B
Schoenberg A
Zarlino, G
Oxford UP
Suvini Zerboni
2007
1979
Faber
Da Capo Press
The study of counterpoint
Fux, J J
Norton
The style of Palestrina and the dissonance
Jeppesen K.
Dover
1963
1983
(1558)
1965
(1725)
2005
92
1. Module Title
Dramatised Song & Poetry

(singers and pianists)
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
20
ELE4036
Guildhall School
Part 1
Deputy Head of Keyboard Department
Keyboard and Vocal Studies Departments

Develop each students professional specialism and individual artistic voice within the
context of a team project.
Integrate physical, emotional and intellectual aspects of music-making, through theatrical
dramatisation of both music and spoken text.
Develop the ability to communicate clearly and effectively through music, the spoken
word, and movement.
Provide a learning environment that enables students to recognise their strengths,
assimilate & integrate feedback from staff & peers and challenge themselves in an
innovative performance situation.
Nurture teamwork and critical self-reflection during an intensive rehearsal period.
Entry to this elective will be through audition and numbers accepted will to some extent
depend on the nature of the project. Open to singers and pianists only.
This elective puts song repertoire and poetry into a dramatic, theatrical context.
A small team of singers & pianists, directed by Iain Burnside and Victoria Newlyn, will create
and perform an original stage work. Each show has a central focus and previous
performances have centred on topics of war, seduction, childhood and the life of Ivor
Gurney.
The elective is both practical and creative, concentrating on teamwork and a professional
level of engagement and performance. Repertoire is generally English song, but may
involve a variety of genres.
The module is taught via intensive ensemble rehearsals with some individual coaching,
supplemented by additional personal practice. The assessment consists in a public
performance (60%) and a progress report (40%).
93
12. Module Pattern

Type
Supervised time in
studio/workshop/productions/rehearsals
Contact Hours
120
b) Assessment
Assessment Type
Assessment
Assessment
Detail
Continuous assessment
throughout the rehearsal
period
Assessment of a
performance
KIS
code
% Weighting
% Pass Mark
KPE
40
50
KPE
60
50

Title
Notional Hours
80
200
Author
Publisher
Year
Sense & Sensibility in English

Song
Parry to Finzi
The Empty Space
Presence
Psychology for Performing
Artists: Butterflies and
Bouquets
True & False Heresy and
Common Sense for the Actor
Text and Music: some new
directions (Contemporary
Music Review, Vol 5, Issue 1,
pp143-153)
The Moving Body
Stephen Banfield
CUP
1985
Trevor Hold
Peter Brook
Patsy Rodenburg
Glenn D Wilson
Boydell Press
Penguin
Penguin
Whurr Publishing
2002
1990
2007
2001
David Mamet
Faber & Faber
1998
Lawrence Kramer
Contemporary Music
Review
1989
Jacques Lecoq
Methuen
2000
The Invisible Actor
Yoshi Oida & Lorna Marshall
Methuen
2002
94
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
20
GM ELE 4015
Guildhall School
Part 1
Academic Studies

Develop in students a practical expertise in various instruments of music technology as
appropriate to individual students area of specialty.
Equip students with all-round production skills appropriate for a current project
recording/production studio.
Equip students with further technological skills that will enable them to respond creatively
to state-of-the-art developments in electronic music technology.
Content includes:
Computer Workstation Technique (MIDI and sequencing, physics of sound, acoustics,
synthesis, sampling, computer-based recording)
Recording Techniques (microphone technology, microphone placement, principles of
audio recording)
Manipulative Techniques (dynamic processing, frequency processing, pitch processing,
time domain processing)
Electronic Performance (contact miking of conventional instruments, hybrid
electronic/conventional instruments, electronic instruments, live electronics)
Introduction to the history and aesthetics of electroacoustic music: Musique Concrete,
electronische Musik, Soundscape, sound art
Assessment is through submission of an evaluation report (pass/fail) of production
techniques that the student has employed in practical work (800-1000 words) and a
substantial production project (between five and ten minutes of music) submitted to
professional standards on CD (100%).
A1, A2, A3, A4, A5, A6, B4, B6, C1, C2, C4, C5, C6, C7, C9
12. Module Pattern
Type
Supervised time in
Contact Hours
1.5
20
95
b) Assessment
Assessment Type
Report
Project
Detail
KIS
code
KCW
KPE
800-1000 word evaluation

Production project (five
and ten mins of music)
% Weighting
Pass/fail
100

Library-based study
Title
Electronic and Computer
Music
Sound Recording Practice
Electronic and Experimental
Music
CD: OHM - The Early Gurus
of Electronic Music
CD: Electronic Pieces
Mixing Sound
Production Tips Guide
% Pass Mark
50
50
Notional Hours
142.5
24
12
200
Author
Publisher
Year
Manning, P
1995
Borwick, J
Holmes, T

Routledge
2000
2002
Various
Elipsis Arts
2000
Roberts, M
Izhaki, R
Buchanan, J
Still Time Music

Focal Press
GSMD
2002
2008
2002
96
1. Module Title
Historical Performance: Principles

and Research
2. FHEQ level
3. Credit Value
7
10 or 20
GMMST4049 10 credis
4. SITS module code
GMMST 4050 20 credis
Guildhall School
7. Module Leader
8. Department
Encourage a detailed awareness of the interrelationship between history and
performance
Introduce students to develop strategies for interpreting primary and secondary sources
Develop students knowledge and application of appropriate research skills
Develop a secure understanding of notational representation in sound
Refine students awareness of editions and editorial practices
Introduce issues of organology
Inculcate a detailed awareness of the importance of contextual studies in historically
informed performance and familiarise students with current musicological debates about
performance practice
This module is intended to give students a detailed insight into the study of historical
performance in relation to music from the Middle Ages to the twentieth century. Issues of
text, instruments, documentation, editions and transcription will be covered to provide
students with the research tools to take this study further. Alongside this, historical
performance reception will be discussed with reference to current literature on performance
practice philosophy and aesthetics. Seminars will take the form of tutor-led investigations
based on case studies, mixed with student-led presentations on areas suggested by the
tutor.
The module is assessed with a 30-minute lecture-demonstration, supported by a
bibliography and handout (to be submitted at the assessment), which includes consultation
and application of historically informed performance issues, with reference to primary and
secondary sources (to show how this has influenced the students appreciation/performance
of selected repertoire). This will be followed by questions from the panel (5 minutes) (100%
for 10-credit option, 50% for 20-credit option).
In addition, students taking the 20-credit option will write an essay of around 3000 words
(50%).
97
12. Module Pattern

Type
Contact Hours
24
b) Assessment
Assessment Type
Detail
KIS
code
Lecture demonstration (30

minutes)
KPE
100%
50
KPE
50%
50
KPE
50%
50
% Weighting
% Pass Mark
10 credits
Assessment
20 credits
Assessment
Assessment
Lecture demonstration (30

minutes)
essay (2900-3100 words)

Notional Hours
76 (10 credits)
176 (20 credits)
100

Title
Author
Publisher
The End of Early Music

Bruce Haynes
A Performers Guide to Music
Anthony Burton (ed)
ABRSM
of the Baroque Period
A Performers Guide to Music
Anthony Burton (ed)
ABRSM
of the Classical Period
The Historical Performance of Colin Lawson &
Cambridge University
Music: An Introduction
Robin Stowell
Press
Source readings in music Strunk, O
WW Norton
history, revised ed
A treatise on the fundamental
Mozart, L
Translated edition by E
principles of violin playing
Knocker. OUP
The Rise of European Music
R. Strohm
CUP
Supplementary reading will be recommended during the course.
98
Year
2006
2002
2002
1999
1997
1951
1993
1. Module Title
Interpretation through
Improvisation
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
7
20
GM ELE 4017
Guildhall School
Part 1
Head of Centre for Classical Improvisation and
Creative Performance
Centre for Classical Improvisation and Creative
Performance
8. Department

Introduce students to the art of extemporisation in general (without stylistic constraints)
and stylistic improvisations (baroque, classical and romantic embellishments, fermata
points, preludes, concerto cadenzas and fantasies).
Create a meeting point in real-time (performance time) between knowledge, and
performance of repertoire.
Encourage active listening between partner musicians, and the development of
presence, communication and creativity.
Encourage inner listening, and the development of tools for pursuing a personal research
of interpretation.
The work proceeds through fortnightly classes of small groups (4 to 5 students per group in
order to ensure active participation of every student as well as supporting working
ambience). Content is approached as class workshops in which students interact in
performance with the tutor and with other students. The teaching/learning process normally
includes also analysis of video and audio recordings of lessons. Students are encouraged to
have access to some relevant theoretical knowledge, but no writing up is involved.
The work is practical and covers normally the following areas: improvised dialogues and
counterpoints against an unprepared harmonic background and improvised simple dance
forms in baroque and classical styles without embellished repeats. Students also participate
in one of the Music & Drama collaborative projects (Circus or Story Telling projects). Each
one of the two projects is one term long and includes a showing.
The module is assessed with one practical examination weighted at 70% of the final mark.
This covers: improvised baroque prelude or embellished dance form; classical rondo and
theme and variations or sonata exposition, and fermata points; improvisation on a chamber
music or solo sample (including reductions); fantasia and cadenzas. The remaining 30% of
the mark comes from a progress report of the students work during the year.
A2, A3, A4, A6, B2, B4, C1, C2, C5, C7, C9
99
12. Module Pattern

Type
Supervised time in
Contact Hours
42
b) Assessment
Assessment Type
Detail
Progress report
Assessment
Tutors report
Practical examination
KIS
code
KPE
KPE
% Weighting
% Pass Mark
30
70
50
50

Title
Notional Hours
158
200
Author
Publisher
Year
CUP
1986
Improvisation, The New Grove

Dictionary of Music and
Musicians, Vol.9, pp.31-56
A Generative Theory of tonal
Music
Structural Hearing Vols.1 and 2
Eigeldinger, JJ
Shohet, N
Osostowicz, K Howat, R
Badura-Skoda, E. Colling,
M. Horsley, I. Libby, D.
Jairazbhoy, N.A.
Lerdhal, F. and Jackendoff,
R.S.
Salzer, F
Structural Functions of Harmony
Schoenberg, A
Schnabels Interpretation of Piano

Music
The Musical Mind The cognitive
psychology of music
Essay on the True Art of Playing
Keyboard Instruments.
Wolff, K.
Chopin pianist and teacher
1980
MIT Press,
Cambridge, Mass.
Charles Boni, New
York
Faber & Faber,
London
Clarendon Press,
Oxford,
1983
Sloboda, J.A
Norton, New York
1985
Bach, C.P.E.
New York: W.W.

Norton and Co.,
1778/
1948
100
1952
1958/
1983
1972
1. Module Title
2. FHEQ Level
MMus 1 Level 7
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
10
GMELE 4060
Guildhall School
Part 1
Academic Studies

Develop and further develop the writing of two and three part vocal fugues in a tonal
idiom broadly ranging from 18th to 19th centuries. Four-part fugues can be
approached for more advanced students.
Develop and further develop skills and tools in handling musical ideas in relevant
complex counterpointal and harmonic scenarios.
Develp and extend rigorous control of the relevant formal devices.
Consolidate part writing in open score and the use of C clefs.
Develop analytical tools and historical/aesthetical perspectives on relevant repertoire.
Develop the ability to transfer notions and understanding of fugal writing into other
areas of music making (e.g. performance, composition).
Pre-requisite: familiarity withrelevant counterpointal practices and good knowledge of
harmony. Students are individually tested for relevant skills if there is no previous formal
learning in this area.
The pedagogical approach is based on relevant repertoire supported by treatises of
Cherubini, Dubois and Gedalge, complemented by other 18th century sources (Fux, Martini)
and current literature (Walker).
Students submit written work every week in order to develop musical and technical skills.
Assessment consists in the submission of a portfolio of two complete fugues, one in two, and
one in three parts. Advanced students can negotiate with the tutor a more advanced content
of the folio.
A3, A4, A5, B4, B6, C4, C5
101
12. Module Pattern

Type
Contact Hours
24
b) Asse4sment
KIS Assessment Type
Detail
Folio Written Work
Folio
KIS
code
KCW
% Weighting
% Pass Mark
100
50

Library-based study
Notional Hours
76
100

Title
Author
Publisher
Year
A Treatise on Counterpoint and Fugue
Cherubini, L
Kalmus
Harmony and Counterpoint in the extended

common practice
Preliminary Exercises in Counterpoint
The Art of Counterpoint
Theories of Fugue from the Age of Josquin to the
Age of Bach
Tymocko, D
OUP
--(1833)
2011
Gjerdingen, R
Schoenberg, A
Zarlino, G
Walker, P M
Oxford UP
Faber
Da Capo Press
University of
Rochester Press
2007
1963
1983
2000
The Study of Counterpoint
Fux, J J
Norton
The Study of Fugue

Trattato di Contrappunto e Fuga
Treatise on the Fugue
Mann, A (ed.)
Dubois, T
Gedalge, A
Dover
Ricordi
University of
Oklahoma Press
1965
(1725)
1987
(1905)
1965
(1900)
102
1. Module Title
Jazz Composition & Arranging
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
20
GM ELE 4019
Guildhall School
Part 1
Head of Jazz
Jazz

Develop practical skills used in the composition and arranging of traditional and
contemporary jazz.
Encourage and develop skills in both standard styles and forms, and those styles and
forms generated by the student.
Develop awareness of instrumental ranges, tone colour, character, and orchestration.
Familiarise students with models and schools of composition and arranging.
Enable students to question the boundaries of traditional practice.
Content includes melody writing, harmonic development, chord voicing, counterpoint,
orchestration, style, and presentation of scores and instrumental parts.
The class uses a variety of teaching and learning methods, including presentation of
examples and techniques by the tutor, group analysis of musical examples, and the
realisation and analysis of the students' own compositions and arrangements.
The first half of the course concentrates on techniques employed in small ensembles whilst
the second half concentrates on arranging for larger forces. Arrangements are rehearsed
and recorded both for the purposes of assessment and for formative feedback.
A1, A2, A3, A4, A6, B1, B2, B4, B6, C1, C4, C5, C6, C7, C9
12. Module Pattern
Type
Contact Hours
48
b) Assessment
Assessment Type
Detail
KIS
code
% Weighting
% Pass Mark
Folio Written Work
Portfolio of
arrangements
KCW
100
50
103

Title
Notional Hours
152
200
Author
Publisher
Year
A Guide to Jazz Arranging

and Composing
Arranging and Composing for
the Small Ensemble
Birth of the Cool
Changes over time: the
evolution of jazz arranging
Composing for the Jazz
Orchestra
Inside the Score
Inside the Score
Jazz Arranging and
Composing: A Linear
Approach
Jazz arranging techniques:
from quartet to big band
Sounds and Scores
The Gil Evans Collection
The Swing Era
Coker, J
Rottenberg: Advance
Music
Alfred Pub Co
2005
No date
1995
Russo, William
Milwaukee: Hal Leonard

Rottenberg: Advance
Music
Chicago University Press
Wright, Raymond
Wright, R.
Dobbins, B
Develan: Kendor
New York: Kendor
Advance Music
1982
1982
1986
Lindsay, G
2005
Twentieth Century Harmony
Persichetti, Vincent
Miami, FL: Staff Art

Publishing
Wise Publications
New York: Oxford
university
London: Faber
Baker, D
Collection of scores
Sturm, F
Mancini, H
Ed. Muccioli, J.
Schuller, Gunther
104
1988
C1961
1962
No date
1989
1978
1. Module Title
Jazz Improvisation
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
20
GM ELE 4018
Guildhall School
Part 1
Head of Jazz
Jazz

Develop practical improvisational skills: design, linear detail and independence, (both
harmonic and rhythmic), improvisational processes, stylistic awareness and depth of
artistic intention.
Develop problem-solving skills related to improvisational practice.
Encourage artistic curiosity and an open-minded approach to improvised music.
The teaching and learning strategies are experiential, employing a range of environments
including improvisation within forms (with specific skills and applications) through to free
improvisation. Topics covered include:
Design and motivic development
Linear independence; rapid cadential movement; rhythm as an improvisational resource;
improvising within non-functional harmony; constructive dissonance; "time-no-changes";
the relationship between language, form, concept and spirit
Awareness of factors affecting the practice of improvisation
The module is assessed with the following two components:
Assessment A: Spring-term, normally week 4: Mid-elective presentation - 50%
Assessment B: Summer Term, normally week 3: Completion of elective presentation - 50%
In each presentation, students perform a 25-minute programme. The repertoire is to be
derived from coursework and agreed with the improvisation teacher and performed from
memory.
A1, A2, A3, A4, A6, B1, B2, B4, B6, C1, C4, C5, C6, C7, C9
12. Module Pattern
Type
Contact Hours
48
105
b) Assessment
Assessment Type
Assessment
Assessment
Detail
Assessment A
25-minute programme
Assessment B
25-minute programme
KIS
code
% Weighting
% Pass Mark
KPE
50
50
KPE
50
50

Title
Notional Hours
152
200
Author
Publisher
Year
A Chromatic Approach to Jazz

Harmony and Melody
A Creative Approach to Jazz
Piano Harmony
A Creative Approach to Practicing
Jazz
Accelerated Learning
Beyond Time and Changes
Building a Jazz Vocabulary
Creative Rhythmic Concepts for
Jazz Improvisation
Drawing On The Right Side Of
The Brain
Forward Motion
Liebman, D.
Rottenburg: Advance
1991
Dobbins, B.
Rottenburg: Advance
1994
Baker, D.
New Albany: Jamey

Aebersold Jazz, Inc.
Network Press
Rottenburg: Advance
Dublin: Newpark Music
Centre
Harper Collins
1994
Free Play - Improvisation in Life

and Art
Hearin the Changes
How to Comp
How to Improvise - A Guide to
Practising Improvisation
How To Practice Jazz
Inside Improvisation 1-7
Performance Ear Training
Practical Jazz
Ready, Aim Improvise! Exploring
the Basics of Improvisation
The Jazz Theory Book
Thinking in Jazz
Stephen
Nachmanovitch
Coker, J. et al
Crook, H.
Hal Crook
Alistair Smith
Crook, H.
Steinel, M.
Guilfoyle, R.
Betty Edwards
Galper, H.
Available online:
http://www.forwardmotionpd
f.com
Tarcher/Putnam
1996
1995
1999
1979,
1993
2003
1990
Rottenburg: Advance
Rottenburg: Advance
Advance
1997
Jerry Coker
Bergonzi, J.
Mixon, D.
Lionel Grigson
Hal Crook
Aebersold
Rottenburg: Advance
Rottenburg: Advance
Stainer & Bell
Rottenburg: Advance
1990
Various
1998
1992
1999
Mark Levine
Berliner, P.
Sher Music
Chicago: The University of
Chicago Press
1989
1994
106
1991
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
Medieval and Renaissance

Studies
7
10 or 20
Guildhall School
Part 1


performance of European repertoire from the twelfth to the sixteenth centuries.
Explore the significance of this repertoire for twenty-first century musicians as the
basis of improvisation and (re)composition practices.
Develop artistic and technical fluency and improvisation skills appropriate to the
repertoire, and explore the boundary between improvisation and composition.
Provide a supportive and critical forum in which students are encouraged to

experiment with novel interpretative perspectives and recognise the potential worth
and limitations of their trials in different current-day contexts.
investigating historical performance practice. Students will be asked to prepare for this
discussants. The tutor will suggest repertoire to students appropriate to the modules
themes current from week to week, or work on pieces that students are preparing for
concert, audition or competition performance. The fluent movement between reading,
thinking, practising and listening modelled by the tutor during group sessions is illustrative of
the way in which knowledge of historical performance practice develops.
107
12. Module Pattern
Type
b) Assessment
KIS Assessment
Type
10 credits
Assessment
20 credits
Assessment
Assessment
Contact Hours
42
Detail
KIS
code
% Weighting
KPE
100%
50

Two class presentations
(10 mins each)
KPE
50%
term 1- 20%
Term 2-30%
50
KPE

Library-based study
Title
The Rise of European Music
Voices and Instruments in the
Middle Ages
Tractatus de musica
% Pass
Mark
50
Notional Hours
108
50
200
Author
Publisher
Year
Strohm, R
Page, C
CUP
Dent
1993
1987
OUP
c.1300. Revised
edition by SM
Cserba. 1935.
2001
Jerome of Moravia
Music as Concept and Practise in

the Late Middle Ages
108
Music for Media
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
20
GM ELE 4016
Guildhall School
Part 1
Academic Studies

Introduce and develop understanding of compositional techniques appropriate for

producing music for media.
Generate an awareness of the factors influencing the establishment of techniques,

such as composing to a brief or to picture.
Equip students with an overall knowledge of landmark films and television

programmes, from a musical perspective.
Equip students with up-to-date technical skills appropriate for a contemporary media
composer.
The class content includes the study of mainstream techniques (use of sequence, picture
painting, juxtaposition, transition, tempo, synchronization, association, emotive description)
and practical application of these within a simulated professional context (use of timecode
LTC/SMPTE, conducting to picture/click track, synchronising to picture, industry overview,
performing rights, production processes.
The module is assessed through completion of a number of small technical assignments
(40%) and a final project (60%).
A1, A2, A3, A4, A5, A6, B4, B6, C1, C4, C5, C6, C7, C9
12. Module Pattern
Type
Supervised time in studio/workshop/
productions/rehearsals
Contact Hours
1.5
25
1
b) Assessment
Assessment Type
Detail
Practical work
Project
Technical assignments
Production project
KIS
code
KPE
KPE
109
% Weighting
% Pass Mark
40
60
50
50

Title
Author
Notional Hours
172.5
200
Publisher
Year
The Reel World : Scoring for

Pictures
Complete Guide to Film
Scoring
Internet Movie Database
The Jazz Singer
Gone with the Wind
Citizen Kane
Tom & Jerry - Bowling Alley
Cat
The Man with the Golden Arm
Mission Impossible
Planet of the Apes
2001:A Space Odyssey
Jeff Rona
2006
Richard Davis
2000
Jaws
Blade Runner
American Beauty
6 Feet Under (TV Series)
Steven Spielberg
Ridley Scott
Sam Mendes
Alan Ball
www.imdb.co.uk
Alan Crosland
Victor Fleming
Orson Welles
Hanna/Barbera
Otto Preminger
Various
Franklin J. Schaffne
Stanley Kubrick
110
Louis Silvers
Max Steiner
Bernard Herman
Scott Bradley
1927
1939
1941
1945
Elmer Bernstein
Lalo Schifrin
Jerry Goldsmith
J.Strauss/R.Strauss/
Ligeti
John Williams
Vangelis
Thomas Newman
Thomas Newman
1955
1966-73
1968
1968
1975
1982
1999
2001
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
Opera and Theatre

(singers)
7
10 or 20
GM ELE 4027N (for 10 credits)
GM ELE 4029N (for 20 credits)
Guildhall School
Part 1
Deputy Head of Keyboard Studies
Keyboard

This elective is available to singers only, to familiarise students with the performance of
repertoire designed for the stage. It is structured so that experiences may be derived from
any one of three areas (opera associates, music theatre, opera ensemble) or may be formed
from involvement in separate projects from two of the three areas. It aims to:
Develop in the singer a considerable capacity for performance in individual and
ensemble dramatic performance contexts.
Equip singers with appropriate expertise which could be used in a broad range of
imminent professional contexts.
Provide dramatic experience and opportunity which correspond to the development of
singers artistic and professional needs.
Develop appropriate communication and interaction skills in relation to audiences and
performance partners.
The module is offered at 20 credits (two projects) and 10 credits (one project).
Teaching and learning is through class activities, ensemble rehearsals and performances
both in directed and undirected groups and personal practice and research.
The predominant focus for assessment is on performance in realistic, professionally
equivalent contexts. It consists of two components:
Assessment A: one project Music Theatre or Opera Associates or Opera Ensemble
Assessment B: one project from either Music Theatre or Opera Associates or Opera
Ensemble or the summer term of professional work (role, cover or chorus) with an approved
Opera company: Glyndebourne Opera; Garsington Opera; Holland Park Opera; Grange
Park Opera; other professional opera companies approved by Head of Vocal Studies.
Students taking the 10-credit point option undertake only the first Assessment Type above.
A1, A2, A3, A4, A6, B1, B2, B4, B6, C1, C2, C5, C6, C7, C8, C9
12. Module Pattern
Type
10 credits
Contact Hours
111
20 credits
37.5
75
b) Assessment
Assessment Type
10 credits
Assessment
20 credits
Assessment
Assessment
Detail
KIS
code
% Weighting
% Pass Mark
Assessment A
KPE
100
50
Assessment A
Assessment B
KPE
KPE
50
50
50
50

10 credits
20 credits
10 credits
20 credits
Notional Hours
62.5
125
100
200

Teachers advise repertoire and reading lists to students according to individual
projects. Possible supporting texts include:
Title
Author
Publisher
Year
Voice
The Right to Speak
Care of the Professional Voice
Patsy Rodenburg
Dr Garfield Davies &
Anthony F. Jahn
Pat Wilson
Methuen Ltd
A.C.Black
1992
2004
Currency Press
1997
Paul Blakey
Jacques Lecoq
Bibliotek Books
Methuen
1992
2000
Grout, Donald Jay

Lubbock, Mark
New York: Columbia UP

London: Putnam
1965
1962
Orrey, Leslie
London: Thames &

Hudson
1972
Title
Author
Publisher
Year
The Oxford Illustrated History

of Opera
Operetta: A Theatrical Study
Acting & drama
The Invisible Actor
Parker, Roger, ed
Oxford: OUP
1994
Traubner, Richard
London: Gollancz
1984
Yoshi Oida & Lorna

Marshall
Peter Brook
Methuen
2002
Penguin
1990
Patsy Rodenburg
David Mamet
Penguin
Faber & Faber
2007
1998
Glenn D Wilson
Whurr Publishing
2001
The Singing Voice: An

Owners Manual
Movement & the body
The Muscle Book
The Moving Body
Opera
A Short History of Opera
The Complete Book of Light
Opera
A Concise History of Opera
The Empty Space

Performance
Presence
True & False Heresy and
Common Sense for the Actor
Psychology for Performing
Artists: Butterflies & Bouquets
112
1. Module Title
PianoWorks A (pianists)
PianoWorks B (pianists)
2. FHEQ level
3. Credit Value
7
10 credits per module
GM ELE 4062, module A
4. SITS module code
GM ELE 4063, module B
Guildhall School
7. Module Leader
8. Department
Keyboard
The aims of the module are to:
Develop expertise in preparing and performing contemporary repertoire.
Encourage curiosity and a level of familiarity with this area of repertoire and its cultural
background.
Nurture teamwork and mental focus during a limited rehearsal period.
Enable pianists to develop appropriate communication and interaction skills both with
composers and in relation to audiences and performance partners.
Prepare concerts for public performance.
Pianists choosing this module can choose between a number of extant projects, each of
which would be worth 10 credits. These include the New Music Ensemble, VoiceWorks,
Composer Workshops, BBC Total Immersion events and the various opportunities for
developing and performing new works written by the postgraduate composers.
The projects on offer will vary from year to year, but there will always be at least three to
choose from. Wach will have its own schedule of classes, coaching, and rehearsal, and
each will culminate in a performance, usually open to the public.
Assessment:
Each module will be assessed both through engagement with the project (40%), and through
the final performance (60%)
A1, A3, A4, A6, B1, B2, B4, B5, C2, C6
12. Module Pattern
Type
Contact Hours
12
113
b) Assessment
Assessment
Type
Practical work
Progress report
Detail
% Weighting
KIS code
KPE
KCW
60
40

Library-based study
% Pass Mark
50
50
Notional Hours
63
20
5
100

Title
Author
Publisher
Year
New music at Darmstadt: Nono,

Stockhausen, Cage and Boulez
The New York Schools of music
and the visual arts: John Cage,
Morton Feldman, Edgar Varese,
Willem de Kooning, Jasper Johns,
Robert Rauschenberg
The Cambridge Companion to
John Cage
Silencing the sounded self: John
Cage and the American
experimental tradition
Composer to composer:
conversation about contemporary
music
Silence: lectures and writings
Martin Iddon
CUP
2013
Edited Steven
Johnson
Routledge,
2002
Edited David Nicholls
CUP
2002
Christopher Shultis
Northeastern University
Press
1998
Andrew Ford
London, Quartet
1993
John Cage
Wesleyan University Press
1973
114
1. Module Title
Research in Performance,
Composition or Leadership
2. FHEQ level
3. Credit Value
7
20 or 40
4. SITS module code
Guildhall School
7. Module Leader
8. Department
Academic Studies
The aims of the module are to:
Create an awareness of performance, composition or leadership as being within, instead
of separate from, research debates.
Encourage and develop a researh paradigm within the postgraduate student body.
Contextualise such research within School activities, and through links with the research
department.
Address the particular issues brought forward through postgraduate research conducted
within a conservatoire setting.
This module is for students who wish to develop independently a specialist area of research.
Under the guidance of the module tutor and in consultation with staff who have expertise in
the student's area of interest, the student will develop a research project of their choice,
which will encompass areas such as seminar presentations, preparation of editions, archive
work, article preparation and dissertation writing.
The module can be taken as either a 20 credit or a 40 credit option.
For 20 credits, assessment comprises:
a 20-minute presentation to their peers on the progress of their chosen specialist
topic (40%)
a written research paper of 8,000 10,000 words (60%)
For 40 credits, assessment comprises:
a 20-minute presentation to their peers on the progress of their chosen specialist
topic (30%)
a written research paper of 12,000 15,000 words (60%)
attendance at School research events as well as relevant seminars in the doctoral
training programme, written up in the form of a reflective journal of 9001,100 words
(10%)
A3, A5, A6, B3, B4, B6, C1, C3, C4, C5, C7, C9
115
12. Module Pattern

Type
Contact Hours
12 (20 credits)
20 (40 credits)
12 (20 credits)
30 (40 credits)
Group tutorial
b) Assessment
Assessment
Type
20 credits
Presentation
Coursework
40 credits
Presentation
Coursework
Coursework
Detail
KIS code
20 mins
8,000- 10,000 word
research paper
20 mins
12,000-15,000 word
research paper
900-1,100 word journal
of seminar attendance
and learning
% Weighting
% Pass Mark
KPE
40
50
KCW
60
50
KPE
30
50
KCW
60
50
KCW
10
50

Library-based study
Notional Hours
176 (20 credits)
350 (40 credits)
200 (20 credits)
400 (40 credits)

Title
Author
Publisher
Year
Musicology: The Key Concepts
Beard, David, &

Gloag, Kenneth
Booth, Wayne C.,
Gregory G. Colomb &
Joseph M. Williams
Clayton, Martin,
Trevor Herbert &
Richard Middleton
(eds),
Cook, Nicholas
Cook, Nicholas, and
Everist, Mark, eds
Crist, Stephen A., &
Montemorra Marvin,
Roberta
Dunsby, Jonathan
Routledge
2005
University of Chicago Press
2003
Routledge,
2003

1998
1998
Boydell and Brewer
2004
1996
The Craft of Research
The Cultural Study of Music: A

Critical Introduction
Music: A Very Short Introduction

Rethinking Music
Historical Musicology
116
Concerns
Musical Performance: A
Philosophical Study
Performance
Constructing Musicology
Godlovitch, Stan
Routledge
1998
Kivy, Peter
1995
Rink, John
Cambridge University Press
1995
Williams, Alastair
Ashgate
2001
117
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
Song Accompaniment A
(pianists)
Song Accompaniment B
(pianists)
7
Both modules: 10
GM ELE 4032 A module
GM ELE 4053 B module
Guildhall School
Part 1
Deputy Head of Keyboard Department
Keyboard Vocal Studies

Enable the pianist to develop expertise in song accompaniment.
Give experience in working and performing with a variety of singers and song repertoire.
Create consciousness of the demands of song accompaniment as distinct from
instrumental chamber music.
Encourage and develop the specific pianistic skills which this field necessitates.
Develop familiarity with the cultural background of the central repertoire in this field and
the importance of textual awareness.
Develop the supportive skills and insight crucial in this field.
Pianists will be helped to find singer partners from the postgraduate vocal training
programme. They will then prepare, rehearse and be coached on relevant repertoire. They
will be encouraged to work with their singers beyond the precise limitations of this module,
taking part in the vocal performance platforms, in song classes, singers assessments and in
master classes taken by internal or visiting professors.
For the assessment, the duo should offer repertoire originally written for voice and piano, as
distinct from orchestral transcriptions or works intended for harpsichord. A printed
programme and a copy of the music must be provided for the assessment panel.
Both modules A and B are assessed with a performance of 20 minutes in length. Students
may take both modules in one FT year, or module A in PT year1, and module B in PT year
2.
A1, A2, A3, A4, A6, B1, B2, B4, B6, C1, C2, C5, C6, , C7 C8, C9
118
12. Module Pattern

Type
Practical classes/workshops for each module
Contact Hours
12
b) Assessment
Assessment Type
Module A
Assessment
Module B
Assessment
Detail
KIS code
% Weighting
% Pass
Mark
20 mins performance
KPE
100
50
20 mins performance
KPE
100
50

Self-directed group rehearsal/study for each module
d) Total student learning hours for each module
Title
The Interpretation of French
Song
A French Song Companion
The Book of Lieder
Lieder Line by Line
The Penguin Book of Lieder
Ariettes Oublies
Die Schne Mllerin
Notional Hours
88
100
Author
Publisher
Year
Bernac, Pierre
Gollancz
1970
Johnson, G & Stokes R

Stokes, Richard
Phillips, Lois
Prawer, S.S., ed
Debussy, Claude
Schubert, Franz
OUP
Faber
London: Duckworth
London: Penguin
Editions Durand
Henle Edition
2000
2005
1979
1969
119
Song Interpretation A (singers)

Song Interpretation B (singers)
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module code
7. Module Leader
8. Department
7
Both modules: 10
GM ELE 4037A, module A
GM ELE 4037B, module B
Guildhall School
Part 1
Head of Vocal Studies
Vocal Studies

Encourage and develop the specific vocal and linguistic skills which this field
necessitates.
Create consciousness of distinct technical and interpretation styles of song performance
in one or two of the following languages: English, French, German, Italian, Spanish and
Russian.
Encourage the student to gain a body of practical experience in this field through concert
activity.
This is a weekly class/performance seminar which is designed to improve students stylistic
and linguistic capabilities in vocal repertoire related to major European languages. Regular
piano accompanists are provided for this class. Each term, class members are responsible
for a lunchtime recital.
Both modules A and B are assessed with a performance of 20 minutes in length. Students
may take both modules in one FT year, or module A in PT year1, and module B in PT year 2.
Each module concentrates on a different language of the relevant repertoire.
A1, A2, A3, A4, A6, B1, B2, B4, B6, C1, C2, C5, C6, , C7, C8, C9
12. Module Pattern
Type
Contact Hours
12
b) Assessment
Assessment Type
Module A
Assessment
Module B
Assessment
Detail
KIS code
% Weighting
% Pass
Mark
20 mins performance
KPE
100
50
20 mins performance
KPE
100
50
120

Self-directed group rehearsal/study for each module
d) Total student learning hours for each module
Notional Hours
88
100

Students should refer to the reading lists of the Vocal Studies handbook. Teachers
advise repertoire and reading lists to students individually. Possible texts include:
Title
Author
Publisher
Year
Francis Poulenc: The Man
and his Songs
The Interpretation of French
Song
Singing in French: a manual of
French diction and French
vocal repertoire
A French Companion
Journal de mes Mlodies
The Songs of Robert
Schumann
Bernac, Pierre
Gollancz
1977
Bernac, Pierre
Gollancz
1976
Grubb, T
CollierMacmillan
1979
Johnson, Graham
and Stokes, Richard
Poulenc, Francis
Sams, Eric
OUP
2000
Gollancz
Methuen
1985
1969
121
1. Module Title
2. FHEQ level
3. Credit Value
4. SITS module
code
5. Location of
Delivery
6. Applicable in
the year of study
7. Module Leader
8. Department
Voiceworks A (singers, composers)

Voiceworks B (singers, composers)
Voiceworks C (singers, composers)
7
Each module: 10
Composers may select only one of the three modules for a total of 10
credits:
Singers may opt to take any two of the three, for a total of 20 credits
GMELE 4055 - Module A
GMELE 4056 - Module B
GMELE 4057 - Module C
Guildhall School
Part 1
Head of Vocal Department
Associate Head of Composition (Postgraduate)
Vocal studies and Composition

This module is only available to postgraduate singers and composers, and enables creative
collaboration between them. This module aims to:
Enable singers and composers to work together in creating and performing new song
repertoire.
Work on concentration and mental focus, to generate and communicate music and
lyrics with clarity, intelligence and meaning.
Develop appropriate communication and interaction skills both between composers

and performers and in relation to audiences and performance partners.
Prepare concerts for public showing.

After a series of introductory workshops and seminars held jointly by the Vocal and
Composition departments, the following projects are offered. Voiceworks singers choose to
be involved in one of these for 10 credits or two for 20 credits (following consultation with
tutors and possible audition):
Module A - Wigmore Voiceworks (10 credits)

New song repertoire for voice(s) and instrumental chamber ensemble (excluding piano)
is produced in collaboration between student singers and composers from the Guildhall
School, and poets from the Contemporary Poetics Research Centre at Birkbeck College.
This is performed both in the Guildhall School and at a Voiceworks concert in Wigmore
Hall. An online blog/diary of the creative process will also be written by singers at
www.voiceworks.org.uk. For composition students, this constitutes one of the five main
PS projects that may be submitted in their final portfolio. This is assessed with a
performance (60%) and an online blog and continuous assessment of workshop/seminar
participation (40%).
Module B - New Song Voiceworks (10 credits)

New song repertoire for voice(s) is produced in collaboration between student singers
and composers from the Guildhall School. The new songs are performed in the Spring
Term as part of a 20-minute recital of song by 20th-century and living composers. This
122
selection must be made in consultation with course tutors. Composition students provide
a song or songs of 3-5 minutes duration in total; to be included in the 20 min. recital. This
is assessed with a 20-minute performance/composition
Module C- Chamber Opera Voiceworks (10 credits)

New short chamber operas (c. 10-15 minutes) are produced by Guildhall School
composition students for one or more Voiceworks singers and chamber ensemble or
piano. Singers are involved throughout the creative process, with the opportunity also to
work alongside librettists, writers, directors and/or conductors. The new chamber operas
are performed in the Guildhall School and/or in outside venues as appropriate and
practical. This is assessed with a performance in the chamber opera (60%) and a
continuous assessment of workshop/seminar participation (40%).
N.B. As numbers are limited for each project, auditions are likely to be required. Chamber
Opera Voiceworks will only run if a viable number of composers and singers selects this
option.
12. Module Pattern
Type
Contact Hours
12
b) Assessment
Assessment Type
Assessment
Assessment
Detail
Wigmore Voiceworks Guildhall
School & Wigmore Hall
performance (60%) + online blog
and continuous assessment of
workshop/seminar participation
(40%)
New Song Voiceworks: 20minute performance/composition
KIS
code
%
Weighting
%
Pass Mark
KPE
100
50
KPE
100
50
Assessment Type
Detail
KIS
code
%
Weighting
%
Pass Mark
Assessment
Chamber Opera Voiceworks:

performance in the chamber
opera (60%) + continuous
assessment of workshop/seminar
participation (40%)
KPE
100
50

Personal practice/study per module
123
Notional Hours
88
100

Title
Author
Publisher
Year
The Tempest
Thomas Ads
2004
Sequenza III per Voce Femminile

Wintermrchen
Aria
Stripsody
Le grand macabre
Songs
Harvey Milk
Luciano Berio
Philippe Boesmans
John Cage
Cathy Berberian
Gyrgy Ligeti
Gyrgy Ligeti
Stewart Wallace
Faber / EMI Classics

(recording)
UE
Ricordi / DG (recording)
Peters
Peters
Schott
Schott
Korie Music / Teldec
Classics (recording)
NMC Recordings
Cambridge
2005
Contemporary Music
Review
1989
The NMC Songbook

(see http://www.nmcrec.co.uk/recording/nmc-songbook)
The
Cambridge
Companion
to ed. Mervyn Cooke
Twentieth-Century Opera
Text and music: some new directions Lawrence Kramer
(Contemporary Music Review, Volume
5, Issue 1, pp. 143-153)
www.voiceworks.org.uk
124
1966
1999
1958
1966
1977
1995
2009

MUSIC Guildhall Artist Handbook 2014-15

Diunggah oleh

Informasi Dokumen

Deskripsi Asli:

Hak Cipta

Format Tersedia

Bagikan dokumen Ini

Bagikan atau Tanam Dokumen

Opsi Berbagi

Apakah menurut Anda dokumen ini bermanfaat?

Apakah konten ini tidak pantas?

Hak Cipta:

Format Tersedia

MUSIC Guildhall Artist Handbook 2014-15

Diunggah oleh

Hak Cipta:

Format Tersedia

Guildhall Artist Masters Programme Handbook 2014-15

Guildhall Artist Masters Programme

The overall aims of the Programme.

Important - this Handbook must be complemented by:

Guildhall Artist Masters Programme Handbook 2014-15

Graduate Certificate Year

Guildhall Artist Masters Programme Management

Information for students in receipt of Scholarship awards

Template for Programme biographies (internal and external)

Practical Assessment regulations

Written submissions regulations

End of Masters Part 1 Final Recitals procedures

Guildhall Artist Masters Programme Handbook 2014-15

Masters Part Two Internal Recitals

Assessment specialist instrument, prepared or

Assessment specialist instrument, prepared or

Charges for resits and deferrals

Arrangements and timings of feedback to students on their

Are you over the limit? Information sheet

Appeals and Complaints Procedures

M Level Assessment Criteria

Core Contextual modules

Guildhall Artist Masters Programme Handbook 2014-15

Guildhall Artist Masters Programme Handbook 2014-15

Aims of the Guildhall Artist Masters Programme

Guildhall Artist Masters Programme Handbook 2014-15

*or 2 years Full-time (Opera and Leadership only)

AIS (Advanced Instrumental Study)

Guildhall Artist Masters Programme Handbook 2014-15

Progression and awards

Guildhall Artist Masters Programme Handbook 2014-15

Graduate Certificate Year

Graduate Certificate Principal Study in

Induction to the Guildhall Artist Programme

Requirement to pass the Graduate Certificate year

Requirements for progression to Part 1

Guildhall Artist Masters Programme Handbook 2014-15

Graduate Certificate Year

Term 1: 15th September 5th December 2014

Week 1 (15-19 Sept) Induction and Orchestral Auditions

Week 2 (22-26 Sept) Induction and Orchestral Auditions

Week 2 (26 Sept) Induction concerts

Term 2: 12th January 2nd April 2015

Term 3: 27th April 17th July 2015

Monday 7 September 2015: RESIT and DEFERRED examinations commence (absence

Guildhall Artist Masters Programme Handbook 2014-15

Guildhall Artist Masters Part One

Induction to the Guildhall Artist Programme

Additional Principal Study

Guildhall Artist Masters Programme Handbook 2014-15

Historical Performance: Principles and Research

Jazz Composition and Arranging (for jazz students)

Voiceworks A (singers, composer)

*Students on the Leadership Pathway or the Opera Specialism of the Performance

Requirement to pass Part 1

Guildhall Artist Masters Programme Handbook 2014-15

Requirements for progression to Part 2

An outline of proposed developmental work (technical and artistic) in Principal

PGDip exit award

Guildhall Artist Masters Programme Handbook 2014-15

Transfer from full-time to part-time

Guildhall Artist Masters Programme Handbook 2014-15

Guildhall Artist Part 1 Timetable: 2014/2015