Birmingham Conservatoire prospectus 2011 by Sarah Carter

be inspired, be one of the best, be yourself...

BA (HONOURS) ACTING

About us

.............................................................................................. Situated in the heart of England, Birmingham Conservatoire is a place where talent develops, individual creativity flourishes and successful careers begin â&#x20AC;&#x201C; all against the backdrop of one of the UKâ&#x20AC;&#x2122;s greatest modern cities. Our history as the conservatoire of the Midlands stretches back nearly 150 years, to our early development as the music department of the historic Birmingham and Midland Institute. Today we are a thriving international conservatoire with over 500 students on undergraduate, postgraduate and research programmes, as well as a Junior department of over 200 students. So that we can offer you the very best professional training, we ensure the continuous development and improvement or our programmes by constantly assessing and responding to the demands of the profession. In return, we expect you to work hard, enjoy yourself and take advantage of all we have to offer. Your time with us will be some of the most exciting of your life. Our aim is that you should leave us as a happy, confident and self-possessed musician, ready to make your mark. PHOTOGRAPH CREDITS

About our University

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PRESIDENT Sir Simon Rattle CBE

VICE PRESIDENT Peter Donohoe FRNCM GRNCM ARNCM ARCM DUniv (B’ham)

PRINCIPAL Professor George Caird MA (Cantab) FRAM FRCM FRNCM HonFLCM FRSA

VICE PRINCIPAL David Saint BA BMus FRCO

HEAD OF RESEARCH Peter Johnson MA MusB (Cantab) DPhil (Oxon) FRCO

HEAD OF JUNIOR CONSERVATOIRE Timothy English AGSM

REGISTRAR Michael Hill MA (Oxon)

.............................................................................................................................................. In addition to being an international conservatoire, since 1970 we have also been part of one of Britain’s most proactive universities, giving our students access to a range of benefits not offered by any other UK conservatoire. On 1 October 2007, our parent university changed its name from the University of Central England in Birmingham to Birmingham City University. The name change is one of the first steps in an ambitious plan to improve every aspect of the University, from the student experience to the fabric of the buildings, including a new purpose-built conservatoire in Birmingham’s citycentre cultural and learning quarter.

Contents

ADVICE FOR ALL APPLICANTS 10 10 11 13

Why Music? Conservatoire or University? What’s it like to study here? Open Days

STUDENT SUPPORT 54 54 56 56 59

Personal and academic support Accessing personal and academic support Personal Development planning Lifelong learning Music in the community

BIRMINGHAM 17 17 18 20 20 22 22 22

The City Getting here and getting around Arts Scene Where to see, hear and perform Getting involved Birmingham on a budget Accommodation Tuition Fees

ADVICE FOR INTERNATIONAL APPLICANTS 26 26 27 29 29 30 30

An International Conservatoire Advice Useful Websites English Language Requirements Summer Sessions Support while you study Working in the UK

ABOUT THE CONSERVATOIRE 34 37 38 41

STUDYING 62 64 68 72 74 76 80 82 84 86 92 94 98 100 102 105 106 108 110

How it works Bowed Strings Plucked Strings Woodwind Recorder and Saxaphone Brass Percussion Piano Organ and Harpischord Vocal and Operatic Choral Conducting Jazz Composition Music Technology Research Academic tutorial staff Coaching Chamber Music Early Music

The University Students’ Union After you graduate Facilities PHOTOGRAPH CREDITS

ENSEMBLES 114 116 118

Choirs Orchestras and Large Ensembles Jazz

PROFESSIONAL DEVELOPMENT 122 122 124 124 126 128 130 132 134 137 140 140

Professional Development Performance Opportunities Concert Series Festivals Recording Musicianship Electives Supporting your development Enhancing your core skills Broadening your musical knowledge Professional Schemes External Engagements International Exchange

CONSERVATOIRE COURSES 144 148 152 154 156 158 162 169 172

BMus (Hons) BMus (Hons) Jazz GradDip Jazz PgCert Music Performance Post Graduate Diploma/ Master of Music Advanced Pg Dip (Professional Performance) PgDip/MMus Music Research: MPhil / PhD Junior Conservatoire

JOINT COURSES 176 178

HND Popular Music Practice BSc (Hons) Music Technology

APPLYING AND AUDITIONING 184 186 188 188 189 190 192

Applications Reserach Applications (MPhil / PhD) Main Auditions Late Auditions International Audition Centres Audition Recordings Scholarships and Financial Aid

196 198 199

How to find us Sponsors Partners

Welcome

.............................................................................................................................................. Thank you for picking up our prospectus. If you are a talented individual looking to pursue or further your career in music, then you will find here a selection of flexible and challenging courses designed to meet the wide variety of needs of the modern professional musician. We hope this prospectus will also give you a real sense of what it’s like to study with us – of the atmosphere of dedication and support that we cultivate, and of the creative collaboration that goes on at the highest level between our performers and composers. It is, of course, for every student to find their own future with an institution that suits their personality, aspirations and style of learning. At a time when more and more musicians are choosing to join Birmingham’s rapidly expanding musical scene, we hope you will choose to find your future here, alongside some of the most talented and passionate musicians in the country. PROFESSOR GEORGE CAIRD PRINCIPAL

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Advice for all applicants

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WHY MUSIC? There was a time when it was far easier to draw a box around what was classed as a ‘music career’. Then, in the public consciousness at least, being a ‘musician’ meant a) playing in an orchestra, b) touring as a soloist, c) teaching or d) being unemployed! Of course, it sounds ridiculous now, because the music industry today is one of the broadest and most dynamic fields in which to work, as well as a big player in the national economy. According to the Department for Culture Media and Sport (DCMS), the UK music industry: • generates nearly £5bn annually • employs some 130,000 people, nearly 90 per cent within small or medium enterprises • is second only to the USA as a source of repertoire • contributes to the third largest market in the world for music sales In a reality where sugar-coated pop bands, challenging modern composers, cutting-edge jazz artists, cult DJs, classical virtuosi, die-hard rockers, specialist period performers and masters of indigenous music can all coexist and inspire each other, there are more opportunities for musicians than ever before. Music is an immensely enjoyable, challenging and rewarding subject to study; and one which is likely to lead you to an exciting full-time job or diverse ‘portfolio’ career. This might involve combining performance and/or composition with a huge variety of other jobs that rely on the skill of highly trained musicians, including production and engineering, music management, teaching, publishing, concert promotion, community workshops, recording, online music, music therapy, working across art forms... it’s yours to create. Our courses will help you get there.

CONSERVATOIRE OR UNIVERSITY? Aspiring professional musicians can face difficult decisions when considering where to continue their studies. The reputation of the institution, quality of teaching, professional training opportunities, location and cost of living must all be considered. On a more intrinsic level, many music students feel they must balance their need for vital specialist training in performance or composition with their desire to have a broad and varied university experience. As a part of a major university, we can offer all the benefits of university student life in addition to the intensive individual training with professional musicians available only in conservatoires. You will learn in a dedicated building with the creative atmosphere of a music college and, at the same time, be part of a 24,000-strong community of students pursuing a variety of courses and careers at the University. At a time when students are justifiably expecting more from higher education institutions than ever before, we can offer you the best of both music college and university life.

FIND OUT MORE ABOUT: 14 34 41 53

Birmingham Our partner faculties Our facilities Student support

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11 11

WHATâ&#x20AC;&#x2122;S IT LIKE TO STUDY HERE? Because of the calibre of the musicians they attract, conservatoires are naturally competitive institutions, yet our students enjoy an atmosphere of support, motivation and collaboration. It is of huge importance to us that you have the opportunity not only to develop your practical skills, but also to explore different types of and approaches to music. We therefore see it as a great advantage that we are situated in the very heart of Britainâ&#x20AC;&#x2122;s most diverse city, home to a vibrant and varied musical and cultural community. Our own student population is equally cosmopolitan, drawn not just from the surrounding area, but from all over Britain, the EU and overseas. So, wherever you come from and wherever you see yourself going, itâ&#x20AC;&#x2122;s likely that you will feel at home here.

Our friendly and supportive atmosphere is one of the things that set us apart, and the best way to experience it is to visit us.

See for yourself

www.birmingham.org.uk ............................................................................................................................................ www.birmingham.gov.uk OPEN DAYS Both the Conservatoire and the University hold regular Open Days. Conservatoire Open Days are designed to give you a real insight into student life and involve introductory talks, guided tours, open rehearsals, performances and chances to meet staff and students. If you cannot make it to a Conservatoire Open Day, you are welcome to attend a general University Open Day, where a Conservatoire representative will be available to answer questions. Please note, however, that you will not normally be able to visit the Conservatoire on University Open Days. For information on University Open Days, contact the University’s advice shop, Choices (T: 0121 331 5595 E: choices@bcu.ac.uk) or visit www.bcu.ac.uk Conservatoire Open Days occur twice a year in January and June and run from 10am-4pm. Exact dates and an example timetable can be found on the website below, or for further information please contact: Judy Francis Open Day Co-ordinator T: 0121 331 6905 E: judy.francis@bcu.ac.uk www.conservatoire.bcu.ac.uk/open-days

CONSULTATION LESSONS If you’re considering a place at the Conservatoire, you may request a consultation lesson with the relevant tutor, for which a fee may be payable. Please contact our Admissions Team for further details (T: 0121 331 5901 E: conservatoire.admissions@bcu.ac.uk)

Just a brief note to thank you and everyone else involved for putting together such a fascinating, valuable, exhausting and hugely enjoyable day. I arrived as a complete ‘innocent’ but now have a really good handle on what’s on offer and more importantly a feel for the wonderful ‘family’ atmosphere which somehow, someway, you create. I can think of no more supportive environment in which to study, learn, develop and have fun making music. The skill, commitment and passion of all the teaching staff I met was inspirational and I hope that I may be fortunate enough to enrol this September. VISITOR FROM OXFORD

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Birmingham

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Studying in Birmingham opens up the world. For students from outside the UK, it offers an opportunity to improve English skills while taking advantage of excellent professional opportunities. For all students, studying in Britain’s largest regional city offers all the excitement, diversity and culture of a major city without the cost of living in the capital.

THE CITY Birmingham is unique. Situated in the heart of England, its bustling Chinese Quarter and famous ‘Balti mile’ are obvious testaments to its multicultural nature. There is a dazzling array of restaurants, shops, pubs and clubs on offer, plus world-class sporting events and, of course, live music. Yet when it all gets too much, in just 15 minutes you can be out of the city and enjoying tranquil countryside. Popular West Midlands destinations such as Stratford-upon-Avon, Warwick Castle, Ironbridge, the Cotswolds and the Malvern Hills are all close by. Find out more: www.visitheartofengland.com

GETTING HERE AND GETTING AROUND With its own international airport and two major rail arteries, getting to and from Birmingham is simple. Once you’re here, the city’s manageable size – around one million people – makes it friendly and fast to get around. Within the city, local rail and bus coverage is excellent and there are plans to extend the city’s tram line. Plus, Birmingham’s location makes it an ideal base for musicians travelling to engagements elsewhere in the UK (London is 90 minutes by train).

Find info on visiting us and how to find us on p.196

ARTS SCENE

WHERE TO SEE, HEAR AND PERFORM

Birmingham boasts a superb arts scene. Local theatres include the Hippodrome (home of Birmingham Royal Ballet), the Alexandra Theatre and the Birmingham Repertory Theatre with its associated studio theatre, The Door.

From traditional Irish to rock, contemporary classical to bhangra, you can find it here. Many of Birmingham’s major music venues are just minutes away from us, including:

The Midland Arts Centre, set in Cannon Hill Park, stages a more eclectic range of theatrical events and films as well as workshops and exhibitions. From megaplex StarCity to the fabulously refurbished Electric Cinema, film fans can enjoy everything from arthouse to Hollywood to Bollywood. The city also has some of the finest art galleries in the country – the Birmingham Museum & Art Gallery, housing the world’s leading collection of PreRaphaelite art, contrasting with the modern, innovative work on show at the Ikon Gallery. Each September, Birmingham’s ArtsFest, the UK’s largest free arts festival, attracts more than 100,000 visitors, and our own New Generation Arts Festival in June presents the best work from emerging artists to audiences drawn from across the Midlands and beyond. Due in part to the resourcefulness of our own students and alumni, jazz is now flourishing in the city, with several jazz nights in local venues providing performance platforms for our students and visiting artists. As well as the larger venues mentioned above, intimate performance spaces dotted around the city centre and further afield host a variety of bands and many pubs double as venues. The Drum in Aston is a particular hot-spot for jazz, owing to homegrown talent Soweto Kinch’s Live Box sessions.

• Symphony Hall: 2,262 seats, home to the renowned City of Birmingham Symphony Orchestra (CBSO) • Town Hall: 1,088 seats, Grade 1 listed, reopened in October 2007 following a £35m renovation • Our own venues, particularly the Adrian Boult Hall and Recital Hall are used by many of Birmingham’s principal concert promoters (see page 24) • CBSO Centre: a flexible performance space used by a variety of groups, including Birmingham Contemporary Music Group (BCMG), Birmingham Jazz and Birmingham Symphonic Winds. • Carling Academy & National Indoor Arena: together with the National Exhibition Centre (located about 10 miles out of town), these venues host a huge variety of international artists, from living legends to today’s hottest bands

GETTING INVOLVED Although we aim to provide a full range of performing ensembles and activities to keep you busy at the Conservatoire, one of the great advantages of studying in Birmingham is the huge array of excellent professional development opportunities that will be available to you as a student or graduate. • Music Services – one of the largest services in the country, Birmingham Music Service organises and administers 21 Central Ensembles and 27 Area Ensembles. Partnerships also exist with Dudley, Staffordshire and Oxfordshire Music Services. Many of our students teach for the Music Service and find the work both challenging and highly rewarding. • For aspiring singers and organists, Birmingham’s many churches, as well as its Oratory and two cathedrals, St Chad’s (Roman Catholic) and St Philip’s (Anglican), offer a number of choral and organ scholarships. • Alongside the major players (CBSO, BCMG etc), a variety of performing ensembles and organisations within Birmingham and the West Midlands offer the chance to get involved at non-professional, semiprofessional or professional level, for example:

ORCHESTRAS AND INSTRUMENTAL ENSEMBLES Birmingham Chamber Orchestra: www.birminghamchamberorchestra.com Birmingham Philharmonic Orchestra: www.bpo.org.uk Birmingham Symphonic Winds: www.bsw.org.uk CBSO Youth Orchestra: www.cbsoyouthorchestra.com Central England Ensemble: wwwcentralenglandensemble.co.uk Chandos Symphony Orchestra: www.chandos.org.uk Midland Youth Jazz Orchestra: www.myjo.co.uk National Saxophone Choir of Great Britain: www.saxchoir.com Queen’s Park Sinfonia: www.queensparksinfonia.org.uk Sinfonia of Birmingham: www.sinfonia.org.uk

CHORAL AND OPERATIC GROUPS Birmingham Bach Choir: www.birmingham.bachchoir.com Birmingham Choral Union: www.birminghamchoralunion.org.uk Birmingham Festival Choral Society: www.bfcs.org.uk City of Birmingham Symphony Choruses: www.cbso.co.uk/choruses Ex Cathedra: www.ex-cathedra.org Operamus (youth opera): www.operamus.co.uk Heart of England Singers: www.heart-of-england-singers.org.uk St Chad’s Cathedral Choir: www.stchadscathedral.org.uk St Philip’s Cathedral Choir: www.stphilipscathedral.org

COMPOSITION AND CONTEMPORARY PERFORMANCE CoMA (Contemporary Music for Amateurs) West Midlands: www.coma.orgFamous for its diversity, Birmingham supports a wide range of organisations delivering music within the community, as well as one-off projects, including: The Drum: www.the-drum.org.uk mac: www.macarts.co.uk Musicate: www.musicate.org Sampad: www.sampad.org.uk Sound Futures: www.soundfutures.org Sound it Out: www.sounditout.co.uk

BIRMINGHAM ON A BUDGET Finance is becoming an increasingly important factor in deciding where to study. Home to four universities and a number of specialist training institutions, Birmingham is a student-friendly city. There are plenty of places offering part-time work to music students, including venues such as Symphony Hall and the CBSO Centre, as well as our own venues. In terms of making the most of the city, you’ll find that most of Birmingham’s major attractions offer free or reduced-price entry for students, with some music venues offering special discounts for those studying at the Conservatoire.

ACCOMMODATION Once you have accepted a place at the Conservatoire, the University’s Accommodation Service will offer you help in finding somewhere to live, ether in one of its Halls of Residence or in other University or private accommodation. Full details and application forms are usually sent in June to all candidates holding offers of places. If you live a distance from Birmingham which precludes commuting, you will normally be guaranteed University accommodation for your first year. Conservatoire students are most frequently housed in the city centre, close to the Conservatoire. For further information about University accommodation, please visit www.bcu.ac.uk/accommodation Apart from University accommodation, a wide variety of housing options are available across the city and the cost of living is relatively low. Renting a private house or flat tends to vary between £55 and £90 per week.

TUITION FEES The latest fees will be posted on our website www.conservatoire.bcu.ac.uk as soon as they are available. You may find it helpful to speak to a financial adviser in our Student Services Unit, who can provide up-to-theminute information on tuition fees and bursaries. The Unit also publishes a guide to Fees and Funding, containing practical advice for prospective students. Contact Student Services for a copy (T: 0121 331 5588 E:student.services@ bcu.ac.uk) or visit www.bcu.ac.uk/studentservices In accordance with requirements issued by the Office for Fair Access, the University publishes an Access Agreement, available on the OFFA website www.offa.org.uk

Find out more about scholarships and financial aid on page 192

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Advice for international students

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AN INTERNATIONAL CONSERVATOIRE Students and staff come from all over the world to study and teach in the unique environment we offer. Our international student population has risen and diversified greatly over the last ten years, with the result that the Conservatoire is now as cosmopolitan as it is friendly and welcoming. So, whether youâ&#x20AC;&#x2122;re from a remote village in Shropshire or a remote village in China, you can be sure that your study within the heart of Britain will be infused with a variety of cultural flavours and influences. ADVICE If you are applying from outside the EU, we recommend you contact our Assistant Registrar Ruth Stanton (ruth.stanton@bcu.ac.uk) before making an application. Ruth can provide advice on international qualifications, making an application, fees and other matters. Once you have accepted a place at the Conservatoire, the Universityâ&#x20AC;&#x2122;s International Advice Service will become another important resource for you. To make your trip to the UK as easy as possible, they provide pre-arrival information and run a Meet & Greet Scheme. Once you arrive in Birmingham, an orientation programme will help to make you feel at home. The International Advice Service is also able to offer advice on visa extensions, travel outside the UK while you are a student, working during and after your studies and general funding and finance issues.

We have in recent years welcomed students from: Austria Australia Belgium Brazil Canada China Colombia Czech Republic Denmark Finland France Germany

Hong Kong Hungary India Indonesia Israel Japan Korea Latvia Malaysia Malta Norway

Iceland Romania Russia Singapore South Korea Sweden Taiwan Thailand Turkey Poland Ukraine USA

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USEFUL WEBSITES The University’s International Advice Service maintains an extensive, up-to-date and easy-to-use website for prospective international students, so we recommend that you make it your first stop for information. However, please be aware that the information on the site changes frequently depending on the time of year. Some other useful websites are also listed below. University websites • University International Advice Service: www.bcu.ac.uk/studentservices international • University Student Services: www.bcu.ac.uk/studentservices • Main University website: www.bcu.ac.uk • Information for international students: www.bcu.ac.uk/international • Conservatoire website: www.conservatoire.bcu.ac.uk External websites • British Council: www.britishcouncil.org (see also their Links page) • UKCISA: The Council for International Student Affairs: www.ukcisa.org.uk

ANNA OVSYANIKOVA (former student) BMUS (HONS), VIOLIN Studied with: Rimma Sushanskaya The atmosphere in the Conservatoire is very inspiring â&#x20AC;&#x201C; I feel like I have been given air to breathe. I have had the opportunity to participate in a large number of competitions and masterclasses with world-famous soloists, as well as in different orchestras. For example, I really enjoyed playing in the opera orchestra for the production of The Marriage of Figaro. It was a priceless experience to do the whole opera in a real theatre! The Conservatoire has got everything for the development of the musical and creative personality. The wide range of electives gives you so much choice. Apart from my violin and academic studies, I learned how to play the sitar! My other electives were Journalism, because I have always wanted to write about music; and Conducting, which I find very helpful in overcoming my shyness. As an international student, Iâ&#x20AC;&#x2122;ve never felt any coldness or discrimination either from the staff or my fellow students. The people here are very friendly and always treat you with respect.

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ENGLISH LANGUAGE REQUIREMENTS All teaching at the Conservatoire is in English, so you must be able to demonstrate a strong command of the English language. If your first language is not English, you must have gained one of the following recognised English language qualifications, or an approved equivalent qualification: MMus candidates, minimum requirements • IELTS: 6.5 • TOEFL (iBT): 90-91 • TOEFL (CBT): 232 • equivalent English qualification (BMus (Hons), GradDip, PgDip, AdvPgDip, MPhil, PhD, minimum requirements • IELTS: 6.0 • TOEFL (iBT): 79-80 • TOEFL (CBT): 213 • Hong Kong Examination Authority use of English: E • Cambridge Certificate of Profiency in English or Certificate in Advanced English: C • GCSE or IGCE English Language: C PgCert, PgCertSP minimum requirements • IELTS: 5.5 • TOEFL (iBT): 71 • TOEFL (CBT): 196

Regardless of whether you meet the stated requirements, if your first language is not English, we will ask you to take an additional English language test when you arrive. If we feel you need further help in a particular area, you will be required to attend an English class once a week until you have attained the appropriate level of competence. The classes are provided free of charge and all non-UK students who wish to attain greater fluency in English are welcome to attend. Tuition is offered in grammar, conversation and comprehension, as well as assistance with reading and essay-writing.

SUMMER SESSIONS If you are otherwise successful in your application, but narrowly miss the English language requirement for your course (for instance, if you score a 5.0 or a 5.5 on your IELTS), the University may offer you a place on a 5- or 10week Pre-Sessional English Course before you start your studies at the Conservatoire. Please note that there is an additional fee for these courses. Classes cover a mixture of general and academic English, including writing, reading, grammar, listening and formal and informal speaking. You will also have the chance to find out about British culture and society and, of course, meet and make friends with other international students. You will not need to retake IELTS or TOEFL after the PreSessional course. For more advice on the University’s English Language Requirements and Summer Sessions, visit www.bcu.ac.uk/international

SUPPORT WHILE YOU STUDY Renowned for our friendly and welcoming atmosphere, we go to great lengths to ensure that our international students are supported both personally and academically during their studies. When you first arrive in Birmingham, you will take part in an International Welcome, during which you will have the chance to meet and get to know other international students at the University, including Conservatoire students. Wherever you are from, you will be entirely integrated into the student body; however, if you are from outside the UK, you can also take advantage of individual attention throughout the duration of your studies at the Conservatoire and can look forward to being part of a diverse community of musicians. Celebrating the end of your studies is an important part of any studentâ&#x20AC;&#x2122;s experience and we want you to be able to make the most of it. The Conservatoire holds a prize-giving ceremony and end-of-year concert in June; however your official graduation ceremony will take place in the February after you finish your course. In case you are not able to return to the UK to take part in your official awards congregation, the University also holds a special International Presentation ceremony in June/July, to which you are welcome to invite friends and family.

WORKING IN THE UK If you are not a citizen of the European Economic Area (EEA) you will usually be granted permission to work in the UK part-time up to 20 hours per week during term time and full-time during vacations. However, you should be aware that you will only be admitted to the UK on the understanding that you have sufficient funds to yourself and any dependants without taking employment. Therefore, you cannot rely on finding employment in the UK to fund your stay here. On completion of your degree you may be eligible for a working visa, please visit www.ukvisa.gov.uk for the latest information. Please note that this information is intended to be a guide only.

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About the Conservatoire

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THE UNIVERSITY With around 23,000 students, six faculties and teaching sites spread across Birmingham, our parent university (Birmingham City University) offers a vibrant, multicultural atmosphere in which to study. Although you will learn alongside other music students in a purposebuilt Conservatoire, your University colleagues will often be no more than a stone’s throw away. The fact that most art, acting and technology students are based in the city centre means the opportunities for creative collaboration are limited only by your imagination. BIRMINGHAM SCHOOL OF ACTING (BSA) BSA was founded in 1936 and has become a leading UK drama school focused on providing professional vocational training for actors. It recently moved to new £4m state-of-the-art premises within Millennium Point, where it educates and trains the next generation of professional actors for stage, screen and broadcast: www.bsa.bcu.ac.uk BIRMINGHAM INSTITUTE OF ART AND DESIGN (BIAD) With nearly 4,000 students spread over five campuses, BIAD is one of the largest centres for art, architecture, design, jewellery and media education in the UK. The high calibre of its students’ work is constantly recognised by industry awards, such as those from Macmillan Children’s Books, D&AD Design Awards, RSA Goldsmiths Design Awards, Tetley Tea Photography Awards and many more. Expert staff, excellent industry links and state-of-the-art facilities have enabled many of BIAD’s graduates (such as fashion designer Betty Jackson) to reach the top of their profession. BIAD’s major events include participation in the New Generation Arts Festival (see page 86) through an annual fashion catwalk, as well as numerous summer exhibitions and shows: www.biad.bcu.ac.uk

TECHNOLOGY, ENGINEERING AND THE ENVIRONMENT (TEE) TEE offers a wide range of interactive media, ICT, design technology and advanced engineering courses. Based at Millennium Point building, a £114 million complex opened in Birmingham city centre in 2001, the TEE provides cutting-edge facilities for exploring and utilising technology, including music, media and moving image technologies. A range of industrial links, including applied research, allows tutors to apply their own knowledge to the challenges facing business and industry, thereby ensuring that teaching programmes are underpinned with relevant and current vocational material. TEE’s major events include an annual film festival showcasing student work. OTHER FACULTIES Other faculties based at the University’s main City North Campus include English, home to the National Academy of Writing; and Education, where our new part-time PGCE is taught.

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STUDENTS’ UNION Our energetic Students’ Union offers a wide range of essential services to students, including more than 60 clubs and societies, entertainments, bars, sports facilities, shops, a variety of part-time job opportunities and more. When you first arrive, you’ll receive the Union’s Essential Student Guide – a lifeline for new students. After that, you can keep up to date with student affairs through their radio station (SCRatch) or student newspaper (Spaghetti Junction). The Union is a valuable source of information, independent advice and support on any matter – a professional advice worker is available for consultation in the Conservatoire each week. The Union is a democracy and the University-wide Student Council has places specifically reserved for Conservatoire students. Getting involved in the Union during your studies is a great way to meet new friends, develop interpersonal skills and enjoy a lively and full student lifestyle. For more details, visit www.birminghamcitysu.com or contact the Union (T: +44 (0)121 331 6803 E: union.comms@bcu.ac.uk)

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After you graduate

............................................................................................................................................ ALUMNI Our graduates can be found performing in orchestras, concert halls, jazz clubs and recording studios throughout the UK, Europe and beyond. Some have gone on to pursue careers in major organisations within the music industry, while others have taken up further study, research or teaching at national and international music colleges. NEW GENERATION ARTS FESTIVAL Our continuing support for graduates includes an annual showcase of final-year and alumni talent: the New Generation Arts Festival, held in collaboration with partner faculties, as well as other arts training organisations in Birmingham. CAREERS To assist you in pursuing your chosen career, alongside the development of your specialist skills, each of our courses is designed to provide you with a thorough grounding in business acumen, self-promotion and management, and related skills. Plus, before and after you graduate, you can access our Careers Service for employment and careers advice, including a listing of graduate vacancies.

BIRMINGHAM CONSERVATOIRE ASSOCIATION (BCA) BCA is charitable organisation which provides a vehicle for alumni, staff, parents and other friends of the Conservatoire to stay involved with our work. It provides support for current students through bursaries and activities, and publishes an informational newsletter, Fanfare III. Recently BCA has, with the help of the University’s Alumni Association, organised a number of successful reunions for staff and students of the Conservatoire and its previous incarnation: Birmingham School of Music. UNIVERSITY ALUMNI ASSOCIATION Conservatoire alumni may also join the University’s main Alumni Association, which provides a virtual meeting point for graduates of all faculties (see www.bcu.ac.uk/ alumni for details). As well as organising occasional professional development and social events, the Alumni Association publishes Aspire magazine and provides a way for you to keep in touch with the University’s development as a whole institution.

For further details on BCAâ&#x20AC;&#x2122;s activities, visit: www.conservatoire.bcu.ac.uk/bca

Facilities

............................................................................................................................................ VENUES We use our major performance venues for a wide range of student concerts, performance classes, workshops and masterclasses, so you will have the opportunity to perform regularly in professional standard venues. ADRIAN BOULT HALL The Adrian Boult Hall is a 520-seat auditorium with outstanding acoustics, which can accommodate a symphony orchestra. There is also a licensed bar and coffee area plus an exhibition space. Our own varied concert programme integrates with series promoted by external organisations such as Birmingham Jazz, the Birmingham Philharmonic Orchestra and the Birmingham Chamber Music Society, with its programme of internationally renowned ensembles. Together, these provide a rich and diverse schedule of concerts and events throughout the year. The Hall recently underwent a ÂŁ700,000 refurbishment, which included the fitting of new carpet, seating (including riser cushions) acoustic curtains, house and stage lights. The Hall and its three dressing rooms were painted and performance monitors installed at the main doors in the foyer and backstage. We now have six spaces for wheelchair users, including two at the back of the hall which can be accessed by a lift. The work has created an attractive and comfortable venue able to compete with any hall in the country.

RECITAL HALL Our 150-seat Recital Hall is a flexible, modern performance space with adjustable acoustics. Wellsuited to solo and chamber music performance, it has also been redesigned to accommodate performance with live electronics. Its recent major renovation included the installation of a highly sophisticated multi-channel sound system, which allows performers complete control over amplified sound within the entire performance space. The Recital Hall is the first concert venue in the UK with a permanent system of this kind. During the summer of 2007, the Recital Hall underwent one further development: the installation of a new organ. ARENA FOYER An interesting, modern area, our Arena Foyer backs on to the Adrian Boult Hall. With an audience capacity of 100, the Foyer can be used for a variety of concerts and events, as its space is entirely flexible and includes a small gallery approached by stairs on each side, which can be used inventively in performances.

RECORDING AND LIVE ELECTRONICS Our music technology facilities are some of the best of their kind in the country. All of our studios are capable of recording from any of our concert halls or live rooms.

STUDIOS • Recording and production studio equipped with ATC speakers, Digidesign Protools HD3/192 and Yamaha 02R96 desk • 5.1-equipped production studio • Recording and production studio equipped Genclec speakers with Digidesign Protools HD3/192 and Yamaha 02R96 • Recording studio, equipped with Audient ASP8024 Large-Frame analogue console with Mackie HDR2496 • Protools HD-equipped edit suite with High Definition Video editing capability and 5.1 surround system • Protools HD-equipped edit suite with High Definition Video editing capability and 5.1 surround system LIVE ROOMS • Medium-sized room suitable for chamber groups and bands. Equipped with a Yamaha grand piano • Small room suitable for production-based projects and vocals, etc

OTHER FACILITIES • iMac Lab – comprising ten professional digital audio workstations (Intel iMacs) • Music for Media Lab – eight professional workstations (Mac G5 Quads) set up to enable production and editing of music with moving image (www.musicformedia.bcu.ac.uk) • Recital Hall – unique to the Conservatoire, this bespoke live electronics venue comprises a Yamaha DM2000, G5, and flexible d&b audiotechnik 10.2+ surround system • Research Room • Various portable recording, editing and live electronics systems SOFTWARE • All studio and lab systems run the latest software, including Logic, Protools (TDM and LE), Waves (Platinum and Gold), Native Instruments (Komplete), Digital Performer, Peak, Spark, Sibelius, MaxMSP/ Jitter and IRCAM Software. • To remain abreast of changes in the industry, we upgrade all our software on a rolling basis.

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LIBRARY All students have full access to the Conservatoire Library, an integral part of the University’s Library Services, which links all its central and specialist libraries and enables students to borrow items from any of them. Alongside wide-ranging and substantial collections of books and journals, specialised print and computerbased sources are available to support various project and research needs. Other items can be obtained via the inter-library loan system as required. The Library recently underwent extensive building work funded by the Higher Education Funding Council for England and the University. With the stock safely stored offsite, the space was completely gutted in order to create a mezzanine level, which now offers an additional quiet study area. Another new feature is a ground-floor seminar/group study room, which can also be used by Library staff for meetings and information skills training for students. The Library’s collections include over 8,000 books, 1,300 orchestral and band sets, 1,100 sets of vocal scores, about 100,000 individual scores and parts, and around 12,000 sound recordings. To deal with our everexpanding stock, we have installed a public compact storage system (moveable shelving) and new storage racks for our collection of over 8,000 CDs. Our new Audio Room has an upgraded suite of listening and recording equipment, plus two separate cubicles for listening and viewing.

The Library has been re-equipped with new computers and online services include the British Humanities Index, RILM, JSTOR, New Grove Online, NAXOS and the Classical Music Library. You can also access our complete library catalogue via the internet. Our professionally trained staff will provide you with an introduction to the Library when you enrol, and more detailed guidance is offered to groups or individuals whenever appropriate. The Conservatoire Library is open seven days a week during term time and weekdays during vacations.

TERM:

VACATION:

Monday – Thursday

9am – 7.30pm

9am – 5pm

Friday

9am – 6pm

9am – 4pm

Saturday and Sunday 9am – 4pm

INSTRUMENTS The Conservatoire owns a sizable collection of fine modern instruments, all of which are available for loan. Additionally, our dedicated Percussion Suite houses a large collection of instruments available for student use. Oboists and bassoonists can also take advantage of reedmaking classes and equipment. EARLY INSTRUMENTS An excellent growing collection of early instruments, both reproduction and original, are available for student use. These include: • A full complement of Baroque stringed instruments and bows • Harpsichords (including a Taskin-Goermanns model by Michael Johnson, 1996) • Chamber organ (Kenneth Tickell, 1997) • Fortepianos (including a Fritz model by Denis Woolley,1996) • Theorbo (Peter Biffin, 1980) • Renaissance recorder consort (Mollenhauer, 2003) • Baroque recorders (David Heathcote) • Baroque flutes (Rudolf Tutz) • Baroque and Classical oboes by Richard Earle and Marcel Ponselle • Classical clarinets (Brian Ackerman) • Baroque bassoon (Matthew Dart) • Cornetts (Christopher Monk Workshop) • Six natural trumpets (Keavy-Vanryne, 2002) • Sackbutts (Frank Tomes) • Natural and baroque horns (Halstead-Webb) • Medieval and Renaissance instruments, including crumhorns, shawms, hurdy gurdies, harps and lutes

PIANOS Our excellent stock of pianos for student/concert use includes three Steinway Model D concert grand pianos, two housed in the Adrian Boult Hall and one in the Recital Hall. The remaining ground floor rooms have superb Yamaha grand pianos. Our 2nd floor piano studios are equipped with a number of recently-purchased Steinway Model B and Model AS pianos, alongside two new Yamaha S6 instruments, giving students and staff a range of highquality instruments for teaching and rehearsal purposes. In addition to our service agreements with Yamaha and Steinway, we engage an experienced piano technician to keep all our pianos in tip-top shape. ORGANS Organ teaching is centred on the three-manual Walker organ in nearby St Chad’s Cathedral. Within the Conservatoire building are four small tracker-action practice organs. Since 2007, the historic neo-baroque Eule organ commissioned by Lady Susi Jeans in the 1930s (generously donated by the Royal School of Church Music) has allowed our students to perform in the Conservatoire Recital Hall and participate in competitions.

OPEN ACCESS COMPUTERS In addition to the substantial specialist facilities that will be available to you if you’re working with music technologies, we maintain a number of shared-access computers to support you in your studies. All our computers and software are updated on a rolling basis and one of our IT technicians has specific expertise in music software and networks, should you need assistance. COMPUTER LAB Our main computer room contains nine PCs, each of which runs Windows XP and is equipped with the full Microsoft Office Suite, Sibelius 6 and internet access. There are also two cardaccessed printers available for you to use. CONSERVATOIRE AND UNIVERSITY LIBRARIES Additional computing facilities are available in the Conservatoire Library. Their lapsafe contains 15 MacBooks available for student use within the Library, plus 20 fixed computers; all have the same software spec as our Computer Lab PCs. There are three additional computer terminals for accessing the Library catalogue and three networked printers available for use in the Library. As a Conservatoire student, you will also be able to use any of the open access computers in the University’s main Kenrick Library at City North Campus, or in any of the specialist libraries in our partner faculties. BROADBAND AND WIRELESS The University’s broadband data network runs across all sites including the Conservatoire, giving you access to multimedia information from both internal and external sources. Access to Library Services, large information datasets and the internet is provided via the University network and JANET (Joint Academic NET work) and a similarly capable network (RES net) is accessible from all halls of residence bedrooms. Wireless access is available across the University in most communal and recreational areas; our own wireless footprint covers the Conservatoire Coffee Bar and most communal areas on the ground floor of the building.

MOODLE The University’s virtual learning environment known as ‘Moodle’ is an integrated and invaluable part of the teaching and learning experience at the Conservatoire. We are one of only a small number of higher education institutions in the UK and Ireland which use Moodle. Entirely web-based and straightforward to use, Moodle supports a huge number of activities aimed at improving access to and distribution of course information. Designed to complement face-to-face teaching, Moodle makes it easy for staff to provide students with flexible on-demand access to resources. Every module on Moodle has a news forum where tutors can post messages, lecture notes and background information, which enables more interactive teaching to take place face-to-face. Other benefits include free instant messaging between users and discussion forums. Moodle also supports video content which can be stopped and reviewed by the user. With huge potential to enhance all aspects of academic and practical teaching at the Conservatoire, it is anticipated that Moodle will become even more integral to the student learning experience in years to come. To see for yourself what Moodle’s all about, visit: wwwmoodle.bcu.ac.uk/pme

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About the Conservatoire

PRACTICE ROOMS Our purpose-built site includes over 50 dedicated practice rooms: some of the most heavily-used rooms in the entire University! Additional practice facilities are available after 6pm, including some spacious studios used for teaching during the day. Most practice rooms are equipped with one or two upright or grand pianos and all are fitted with sound-dampening panels. Demand for practice rooms is high, and an on-line booking system is available for student use. Our suite of organ practice rooms is detailed on page 47 CONSERVATOIRE CAFÉ The Conservatoire café is open weekdays during term time from 8.30am to around 4.30pm (closing times vary a little, depending on what’s going on in the building). Hot food, freshly prepared, is available at breakfast and lunch times, with sandwiches, snacks, cold and hot drinks available throughout the day. COFFEE BAR Serving hot and cold drinks and a selection of snacks, the Conservatoire’s Coffee Bar generally opens before and during the interval of concerts in the Adrian Boult Hall, Arena Foyer and Recital Hall.

CONSERVATOIRE BAR Our licensed bar is open before and during the interval of concerts at the Conservatoire. However, most students prefer the comfort and laid-back atmosphere of the local pubs, many of which have been co-opted as student bars! BUILDING HOURS AND SECURITY The Conservatoire building is open to students seven days a week all year round, from 7.30am to 9.45pm on weekdays and from 8am to 7pm at weekends (holidays excepted). As a city centre campus, security is a high priority for us. Our reception desk is staffed by a team of security guards during the opening hours. A separate team of building assistants is available within the Conservatoire. Personal Lockers are provided for storing small instruments and belongings and there are dedicated instrument storage rooms available to percussionists, lower strings players and harpists.

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Student support

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54 PERSONAL AND ACADEMIC SUPPORT Together with our parent University, we offer excellent support for all of our students. Whatever your individual needs, we will work hard to make sure that they are met. ADVICE FOR ALL STUDENTS Beginning a course of study can mean a dramatic change in lifestyle. To assist you, we have a comprehensive and integrated Student Services Unit which provides help and advice in a number of key areas, including accommodation, careers, chaplaincy, child care, counselling, disability, health care and legal matters. For further details, visit www.bcu.ac.uk/studentservices ADVICE FOR DISABLED STUDENTS As a result of recent modifications at the Conservatoire, all our major venues are now fully accessible to disabled users. Throughout the rest of the building, access and facilities are also significantly improved and our evaluation of how we can continue to meet the needs of disabled students and audiences is ongoing. Our Disability Service aims to enable students with disabilities or learning support needs to make the most of their time at university, whether they have a physical, sensory or hidden disability, mental health difficulties or specific learning difficulties. In order to help you plan and prepare for university life, we have a range of services and equipment which can be made available to you. We think it is important that you feel you can tell us about any disability you may have. We regard disclosure of a disability as a positive step, because once we are aware of your disability we can then try to support your individual needs. If you have not made us aware of your disability or you feel you may have a disability, please contact the Disability Service (T: +44 (0)121 331 5128 (text/voice) E: disability@bcu.ac.uk) EQUAL OPPORTUNITIES The Conservatoire and its parent University promote equality of opportunity in every aspect of their provision. University and Conservatoire policy and practice will seek to provide an environment that is free from discrimination against students, staff and others. The Conservatoire and its staff will ensure that all prospective students are treated solely on the basis of their merits, abilities and potential. The Conservatoire will seek to prevent discrimination on the grounds of race, colour, ethnic origin, nationality, religious belief, gender, sexual orientation, disability, age, marital status, family circumstances, citizenship, social and economic status, or any other individual differences. For full details of our Equal Opportunities Policy, please visit www.bcu.ac.uk

55 55

ACCESSING PERSONAL AND ACADEMIC SUPPORT Throughout your study, you will have access to both academic and personal support. Because of the close working relationship between student and first-study teacher, as well as the fact that you will be used to receiving feedback from him or her, your first-study teacher will probably be your primary source of formal personal support. Your head of department, too, will be able to provide valuable advice and guidance when needed. You will also be allocated a personal tutor, whom you will meet during the first week of your course and again during the first term. You will be able to meet with your personal tutor by appointment as often as necessary and, if possible, you will remain with the same personal tutor for the duration of your course. Furthermore, each department normally nominates a senior student to act as a student mentor, giving advice and support to fellow students. Your academic progress will be monitored by your module tutors and module co-ordinators, with whom you can book appointments as and when needed. You will also have a year tutor who can provide advice on course matters through meetings with all the students in your year. Additional academic and personal support is available for international students (see page 25).

PERSONAL DEVELOPMENT PLANNING Now embedded into every year of all our courses, personal development planning (PDP) is not just about getting the best out of your course, it’s about getting the best out of yourself. Through PDP, you’ll be able to discover and articulate your personal and professional goals, as well as devise a plan for achieving them. On the most practical and immediate level, PDP will help you to plan an appropriate choice of electives to enhance and complement your first study and course module and, if you’re an undergraduate, to develop a rationale for your fourth-year major project. In a wider context, you’ll benefit from having the opportunity to consider your individual learning style and work patterns, which can then inform how you approach your studies, your practice and your career.

LIFELONG LEARNING We believe that learning is for everyone and that people of all ages, backgrounds and abilities should have the opportunity to experience high quality music making and music education. To this end, our education projects, including our Brass Explosion! events and our Lower Strings Days for all-comers are a great way to get enthusiasts, beginners, professionals and teachers playing and learning together. At the other end of the spectrum, our Continuing Professional Development events provide a vehicle for music teachers to top up or diversify their own professional skills. On the most basic level, our undergraduate and postgraduate courses are truly open to all musicians who meet our entry requirements and who demonstrate the desire and potential to develop their musical abilities to professional standard. What you do after that is limited only by your own imagination (see opposite).

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57 57

ADRIAN FLOWERS, PGCERT, TRUMPET (Alumnus) Studied with: Jon Holland and Peter Fisher I would have loved to have studied music when I left school, but I took a job in local government instead. I kept up my cornet playing through brass bands until the chance for early retirement came up. I knew I wanted to apply to the Conservatoire, so I went to see David Purser informally to ask “What do you think?” and he encouraged me to apply. It took me a while to settle in, but once I had a plan, it was easy. The students have been great – very supportive, welcoming and helpful with repertoire. The teaching is excellent and my tutors have been extremely supportive. As a mature student, it’s necessary to be realistic about time commitments and what you want to do, and to be disciplined – I think I’ve benefited from having had a professional career in this respect. This is the right place to make contacts and I’ve really enjoyed playing with other people in ensembles and orchestras that I would never have had an opportunity to be a part of otherwise.

MUSIC IN THE COMMUNITY One of the fastest growing areas of employment for conservatoire graduates is in providing practical music support for schools and community-based music projects. Through tutorials, action research and project delivery, we encourage our students to explore ways in which participatory music can be used to affect positively the lives of children and young people. Targeting those with little or no access to music provision, our students work in partnership with host organisations to plan and execute projects that achieve a series of musical and social objectives. Community music electives have been designed to support the work of the DCSF/DCMS-led Music Manifesto, the new Early Years Foundation Stage curriculum and Birmingham City Council’s youth arts strategy – Creative Futures (see page 93 for details). Taking part requires you to work as part of a team and demonstrate a willingness to experiment, take risks and work outside of existing comfort zones.

EDUCATION AND OUTREACH PROJECTS Throughout the year, our education events actively engage people of all ages and backgrounds with music making, including young musicians and teachers from across the UK. Previous projects have included specific string, brass, woodwind and percussion events for people of all ages and abilities; world music workshops; professional development training for school and music service teachers and specialist instrumental ‘roadshows’. Our programme of activities has led to the formation of strong long-term partnerships with organisations and institutions in the West Midlands, across the UK and abroad. Participating in these projects under the supervision of experienced workshop leaders and professional practitioners can help you to develop your group leadership and communication skills and can form a significant part of your professional portfolio, improving your career prospects as a versatile professional musician.

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Studying

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How it works

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COURSES AND DEPARTMENTS During your time at the Conservatoire, you will study within a particular department, determined by your first study area, and on a particular course. Most specialist activities are arranged by departments, where you will learn alongside other students in your area (strings, winds, jazz, etc) who are following a range of different courses (undergraduate, postgraduate, research). You will also undertake more general activities and classes which are part of your course (BMus, PgDip etc) where you will work with musicians studying at the same level as you, but across a range of different disciplines. This intermixing contributes to the Conservatoireâ&#x20AC;&#x2122;s friendly and collaborative atmosphere and encourages our students to learn from one another.

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.............................................................................................................................................................. FIRST STUDY AREAS

SECOND STUDY

Your first study activities will be demanding and challenging, and will take up the majority of your time. It is important that you allow yourself adequate time to compose or prepare for solo and ensemble performances, to study for exams, to complete your academic work and to undertake other important engagements.

Versatility is important. So, although you will spend most of your time concentrating on your first study, you will also have the chance to pursue a second study specialism, in an area either related or complementary to your first study. You will be allocated up to 20 half-hour sessions in your second study area, during which you will work on a one-to-one basis with a specialist tutor.

Joint first study is not offered between all instruments and is most commonly offered when an instrument or voice is studied in combination with composition. If you are exceptionally capable in two areas, you may be considered for joint first study in two performance areas; however, you should discuss this with our Admissions Team before making an application.

TEACHING Our world-class tutorial staff has grown and diversified substantially over the past few years and now includes over 200 full- and part-time specialist tutors, including international soloists, chamber and orchestral musicians, cutting-edge jazz artists; and leading composers, performers and academics. Their expertise lies not only in classical music, but also in jazz, community music, folk and world music, early music, music technology, North Indian classical music, and popular music. We also boast a notable specialism in contemporary composition and performance, which draws on the contributions of several leading lights in this field, and makes use of our unique performance spaces and equipment, the combination of which makes us one of the UKâ&#x20AC;&#x2122;s leading institutions for musicians working with new technologies.

MASTERCLASSES AND CONSULTANTS Many departments now have one or more consultant tutors or a visiting artist-in-residence. These world-class musicians, working at the top of their field, normally visit the Conservatoire several times a year to give masterclasses and/or individual lessons. In addition to consultant masterclasses, regular masterclasses with visiting professionals in your specialist area will form an important part of your study. The number of masterclasses in which you will participate depends on the department in which you study.

Bowed Strings TUTORIAL STAFF John Todd, Head of Strings: A former member of the Festival Strings Lucerne, Scottish Chamber Orchestra and London Symphony Orchestra, John Todd was cellist in the Coull Quartet for 15 years, as well as performing frequently as a recitalist and leader/director of various cello ensembles. He has taught for 20 years at conservatoire/university level.

............................................................................................................................................ HEAD OF DEPARTMENT

BAROQUE VIOLIN AND VIOLA

BAROQUE CELLO

John Todd AGSM Dip Kons Luz

Margaret Faultless Kate Fawcett Jane Rogers GRSM, ARAM, LRAM Diane Terry

Imogen Seth Smith BA(Hons)ARCM

CONSULTANTS Cello: Raphael Wallfisch FGSM FRAM Double Bass: Peter Buckoke HonARCM ATCL STAT Baroque Violin:Margaret Faultless

SENIOR VIOLIN TUTOR Nathaniel Vallois BMus RCM, MMus RCM, ARCM Advanced Performance (Distinction), MA

VIOLIN Nic Fallowfield LTCL Devorina Gamalova ARCM DipPerf (Sofia) Katherine Gittings* DipRCM ARCM LRAM David le Page Simon Smith Suzanne Stanzeleit Rimma Sushanskaya PhD (St Petersburg Conservatoire) Alexandra Wood MA (Cantab), Adv PgDip, ARCM

FOLK FIDDLE

DOUBLE BASS Tom Millar* DRSAM Richard Lewis

Joe Broughton BMus HonBC

CHAMBER MUSIC

KLEZMER

David Angel ARAM, Recital Diploma (RAM), (Maggini Quartet)

Sue Shortland Webb

SENOIR VIOLA TUTOR Robin Ireland BA Mus, Hon.D.Mus

VIOLA

Devorina Gamalova ARCM DipPerf (Sofia) Emmanuella Reiter BA, MA Christopher Yates*

Robin Ireland BA Mus, Hon.D.Mus Jane Salmon MA Cantab, ARCM Hons, (Schubert Ensemble) John Todd AGSM Dip Kons Luz Junior Fellows Boult Quartet

*denotes member of CBSO

CELLO Catherine Ardagh-Walter* ARCM DipARCM Lionel Handy Jane Salmon MA Cantab, ARCM Hons, (Schubert Ensemble) John Todd AGSM Dip Kons Luz

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The music profession in the 21st century demands a flexibility of approach and familiarity with different styles and genres of music which were unthinkable even 20 years ago. This diversification in our industry is amply reflected in our experienced and dedicated teaching staff. International soloists Rimma Sushanskaya and Suzanne Stanzeleit on the violin, and our Cello Consultant Raphael Wallfisch bring a wealth of experience and expertise to teaching the solo repertoire of their respective instruments, while our Senior Violin Tutor Nathaniel Vallois and his colleague Simon Smith, new Senior Viola Tutor Robin Ireland, Head of Strings John Todd and our Bass Consultant Peter Buckoke come primarily from a chamber music background, which demands the listening and communication skills so important in any form of music-making. Katherine Gittings, Christopher Yates, Catherine Ardagh-Walter and Tom Millar are all members of the CBSO, while many of our other tutors work as freelance musicians, and are thus able to pass on the adaptable, flexible techniques demanded in that area.

The strength of our staff means your learning programme can be tailored to suit your individual needs and aspirations. Advanced technical skills are built up through individual lessons, and you will be given the widest possible exposure to the classical and contemporary repertoire of your instrument through both first study lessons and a range of group activities. Our extensive electives programme offers the opportunity to explore a variety of performing styles, while second study lessons in a specific area, such as folk fiddle, Klezmer or jazz improvisation, give you the chance to pursue a particular interest in greater depth. Participation in chamber music and early music is strongly encouraged and appropriate performance opportunities are available at every stage of your development and include our series of lunchtime recitals, as well as regular performance workshops and masterclasses. All students have access to distinguished guest conductors and sectional coaches through rehearsal and performance with the collegeâ&#x20AC;&#x2122;s symphony, chamber, opera and early music orchestras. Further ensembles include a string orchestra and cello ensemble. Advanced students can also audition for the prestigious CBSO or Philharmonia Orchestra professional training schemes. There is a clear recognition of the importance of teaching and communication skills to the modern music professional. If you are an undergraduate, you will be given a thorough grounding in teaching techniques during the latter part of your studies and have the option of pursuing a PGCE qualification as part of your degree.

FIND OUT MORE ABOUT: 142 152 119 116 106

BMus (Hons) PgCert/PgDip/MMus/AdvPgDip Professional development Orchestras and large ensembles Coaching

RECENT MASTERCLASES AND WORKSHOPS

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VIOLIN

DOUBLE BASS

Joji Hattori Kevin Rundell Daniel Hope Mary Scully Emanuel Hurwitz Dominic Seldis Isabelle van Keulen Stacey Walton Henning Kraggerud Tom Martin Malcolm Layfield Anthony Marwood CHAMBER MUSIC Ani Schnarch Roger Coull Bernard Gregor Smith VIOLA Christopher Rowland Philip Dukes Alberni Quartet Martin Outram Allegri String Quartet Simon Rowland Jones Belcea String Quartet Paul Silverthorne Chilingirian Quartet Ivo van der Werff Dante Quartet Maggini String Quartet CELLO Vanbrugh String Quartet Vogler String Quartet Alexander Baillie Natalie Clein Chris Vanderspar Guy Johnston Moray Welsh

Plucked Strings TUTORIAL STAFF

............................................................................................................................................ PRINCIPAL HARP TUTOR

ORCHESTRAL HARP COACHING

CLASSICAL GUITAR

Catherine White BMus (Curtis) MMus (Julliard)

Robert Johnston* DipMusEdRSAMD ARCM

Mark Eden ARAM GRSM (Hons) LRAM ProfCert (Hons)

HEAD OF CLASSICAL GUITAR

ELECTRIC GUITAR AND BASS

Mark Ashford ARAM GRSM (Hons) LRAM

Fred T Baker GBSM

LUTE AND THEORBO Elizabeth Pallett BA (Hons) HonBC * denotes member of CBSO

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PLUCKED STRINGS

GUITAR

In addition to the activities listed below, our extensive electives programme offers you the opportunity to explore a variety of performing styles, while second study lessons allow you to pursue a related or complementary instrument in greater depth. There is a clear recognition of the importance of teaching and communication skills to the modern music professional. If you are an undergraduate, you will be given a thorough grounding in teaching techniques during the latter part of your studies and have the option of pursuing a PGCE qualification as part of your degree.

Tuition in our vibrant Guitar Department is designed to equip you with all the skills required to enter the music profession. Youâ&#x20AC;&#x2122;ll cover a broad spectrum of repertoire, receiving specialised individual tuition in your chosen area of study, complemented by masterclasses with visiting artists. Additional technique and sight-reading classes will contribute to your training in both modern techniques and early music styles, as appropriate. Regular performance opportunities include weekly performance workshops, lunchtime recitals, chamber music concerts and external events. There is a strong emphasis on ensemble playing, through mixed ensembles, guitar ensembles and our guitar orchestra. If you have a particular interest in chamber music or you are part of a guitar ensemble, there is a new pathway offering specialist training in these areas, available at postgraduate level. Creative collaboration is encouraged, both between classical, jazz and rock guitarists, and with students from other departments throughout the college.

HARP As a first study harpist, you will undertake intensive individual tuition with world-class harpist Catherine White. Concentrating on the development of solo ability alongside ensemble playing, the harp syllabus covers a wide range of styles, including classical, modern, pop and jazz. Solo, chamber and orchestral performance opportunities are available within the college, and advanced students may obtain paid work through our External Engagements team.

FIND OUT MORE ABOUT: 144 154 120 116 110

LUTE Available as a first study area, or as a complement to other studies, lute tuition concentrates on the differing techniques appropriate to Renaissance, Baroque and Classical playing. You will study solo, chamber and continuo playing for the lute with Elizabeth Pallett, and you will also receive an introduction to the archlute and theorbo, as well as instruction in staff notation and lute tablature. The Conservatoire owns a fine collection of instruments available for student loan. Performance opportunities for early guitarists and lutenists exist within the Conservatoireâ&#x20AC;&#x2122;s full Baroque orchestra, Capelle and Chamber Music Programme.

BMus (Hons) PgCert/PgDip/MMus/AdvPgDip Professional development Orchestras and large ensembles Early music PHOTOGRAPH CREDITS

RECENT MASTERCLASSES AND WORKSHOPS

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HARP GUITAR Isabelle Perrin Robert Brightmore Sioned Williams Ricardo Iznaola Michael Lewin Craig Ogden Gary Ryan Emanuele Segre Fabio Zanon

Woodwind TUTORIAL STAFF Michael Harris’ distinguished career includes 31 years with the Philharmonia Orchestra (1974-2005) alongside a busy freelance career performing with groups such as the Nash Ensemble and London Winds. A keen interest in early clarinets has led to work with period instrument groups including the English Concert, English Baroque Soloists and Collegium Musicum ’90. He coaches the wind section of the Britten-Pears Orchestra and is regularly invited to appear as an adjudicator and panellist.

............................................................................................................................................ HEAD OF DEPARTMENT

BAROQUE AND CLASSICAL OBOE

BASSOON/CONTRABASSOON

Prof Michael Harris ARCM FRCM

Gail Hennessy BMus (Hons)

CONSULTANTS

COR ANGLAIS

Margaret Cookhorn* GMus RNCM (Hons)

Clarinet: Anthony Pay Flute: Karen Jones Oboe: Christopher Cowie DipRCM (Perf) Bassoon: To be announced

Anna Cooper GGSM (Hons)

BAROQUE BASSOON

CLARINET

Alastair Mitchell BA (Hons) (York) Cert Advanced Studies (GSMD)

FLUTE Judith Hall BA (Melb) Colin Lilley* GGSM Jonathan Rimmer ARCM Christopher Steward LTCL

BAROQUE AND CLASSICAL FLUTE Neil McLaren ARCM FTCL

PICCOLO Francis Nolan LRSM

OBOE Prof George Caird MA (Cantab) FRAM ARCM FRSA, HonFLCM Jenni Phillips GRSM (Hons) ARCM Richard Weigall ARCM

Prof Michael Harris ARCM FRCM Sally Harrop GRSM PGDip Timothy Lines ARCM Edward Watson

E FLAT CLARINET Martyn Davies* ARCM

CLARINET/BASS CLARINET

SYMPHONIC WIND ORCHESTRA Guy Woolfenden OBE

WIND REPERTOIRE ENSEMBLES Prof Michael Harris ARCM FRCM * denotes member of CBSO

Prof Michael Harris ARCM/FRCM Mark O’Brien*

CLASSICAL CLARINET Prof Michael Harris ARCM FRCM FIND OUT MORE ABOUT:

BASSOON Meyrick Alexander ARCM Nicholas Hunka ARCM

144 154 116 106

BMus (Hons) PgCert/PgDip/MMus/AdvPgDip Orchestras and large ensembles Coaching

Our expert orchestral woodwind staff provide specialist tuition in flute, piccolo, oboe, cor anglais, clarinet, E flat and bass clarinet, bassoon and contrabassoon. Comprehensive training in historical performance techniques on Baroque and Classical instruments is also available. Working very much as a team, our woodwind tutors and consultants take the greatest care to ensure that every aspect of our students’ playing is dealt with, from the smallest technical detail to coping with stage nerves. As a new student, you’ll immediately appreciate the supportive and collaborative attitude shared by our staff and students, making for an atmosphere that is motivational rather than competitive. Focusing on each student’s development as an individual performer means everyone can concentrate on the most important thing – music. From the very first weeks of your study, you’ll find yourself playing in a wind repertoire class. Available at introductory and advanced levels, these classes cover all the standard orchestral repertoire from the point of view of the wind section and are a first step in learning the skills of listening and playing in an ensemble. You’ll then develop these further through our Symphonic Wind Orchestra, Symphony Orchestra and our highly accomplished Wind Ensemble. At every stage in your development, you’ll undertake classes and coaching to build your performance skills, and the Department regularly invites distinguished international soloists to give masterclasses in solo repertoire. Additional performance opportunities are provided at every level by the Conservatoire’s full schedule of internal and public concerts. To encourage you to develop a broad understanding of music and your chosen instrument(s), you will have access to an array of performance electives throughout your study at the Conservatoire.

RECENT MASTERCLASSES AND WORKSHOPS

....................................................... FLUTE

CLARINET

Wissam Bourstany Michael Cox Philippa Davies Paul Edmund-Davies Clare Southworth

Paolo De Gaspari Colin Lawson Angela Malsbury Barnaby Robson

PICCOLO

Sarah Burnett Carlo Colombo Martin Gatt John Orford Graham Sheen

Keith Bragg Oboe John Anderson Neil Black Ruth Bolister Gordon Hunt Emily Pailthorpe Christopher Redgate

BASSOON

INTERNATIONAL DOUBLE REED SOCIETY last held in the UK in 1989, Birmingham Conservatoire hosted the International Double Reed Society’s annual conference in July 2009. This once-in-a generation event for oboists and bassoonists, brought leading professionals (including Nicholas Daniel, Carlo Columbo, Jonathan Kelly, Meyrick Alexander, Pascal Gallois and Gordon Hunt), students and enthusiasts from over 40 countries. The conference involved 100 concerts and other events, 38 world premieres, 56 trading companies and over 1000 delegates. Further details can be found on www.idrs2009.org

Recorder and saxaphone TUTORIAL STAFF

............................................................................................................................................ HEAD OF RECORDER

RECORDER TUTORS

HEAD OF SAXOPHONE

Ross Winters BA (Oxon) ARCM LTCL Diploma Muzieklyceum (Amsterdam)

Grace Barton BMus (Hons) DPS Annabel Knight GRSM (Hons) MMus DipRCM (Teach) Christopher Orton BMus (Hons) AdvPgDip

Naomi Sullivan

SAXOPHONE CONSULTANT Kyle Honch

SAXOPHONE TUTORS Anna Thompson Brooks BMus (Hons) Andrew Tweed

RECENT MASTERCLASSES AND WORKSHOPS

....................................................... RECORDER

SAXOPHONE

Piers Adams Anneke Boeke Jean Pierre Boullet Paul Leenhouts Lucinda MackworthYoung Joachim Rohmer Markus Zahnhausen

Iain Ballamy Rob Buckland Snake Davis Claude Detangle Christian Forshaw Tim Garland Simon Haram Kyle Horch Richard Ingham Steve Mauk Dave Roach Stan Sulzmann

RECORDER Led by Ross Winters, our lively and supportive Recorder Department provides tuition in all aspects of technique, style and repertoire. With a view to making the most of each individual’s potential, all periods of recorder music are afforded equal importance. The course is designed to develop your skills in both solo and ensemble playing and you will also have the opportunity to study related early wind instruments. A range of stimulating and varied performance classes and workshops on related topics is open to students in all years and there are two masterclasses a year given by distinguished visiting professionals. Recorder students at the Conservatoire are respected and integrated into the fabric of student life. In addition to activities within the Department, specialist ensembles are organised for a variety of projects, and the department is closely involved with the Conservatoire’s Early Music Programme. You’ll have the unique advantage of being able to perform with several diverse groups, including the college’s Baroque orchestra (Capelle) and The Conservatoire Folk Ensemble. You’ll also receive regular specialist consort coaching. In addition to a grounding in teaching techniques, you’ll have the opportunity to observe teaching at organisations such as Coventry Performing Arts.

FIND OUT MORE ABOUT: 144 154 120 116 110

BMus (Hons) PgCert/PgDip/MMus/AdvPgDip Professional development Orchestras and large ensembles Early music

SAXOPHONE Birmingham Conservatoire is now at the forefront of saxophone education. Not only does the National Saxophone Choir of Great Britain rehearse at the Conservatoire, but we recently hosted the 8th British Saxophone Congress with our own Andy Tweed and Chris Gumbley as Artistic Directors. Artists as diverse as Gilad Atzmon and Arno Bornkamp shared the stage with the National Saxophone Choir at the gala concert. Alongside the numerous performing opportunities for motivated students, the Conservatoire’s specialist Jazz Department helps to add vibrancy to saxophone studies. The saxophone syllabus is broad-based and ideally suited to those performers wishing to pursue a freelance career. With this in mind, great emphasis is put on versatility and adaptability in performance. A firm technical grounding early on paves the way for the study of major French classical and contemporary works, as well as cross-over and jazz, with the chance to specialise in the latter stages of your study. Coaching is available for saxophone quartets and the Conservatoire’s Symphonic Wind Orchestra and Jazz Big Band provide opportunities to perform in large ensembles.

FIND OUT MORE ABOUT: 144 154 120 116 110 94

BMus (Hons) PgCert/PgDip/MMus/AdvPgDip Professional development Orchestras and large ensembles Early music Jazz department

Brass TUTORIAL STAFF David Purser, Head of Brass, has 25 yearsâ&#x20AC;&#x2DC; experience teaching at conservatoire/university level. His playing career includes 30 years as principal trombone of the London Sinfonietta, 30 years with the Nash Ensemble, 13 years with the Philip Jones Brass Ensemble, 16 years with London Brass and seven years as principal trombone of Sinfonia 21. He has published several arrangements for brass ensemble. David is also Head of our Orchestral Programme.

............................................................................................................................................ HEAD OF DEPARTMENT

TROMBONE

EUPHONIUM

David Purser ARCM

Anthony Howe GRNCM PPRNCM Edward Jones Katy Jones David Purser ARCM

David Childs Katrina Marzella

TRUMPET

Peter Fisher ABSM Jonathan Holland ARCM LRAM (Principal, CBSO) Paul Hayes Andrew Stone-Fewings GBSM ABSM Alan Thomas* (Co- Principal, CSBO)

CORNET Richard Marshall Ian Porthouse GBSM

NATURAL TRUMPET David Blackadder

FRENCH HORN Sue Dent Peter Dyson* AGSM Simon de Souza

HAND HORN Sue Dent

BASS TROMBONE Alwyn Green* LRAM LTCL Robert Hughes

SACKBUT AND CLASSICAL TROMBONE Sue Addison ARCM (Hons) HonsAssocRAM

TUBA Graham Sibley

TENOR HORN Owen Farr

DIRECTOR OF BRASS BAND STUDIES Ian Porthouse GBSM * denotes member of CBSO

Because ensemble playing is at the core of the brass playerâ&#x20AC;&#x2122;s musical life, teamwork is at the core of the Brass Departmentâ&#x20AC;&#x2122;s activities. In each specialist area, our team of tutors has the expertise to address all areas of music making and instrumental playing. Leading exponents of orchestral, brass band and chamber music playing, come from as far afield as Manchester, Cardiff and London, to join their Birmingham-based colleagues as part of our teaching team. They bring with them their pedagogical and technical expertise, as well as the enthusiasm for music that makes them first rate performers. Our aim is to help our students develop distinct but well-rounded musical personalities, with a wide experience of styles and an awareness of the vast range of professional possibilities. So brass band players are encouraged (though not obliged) to spend some time on an orchestral instrument, while orchestral players (who also often appear with the brass band) may take lessons from one of the Conservatoireâ&#x20AC;&#x2122;s jazz tutors. In another example of cross-fertilisation, Sue Addison and David Blackadder (our sackbut and natural trumpet teachers) will sometimes work with modern instruments to impart their specialist knowledge of period styles in a more familiar contemporary context.

Along with the various band, orchestral and chamber music activities, there is an active schedule of special brass classes covering a wide spectrum of topics, from scales to stage presentation, Baroque style to orchestral repertoire and practice technique to performance nerves. Delivered by the Conservatoire’s own teachers as well as a range of distinguished visitors, they provide opportunities for discussion, listening and, perhaps most importantly, the vital experience of playing in public. In addition to the Conservatoire’s regular concert series, occasions such as our annual Brass Explosion! and frequent brass chamber music concerts (for ensembles of all shapes and sizes) give us the opportunity to show off the department’s work.

BRASS QUINTET Bespoke tuition is available at postgraduate level for existing brass quintets who wish to extend and consolidate their ensemble skills, while allowing each member to continue with their individual instrumental and academic study. Delivered in collaboration with the Midlands-based ensemble Fine Arts Brass (FAB) and Birmingham Music Service (BMS), the programme addresses all aspects of quintet life from repertoire development to workshop skills, and from the identification and arrangement of suitable music to the practicalities of organising an ensemble.

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RECENT MASTERCLASSES AND WORKSHOPS

................................................................ TRUMPET AND CORNET Paul Archibald John Barclay H책kan Hardenberger Michael Laird John Miller Kristian Steenstrup Roger Webster TROMBONE Jonas Bylund Chris Houlding Don Lucas Jacques Mauger Kevin Price Rex Richardson Lindsay Shilling David Stewart Denis Wick

HORN Alessio Allegrini Richard Clews Elspeth Dutch Martin Owen Hugh Seenan

TENOR HORN Melvyn Bathgate BRASS BAND Elgar Howarth Phillip Wilby

TUBA David Gordon-Shute Oren Marshall Graham Sibley Stephen Wick EUPHONIUM Andrew Fawbert David Thornton

FIND OUT MORE ABOUT: 144 154 120 116 106

BMus (Hons) PgCert/PgDip/MMus/AdvPgDip Professional development Orchestras and large ensembles Coaching

Percussion TUTORIAL STAFF Principal Percussionist and Timpanist with the CBSO since 1972 and a founding member of the Birmingham Contemporary Music Group, James Strebing has long been active in Birminghamâ&#x20AC;&#x2122;s musical community. He studied with George Gaber at Indiana University and was principal percussionist with the Indianapolis Symphony before a Fulbright Scholarship brought him to the UK.

............................................................................................................................................ HEAD OF DEPARTMENT

TIMPANI AND PERCUSSION

James Strebing* BMus (Indiana Univ)

DRUM KIT Malcolm Garrett

SOLO AND TUNED PERCUSSION Elizabeth Gilliver GMus RNCM (Hons) PPRNCM

ORCHESTRAL PERCUSSION Jonathan Herbert GRNCM

MALLET AND SOLO PERCUSSION Jason Huxtable AdvPgDip Timothy Palmer AdvPgDip

CONTEMPORARY AND LATIN PERCUSSION Alonso Mendoza Moreno BMus (Univ of Mexico) MA (The Hague) * denotes member of CBSO

PERCUSSION Offering excellent facilities, our lively Percussion Department offers a broad vision of percussion, with tutors trained both in the UK and abroad providing an international outlook. Specialist training is provided in every area: from classical to commercial, theatrical to popular.

As a percussion student, you’ll have regular performing opportunities within the Conservatoire orchestras, bands and ensembles, and you can also undertake various external engagements. Sufficiently advanced students can also take advantage of professional training schemes with the CBSO and Philharmonia Orchestra.

Outstanding in its diversity, our syllabus combines a wide range of solo, ensemble and orchestral repertoire with access to jazz techniques, and World Music options such as gamelan, African drumming and samba. Providing a chance for you to broaden your horizons and integrate different playing styles, these options offer invaluable experience of unusual styles and instruments and will help to prepare you for the complex demands of the modern percussion world.

Our dedicated Percussion Suite houses a large collection of instruments available for student use. Conservatoire percussion graduates can be heard performing in London’s West End, with professional orchestras such as the LSO, CBSO and Bournemouth Symphony Orchestra, and on our CD sampler.

The department’s size is carefully balanced to ensure ample performance opportunities for every student, while maintaining a healthy percussion ensemble. This flexible group undertakes two or three concerts each year, performing pieces that range from three to twelve players.

In collaboration with PASUK, the Conservatoire hosted its first Day of Percussion in 2006, welcoming several international artists including David Friedman. It is hoped that the Day will become an annual event.

RECENT MASTERCLASSES AND WORKSHOPS

.................................... FIND OUT MORE ABOUT: 144 154 120 116 106

BMus (Hons) PgCert/PgDip/MMus/AdvPgDip Professional development Orchestras and large ensembles Coaching

PERCUSSION

Chris Baron Colin Currie David Friedman Neil Grover Michael Quinn Ney Rosauro Nebojsa Zivkovic

Piano TUTORIAL STAFF Malcolm Wilson studied in Birmingham with Constance Warren before winning a scholarship to the Royal College of Music where his teachers were Kendall Taylor and Maurice Cole. He made his recital debut at the Wigmore Hall in 1975 and has for many years been a principal pianist with both the Birmingham Contemporary Music Group and the CBSO, with whom he has undertaken extensive overseas tours and made numerous recordings. In association with the BCMG he has recently been involved with the ‘Creative Exchange’ group improvisation programme, led by Peter Wiegold, whose concerts explore the interaction and creative processes between composer, performer and audience.

............................................................................................................................................ HEAD OF DEPARTMENT

PIANO

Prof Malcolm Wilson GBSM ARCM

Robert Birchall ARCN GRNCM DPS (Mus Perf) Caroline Costello GBSM ABSM Margaret Fingerhut Jonathan French BMus (Hons) DPS (MusPerf) John Humphreys ARAM ARCM Katherine Lam Philip Martin ARAM LRAM FRAM Robert Markham DMA (The Juilliard School) Margaret Newman BA (Mus) LRAM (Perf) FTCL Simon Nicholls GRSM ARCM LR AM David Quigley BMus HonBC Victor Sangiorgio AMUSA (Hons) Prof Malcolm Wilson GBSM ARCM Di Xiao

CONSULTANTS Piano: Peter Donohoe FRNCM GRNCM ARNCM ARCM DUniv DMus (B’ham)

FORTE PIANO Sharona Joshua David Ward

HEAD OF ACCOMPANIMENT Robert Markham

PIANO ACCOMPANIMENT TUTORS Jonathan French BMus (Hons) DPS (MusPerf) John Humphreys ARAM ARCM Robert Markham DMA (The Juilliard School) Simon Nicholls GRSM ARCM LR AM Antony Saunders ARAM LRAM (Teaching) ARCM (Performing) ARCO

STAFF ACCOMPANISTS Jonathan French BMus (Hons) DPS (MusPerf) Ben Kennedy BMus (Hons) Robert Markham DMA (The Juilliard School) Jo Sealey ABSM GBSM HonBC

With a distinguished staff of tutors and consultants specialising in accompaniment, solo and orchestral performance, the Piano Department concentrates on your development as a versatile, confident and selfreliant performer. Reflecting the demands of versatility and artistic awareness in the realm of professional performance. Your intensive pianistic training will be supplemented by a wide range of specialist activities and workshops, including classes in repertoire, sight-reading, accompaniment, Lieder and French song; coaching in accompaniment fortepiano; and keyboard skills. As a first study pianist, you will participate in performance classes every week and, nearly as often, in masterclasses, which will be a fundamental part of your study. Involving a high degree of practical involvement and feedback, both programmes will help you to develop the breadth of your own musical vision. Undergraduate performance classes are normally held in our Adrian Boult Hall (see page 40), giving you regular opportunities to perform in an outstanding modern concert hall. As well as solo performance, all undergraduates study accompaniment and advanced students under the age of 30 may compete in the biennial Yamaha Birmingham Accompanist of the Year Award, run by the Conservatoire in association with Yamaha. You will be encouraged to participate in chamber music (coaching is available to established ensembles) and you’ll also have the opportunity to gain experience in repetiteur work and orchestral keyboard performance as part of your course. Performance opportunities, provided throughout the course, include the Conservatoire’s series of lunchtime and evening concerts. Selected students can also take advantage of our Pianists for Dance scheme, run in partnership with the Birmingham Royal Ballet.

The Piano Department enjoys close ties with the Vocal & Operatic Department and students often collaborate in performances and competitions, as well as in language and accompaniment classes. Peter Donohoe, the Conservatoire’s Vice-President, has been a consultant tutor to the department since 1989, and works closely with both staff and students

FORTEPIANO Working towards an annual concert, all undergraduate pianists study fortepiano during their second year, exploring an extensive repertoire (including CPE Bach, Haydn, Mozart, Beethoven and Schubert) on the type of instrument for which it was originally conceived. The Conservatoire possesses two fortepianos: a John Rawson copy of a 1780s Viennese instrument; and another by Dennis Woolley (after Fritz, c.1820). In addition to solo pieces, chamber music and song accompaniment may also be studied.

RECENT MASTERCLASSES AND WORKSHOPS

...................................................... PIANO Andrew Ball Birmingham Royal Ballet Peter Donohoe Julius Drake Daniel Höxter Martin Jones Mikhail Kazakevich Vanessa Latarche John Lill

Leon McCawley Richard McMahon Bryce Morrison Ronan O’Hora David Owen Norris Bernard Roberts Martin Roscoe Balász Szokolay

Organ and harpischord TUTORIAL STAFF Since winning the Odense International Organ Competition Henry Fairs has performed in the United Kingdom, France, Germany, Austria, Switzerland, Denmark, Poland and the United States. His orchestral concerto debut was with the Paris Conservatoire Symphony Orchestra in 2004 playing Jean Guillou’s 6th Concerto. His recent schedule included a Messiaen recital at the Leipzig Gewandhaus, a live broadcast of Poulenc’s organ concerto for Danish Radio from the Carl Neilsen Hall, Odense, and a recital at Worms Cathedral, Germany which opened the Kultursommer RheinlandPfalz festival.

............................................................................................................................................ HEAD OF DEPARTMENT

ORGAN

Henry Fairs BMus FRCO HonBC Prix d’Exellence Konzertexamen

Douglas Hollick BA (Hons) ARCM Marcus Huxley MA (Oxon) FRCO ARCM HonFBC Charles Matthews MA (Cantab) FRCO Daniel Moult MA (Oxon) FRCO James Parsons MA (Oxon) FRCO Prof David Saint BA BMus FRCO

ORGAN CONSULTANT David Sanger

EARLY KEYBOARD CONSULTANT Gary Cooper

HARPSICHORD Douglas Hollick BA (Hons) ARCM

ORGAN & HARPSICHORD The Conservatoire boasts a thriving Organ Department with excellent links to the Royal College of Organists (RCO). Our distinguished staff includes well-known recitalist James Parsons, Director of the Oundle Festival and Summer School for Young Organists; Dan Moult, hugely in demand both as a player and as a music educator and animateur; and harpsichordist and organist Douglas Hollick, who studied with Peter Hurford and Marie-Claire Alain and is a regular contributor to Choir & Organ. Marcus Huxley, also a pupil of Marie-Claire Alain, is a St Alban’s prize-winner and Director of Music at St Philip’s Cathedral; while Charles Matthews was first prize winner in the 1999 Liszt Competition in Budapest. The Conservatoire is delighted to welcome distinguished international recitalist, teacher and President of the Royal College of Organists, David Sanger, as Consultant Tutor in Organ Studies. Organ teaching is centred on the acclaimed three-manual Walker organ in St Chad’s Cathedral, but you will also have access to our four small tracker-action organs and, as of autumn 2007, the historic Eule organ commissioned by Lady Susi Jeans in the 1930s and generously donated to the Conservatoire by the Royal School of Church Music. You’ll be given a comprehensive introduction to several centuries of European organ repertoire, with the opportunity to specialise in areas that interest you later in your study. Lessons in continuo, improvisation and keyboard skills will also form a key part of your training. Regular study weeks in France, Holland and Germany are based around visits to historic instruments and masterclasses given by some of each country’s finest players. These trips will give you the chance to understand repertoire within the context of specific organ-building traditions.

HARPSICHORD Harpsichord is available as a first or second study. Our two main instruments are by von Nagel, Paris (1988, after Michael Mietke) and Michael Johnson (1996, after Goermans/Taskin). The syllabus covers the core harpsichord repertoire from the late 16th to the late 18th century but you may also study contemporary works if you wish. Coaching in chamber music (obbligato and continuo pieces) is available and both harpsichordists and organists have regular continuo classes.

ORGAN SCHOLARSHIPS Organ scholarships are offered by St Chad’s Cathedral; Birmingham Cathedral; St Alphege, Solihull; and other local churches. The Symphony Hall Percy Whitlock Scholarship gives an appropriately experienced student a role in Symphony Hall’s educational programme and opportunities to demonstrate the instrument to a variety of audiences. You will receive details of the organ scholarships available after your application has been received. Please note that the availability of scholarships varies from year to year. Scholarship trials take place at the same time as auditions, so you are strongly advised to apply in time for our main autumn auditions.

CONTINUO SCHOLARSHIP Both harpsichordists and organists can take advantage of the Conservatoire’s excellent Early Music programme. One of our two Corton-Hyde Early Music Scholarships is available to support a talented undergraduate or postgraduate continuo student wishing to further their studies in Early Music.

RECENT MASTERCLASSES

.................................

Bine Bryndorf Hans Fagins David Sanger Thomas Trotter Jacques van Oortmerssen Wolfgang Zerer

Vocal and operatic

TUTORIAL STAFF An accomplished tenor, Julian Pike toured extensively in the UK and Europe before embarking on his teaching career. He has performed with the BBC Symphony Orchestra and the Royal Liverpool Philharmonic Orchestra and was chosen by legendary theatre director Peter Brook to sing Don Jose in his famous production of Carmen (1982). He later created the central role of Michael in Donnerstag aus Licht (1985) for the eminent composer Karlheinz Stockhausen, with whom he enjoyed a close working relationship.

............................................................................................................................................ HEAD OF DEPARTMENT

LANGUAGES

Prof Julian Pike ARCM

Olivia Blackburn BA (Hons) (French/ German) Patrizia Dina BA (Hons) (Italian) Prof Julian Pike ARCM (French) Michael Pushkin (Russian) Cinzia Scafetta (Italian)

DIRECTOR OF THEATRE STUDIES Michael Barry BEd PgDip

DRAMA AND STAGECRAFT Michael Barry BEd PgDip

Anne Dawson Helen Field Margaret Field BMus Henry Herford MA (Cantab) ARNCM GRNCM Justin Lavender Prof Julian Pike ARCM Gordon Sandison Gwion Thomas GRNCM PPRNC

MOVEMENT

COACHING

Heather Habens

Stephen Barlow Robin Bowman Robert Markham DMA (The Julliard School) Simon Nicholls GRSM ARCM LRAM Jane Robinson Helen Yorke

MUSICAL THEATRE Rosalind Jones

CHAMBER CHOIR CONDUCTOR Jeffrey Skidmore BA (Oxon) (Ex Cathedra) HonFBC Paul Spicer BMus (Lond) ARCM ARCO FRSA HonFBC

VOICE Catherine Benson AGSM Maureen Brathwaite AGSM Christine Cairns DRSAMD Louise Crane Alison Chamberlain Rita Cullis

CONTEMPORARY MUSIC VOCAL CLASSES Mary Wiegold

HISTORICAL VOCAL PROGRAMME Andrew King BA ARCM

The Department of Vocal & Operatic Studies offers extensive tuition for aspiring professional singers. Our comprehensive course of study has been designed to allow you to follow your individual preferences, while providing you with the broad base of experience needed in the profession today. It is of great importance to us that you develop substantial knowledge and experience of all types of repertoire, from opera and early music to performance with technology. Therefore, in addition to your individual lessons, you will have regular individual vocal coaching, as well as Baroque and contemporary music classes. You may, if you wish, choose a related singing specialism (such as Baroque singing) as your second study, providing you with even greater exposure to a particular specialist area. Other core activities through which you will develop your performance skills will include masterclasses with visiting professionals, repertoire and performance classes covering Lieder, French and English song, oratorio, etc; and language tuition in French, Italian, German and Russian. All students undertake a theatrical training programme including drama and stagecraft and, should you be interested in pursuing musical theatre, you will be able to take advantage of specialist coaching in this area.

Students who have attained an appropriate level of skill are auditioned for fully staged performances of operas, Baroque operas and musicals, which involve intensive periods of musical and dramatic preparation. Birmingham Conservatoire is distinct in providing operatic performing possibilities at both undergraduate and postgraduate level and, since 2001 our students have enjoyed the use of the new fully equipped Crescent Theatre situated nearby in Birmingham’s canal-side development, Brindleyplace. Two other important Departmental activities are our ‘Liederabends’ – evenings of song constructed around the works of particular composers or poets – and our annual Opera Scenes, which consistently sell out. These events, in which the whole department participates, are open to the public and take place once a term. Numerous other performance opportunities are offered by the Conservatoire’s three choirs and full schedule of public concerts, stage works and competitions.

RECENT MASTERCLASSES AND WORKSHOPS

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BMus (Hons) PgCert/PgDip/MMus/AdvPgDip Choirs Choral counducting Coaching

Noelle Barker Leo Black Catherine Bott Michael Chance Richard Jackson Susan McCulloch Patricia McMahon

Roger Nichols Fiona Richards Christoph Ritter Paul Rodmell Barbara Robotham Patricia Rozario Stephen Varcoe

STAGE PROGRAMME There is a real atmosphere of inclusiveness within our Department. Our stage activities are open to the entire Department, postgraduate and undergraduate alike. Naturally, the more experienced singers will be those given lead parts, but there are also many smaller roles and chorus parts which offer developing singers the opportunity to gain fundamental stage experience. We consider it essential that you learn in an environment which, although inevitably competitive, is one in which there is understanding and support between all students. Everything we do contributes to the different elements needed to become a professional singer and it will be for you to seize and capitalise upon the many opportunities here. We always take care that, while your skills are developing, you remain within the limits of your technical abilities and are not presented with demands that may cause you to overextend yourself. The choice of stage works is always a challenge, but we try to find works with as many parts as possible and, additionally, double-cast our shows. During your time as a vocal student, you will have the opportunity to perform in a great variety of stage works: mainstream opera, historically informed performances and musicals. All our staged performances are conducted, prepared and directed by visiting specialists who, in addition to staff members, will be vital contributors to your educational experience.

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RECENT OPERAS Britten ............................. Albert Herring Cavalli .............................. La Calisto Handel ............................. Giulio Cesare Janácek ........................... The Cunning Little Vixen Matthew Locke ................ Psyche Monteverdi ...................... L’Incoronazione di Poppea Mozart .............................. Le Nozze di Figaro Mozart .............................. Die Zauberflöte Purcell ............................. Dido and Aeneas Purcell ............................. The Fairy Queen Rameau ........................... Pygmalion Malcolm Williamson ........ English Eccentrics

RECENT MUSICALS

Bernstein ..........................Wonderful Town Bernstein .......................... West Side Story Harnick & Bock ................ Fiddler on the Roof Sondheim ......................... Merrily We Roll Along

KATIE HOCKENHULL (Alumna) BMus (Hons), voice Studied with: Louise Crane Birmingham Conservatoire offers a unique opportunity for young performers to gain stage experience relatively early on in their training, in a supportive and friendly environment. I was fortunate to be involved in opera scenes and opera chorus from my first year. We are very lucky to have the opportunity to perform at the Crescent Theatre. The Conservatoire also offers a diverse range of performance opportunities: weekly repertoire classes, vocal workshops, musical evenings such as Liederabend, a variety of vocal competitions, plus the opportunity to perform Baroque repertoire, operas and musicals. I have also gained oratorio experience through external engagements. There is something for everyone! If you are prepared to work hard, enjoy singing and want to be a performer, then Birmingham Conservatoire is the place to realise your potential. I have a fantastic vocal tutor, coaches, and the Head of the Vocal Department, Julian Pike, has been supportive and inspirational, encouraging us all to believe in our own abilities. I have enjoyed every minute! PHOTOGRAPH CREDITS

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TOM CHAPMAN (Alumnus) BMus (Hons) Jazz, drums Studied with: Gene Calderazzo, Jeff Williams and Andrew Bain My time on the jazz course has been great. The tutors are world class and their broad range of interests has meant that Iâ&#x20AC;&#x2122;ve been exposed to an incredibly diverse spectrum of influences. The course has a strong community feel to it and I think everyone would agree that we have a developing jazz scene to be proud of. Contact with visiting tutors and outside promoters has kept us all more in touch with the wider jazz community. Two defining highlights for me were meeting my hero Joey Baron and playing with the legendary Dave Holland. Overall, I feel that my time here has been extremely beneficial in setting me up with the resources with which to continue my journey as a musician.

PHOTOGRAPH CREDITS

CHORAL CONDUCTING Available to postgraduate students as part of the Performance pathway on the MMus and PgDip courses, Choral Conducting is well supported at the Conservatoire. You will be offered tailored individual tuition from our principal conducting tutor Paul Spicer (Finzi Singers) supported by Jeffrey Skidmore (Ex Cathedra) and Neil Ferris (Concordia Voices, Cardiff Polyphonic Choir). The programme concentrates on building your skills in interpretation, communication and vocal technique. Therefore, as well as rehearsing and performing with choirs, your one-to-one first study tuition will be split between conducting and singing lessons with a member of our distinguished vocal staff, according to your individual needs. You will also receive specialised coaching in editing and musical and managerial skills. Of our two chamber choirs, Chamber Choir II is run specifically for the benefit of our choral conducting students. You will be able to rehearse with them on a regular basis and to conduct performances on average twice a year. The choir consists of around 25 voices and it is expected that you will cover a range of repertoire, chosen in negotiation with Paul Spicer. Examination is through an assessed rehearsal. The Conservatoire has a range of other choral activities, including the Conservatoire Chorus, Chamber Choir I and a Gospel Choir, with which you may wish to get involved. If you are interested in gaining experience in conducting instrumental ensembles, a conducting elective is also available.

Jazz TUTORIAL STAFF Jeremy Price is a trombonist on the current jazz scene and has worked with Stan Sulzmann, Mike Gibbs, Randy Brecker and David Murray. He has authored jazz education material published by International Music Press and the Associated Board of the Royal Schools of Music. He is a member of the London Jazz Orchestra and has played for London Sinfonietta as well as for numerous commercial sessions.

............................................................................................................................................ HEAD OF DEPARTMENT

SAXOPHONE

DOUBLE BASS/ELECTRIC BASS

Jeremy Price BA (Hons) ABSM LGSM HonBC

Fred T Baker GBSM Mark Hodgson Arnie Somogyi BA (Hons)

Dave Holland

Iain Dixon Julian Siegel Jean Toussaint Mike Williams GDJCM

LECTURER IN JAZZ

TRUMPET

Fred T Baker GBSM Dave Cliff Phil Robson

VISITING ARTIST IN RESIDENCE

Hans Koller MMus

Richard Iles Percy Pursglove BMus (Hons) Hon BC Martin Shaw Neil Yates

TROMBONE Pete Beachill Ashley Horton Jeremy Price

ELECTRIC GUITAR

DRUM KIT Andrew Bain Tony Levin Jeff Williams

COMPOSITION

PIANO

Mike Gibbs BMus Prof Dip HonFBC Hans Koller Liam Noble

Hans Koller Liam Noble BA (Oxon)

BIG BAND AND JAZZ ORCHESTRA Jeremy Price Percy Pursglove

VOICE Sarah Coleman

VIBRAPHONE Anthony Kerr

The primary aim of our Jazz Department is to create a stimulating and inspiring culture for jazz musicians. As well as nurturing individual development, we place a great deal of emphasis on artistic exchange between students and staff, both within the Conservatoire and on the wider public stage: from local venues to international festivals. The autonomy of the Department means you will follow a curriculum dedicated to jazz performance on a course specifically designed to meet your needs. Because we are able to offer such specialised study, youâ&#x20AC;&#x2122;ll find yourself learning alongside a body of jazz students who are all highly focused and committed. We have an outstanding team of tutors, all of whom are highly respected artists in their field. The fact that they come not only from the UK, but also from the USA and central Europe, gives a real breadth and depth to the range of jazz music represented here, as well as greater scope for you to find a suitable mentor to watch over your individual development.

I am very happy to be joining the Jazz department at Birmingham Conservatoire in the capacity of â&#x20AC;&#x2DC;Visiting Artist in Residenceâ&#x20AC;&#x2122;. During a recent visit I saw the commitment to excellence on the part of the students, faculty and administration and look forward to being able to contribute to an already outstanding programme. DAVE HOLLAND

Our most recent and exciting appointment to the staff is bassist, leader and composer Dave Holland. Dave joins us for one week each semester as Visiting Artist in Residence, to coach ensembles, give bass masterclasses, direct rhythm section workshops and give composition lectures. A public performance is also integrated into each of his visits. Relative to other parts of the country, the jazz scene in the Birmingham area is flourishing. We have an exceptionally strong relationship with Birmingham Jazz, the region’s main promoter, and our students enjoy free entry to their gigs for a nominal Birmingham Jazz membership fee. During the last academic year alone, our students have attended performances through this scheme by internationally acclaimed artists such as Dave Holland’s quintet, Greg Cohen, Joey Baron and Tom Rainey.

FIND OUT MORE ABOUT: 149 BMus (Hons) Jazz 152 GradDip Jazz 118 Jazz Big Band

In addition to the international circuit that Birmingham Jazz brings to the region, the city hosts numerous clubs and venues that support the local scene. Venues providing a platform for the wider jazz community include the Midlands Arts Centre (mac), Yardbird Jazz Club, The Rainbow, Symphony Hall Foyer, Fizzle, the Glee Club, The Drum, TL’s and the Jam House. Another welcome addition to the scene is the BBC Big Band, soon to be resident at the newly refurbished Birmingham Town Hall. All this means you will be able to immerse yourself in a vibrant and energising music scene.

RECENT MASTERCLASSES AND WORKSHOPS

...................................................... Jeff Ballard Joey Baron Jerry Bergonzi Dave Binney Randy Brecker Greg Cohen Jack De Johnette Dave Douglas Paul Dunmall Dave Green Drew Gress John Hibert

Dave Holland John Hollenbeck Lee Konitz Kirk Lightsey Bob Moses Paul Motian Bobby Previte Tom Rainey Adam Rodgers Mark Turner Stan Sulzmann John Surman Ken Vandermark

Composition TUTORIAL STAFF Joe Cutler studied music at Huddersfield and Durham Universities before studying at the Chopin Academy of Music (Warsaw) on a Polish Government Scholarship. His works have been performed in more than 30 countries by performers including the London Symphony Orchestra, BBC Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, Scottish and Swedish Chamber Orchestras, Orkest de Volharding, Icebreaker, Netherlands Wind Ensemble, London Sinfonietta and Noszferatu (a collective he co-founded in 2000). His music is regularly broadcast by BBC Radio 3 and has been featured on BBC2 and Netherlands Television. Joe has also composed music for dance, film and for theatre productions in London’s West End and New York’s Off-Broadway.

............................................................................................................................................ HEAD OF DEPARTMENT

COMPOSITION

INSTRUMENTAL TECHNIQUES

Joe Cutler BA (Hons) PgDip (Chopin Academy, Warsaw) PhD

Ed Bennett MMus BA (Hons) HND Joe Broughton BMus HonBC Richard Causton ARCM (PG) MA BA (Hons) Lamberto Coccioli (Diploma di Composizione, Conservatorio “G Verdi” Milan) Joe Cutler BA (Hons) PgDip(Chopin Academy Warsaw) PhD Andrew Glover PhD Robin Grant GMus RNCM (Hons) PgDip Simon Hall PhD MA BMus (Hons) LTCL Richard Leigh Harris MMus GBSM CertEd Liz Johnson PhD MA PGCE BMus Philip Martin ARAM LRAM FRAM Carolina Noguera-Palau Martin Riley Edwin Roxburgh Howard Skempton Michael Wolters PhD

Clem Alford Sangeet Sudhakar (Calcutta) Sur Mani (Bombay) Fred T Baker GBSM Katherine Gittings DipRCM ARCM LRAM Richard Leigh Harris MMus GBSM CertEd Sally Harrop GBSM ABSM PgDip HonBC Ulrich Heinen Alonso Mendoza Moreno BMus (Univ of Mexico) MA (The Hague) David Purser ARCM Christopher Redgate Sarwar Sabri Naomi Sullivan Rowland Sutherland Alan Thomas Mary Wiegold Christopher Yates

DEPUTY HEAD OF DEPARTMENT Michael Wolters PhD

VISITING COMPOSERS IN RESIDENCE Errollyn Wallen MBE

MEDIA MUSIC SPECIALIST Chris Gibbons

COMMERCIAL MUSIC SPECIALIST Ian Wallman

CONDUCTING FOR COMPOSERS Edwin Roxburgh

COMPOSITION Our esteemed Composition Department provides both composers and composer-performers with the technical skills and broad understanding of musical styles necessary to formulate and express a distinct musical voice. In the 21st century new music can, more than at any other time in history, celebrate the diversity of musical styles and idioms, and one of our greatest strengths is our tutorial staff, whose wide-ranging stylistic specialities cover everything from progressive classical composition to film and commercial skills. Through your individual tuition you will develop an understanding of differing compositional styles, particularly contemporary art music; pop, jazz and fusion; experimental and world music; film and theatre music; and electroacoustic and studio-based composition. You will also receive a thorough grounding in compositionrelated technologies, although composers wishing to specialise in this area should see Music Technology. Your training will cover techniques of instrumentation, conducting, orchestration and polyphonic studies. A programme of masterclasses and seminars by distinguished composers, critics and performers will also form an important part of your development and you will have the chance to share ideas and discuss topical issues with your colleagues in group activities such as Compositional Studies and Composersâ&#x20AC;&#x2122; Workshop. From the outset, you will be encouraged to explore your ideas both within the context of genre, and using genre as a jumping-off point for the creation of new frameworks. The Conservatoire has long been recognised as the natural home of composers working across styles and throughout your development you will have the opportunity to experience a range of musical traditions and influences through a variety of performance electives covering classical music, jazz and world music. These electives will not only allow you to exercise your creativity, but also provide a vehicle for you to collaborate with performance students.

Our composition students also regularly work with students from our partner faculty, Birmingham Institute of Art and Design. We attach great importance to the performance of student compositions and original works, including those incorporating new technologies, are regularly rehearsed and performed by a number of ensembles, including the Conservatoire Composersâ&#x20AC;&#x2122; Ensemble, the highly regarded Birmingham Contemporary Music Group and our own contemporary music group, the Thallein Ensemble. Public performance opportunities include various Conservatoire concert series, internal and external competitions, and our new music concert series, Frontiers.

RECENT MASTERCLASSES AND WORKSHOPS

...................................................... Julian Anderson Gerald Barry David Bedford David Bintley Laurence Crane Tansy Davies Michael Finnissy Mike Gibbs Geoff Hannan Bryn Harrison Simon Holt Oliver Knussen Marteen Altena Ensemble Darragh Morgan Dominic Muldowney

Noszferatu Orkest de Ereprijs Eddie Parker Andrew Poppy Jonathan Powell Frederic Rzewski Johannes Maria Staud Richard Steinitz Mark-Anthony Turnage Jacob ter Veldhuis Judith Weir Peter Wiegold John Woolrich

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Music technology

TUTORIAL STAFF Lamberto Coccioli studied composition with Edgar Alandia and then with Azio Corghi at Milan’s Conservatoire, later completing the Toscanini Academy’s Advanced Training Course for Young Composers. He collaborated with Luciano Berio for five years and in 1996 joined the team of Tempo Reale, the research centre for new technologies applied to music founded by Berio in Florence. Now a specialist in composition and performance with live electronics, his commissions include opera, chamber and solo pieces; his works have been performed around the world. In 2000 he was invited by AGON Acustica Informatica Musica, the Milan research and production centre directed by Luca Francesconi, to work on musical and educational projects. Lamberto is also Head of the Research Centre for Composition and Performance using Technology.

............................................................................................................................................ HEAD OF DEPARTMENT Lamberto Coccioli (Diploma di Composizione, Conservatorio “G Verdi” Milan)

ASSISTANT HEAD OF DEPARTMENT Simon Hall PhD MA BMus (Hons) LTCL

STUDIO MANAGER AND AUDIO TECHNICIAN Matthew O’Malley

TUTORS James Bullock BA (Hons) MPhil Tom Cahill-Jones Ben Markland MA BMus Matthew O’Malley Andrew Portas John Wesley-Barker BA

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UNDERGRADUATE BMUS COMPOSITION The Composer

BMUS MUSIC TECHNOLOGY The Creative Music Producer

BSC MUSIC TECHNOLOGY The Music Engineer

All composers have the option of working with music technology as part of their study (please see page 64)

This area is appropriate for musicians who want to specialise in the creative musical applications of technology.

This degree emphasises the technologies that underpin sound engineering for a variety of commercial applications (see page 124)

PgDip MUS TECHNOLOGY (see page XXX)

MMUS MUSIC TECHNOLOGY Proposed – TBC(see page 112)

POSTGRADUATE MMUS COMPOSITION (see page xx)

RESEARCH Centre for composition and performance with technology (see page xx)

Reflecting the Conservatoire’s expertise in the areas of composition and music technology, Music Technology is a first study area designed for musicians who want to specialise in creative uses of music technologies. Whether you are an undergraduate or a postgraduate, this area will allow you to develop your creativity and skills to professional level using our state-of-the-art facilities. You will be offered tailored tuition throughout your study in your specific area of interest, as well as training in core skills such as studio and sound recording techniques, electroacoustic composition for fixed media, synthesis, sampling, production and music for the moving image. A programme of masterclasses with industry professionals will supplement your individual training and you will have the chance to share ideas and discuss topical issues with your colleagues in group activities. There is a strong focus on the real-time interaction between performers and computers and you will be encouraged to collaborate with performers in the creation of interactive works to be performed in our unique live electronics performance venue, the Recital Hall.

The combination of our specialised performance venues and professional music technology facilities is truly unique amongst conservatoires and surpasses those available at most well-equipped universities as well. For a full list of our music technology facilities, please see page 25 or check our website.

RECENT MASTERCLASSES AND WORKSHOPS

...................................................... Matthew Barley (Cellist) Mira Calix (Warp Records) Matt Dilley (Producer) Luca Francesconi (Composer) Jonathan Harvey (Composer) Richard Hodgson (Yamaha Pro Audio) Andrew Keener (Recording Producer) Bob McDowell (Senior Producer, BBC) Sarah Nicolls (Pianist) Stephan Östersjö (Guitarist) Jonathan Powell (Pianist) Roger Reynolds (Composer) Hugh Robjohns (Technical Editor, Sound on Sound) Nitin Sawhney (Producer/Composer) John Taylor (D&B Audiotechnik) Ian Wallman (Producer) Paul White (Editor, Sound On Sound)

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Research

TUTORIAL STAFF Peter Johnson has lectured on most areas of music history and musicianship, with specialisms in 20th century history and analysis, improvisation and the philosophy and aesthetics of music. Since 1993 he has been engaged in pioneering research on the practice and aesthetics of musical performance, drawing on his considerable earlier experience as keyboard player, choir training and conductor. He has published on several aspects of performance, including intonation in string quartet playing and the relationship between performer and listener. Peter is the designer of a comprehensive performance analysis tool named Span, in which processes of spectral and spectrographic analysis are integrated and combined with methods such as tapping in a user-friendly framework designed for musicians. A widely experienced examiner to PhD level, Peter is in the peer review college for the AHRC and reviews regularly for several journals.

............................................................................................................................................ HEAD OF RESEARCH Peter Johnson MA MusB (CantabDPhil (Oxon) FRCO

PROFESSOR OF MUSIC Ronald Woodley MusB (Manchester) DPhil (Oxford) GRNCM ARNCM

FULL-TIME SUPERVISORY STAFF Lamberto Coccioli (Diploma di Composizione, Conservatorio “G Verdi” Milan) Joe Cutler BA (Hons) PgDip (Chopin Academy, Warsaw) PhD Christopher Dingle PhD (Sheffield) MPhil BMus (Hons) Janet K Halfyard PhD (Birmingham) MA BSc (Hons) Simon Hall PhD MA BMus (Hons) LTCL Peter Johnson MA MusB (Cantab) DPhil (Oxon) FRCO Shirley Thompson PhD BMus (Hons) PGCE Prof Ronald Woodley MusB (Manchester) DPhil (Oxford) GRNCM ARNCM

PART-TIME RESEARCH SUPERVISORS Richard Causton ARCM (PG) MA BA (Hons) Robin Grant GMus RNCM (Hons) PgDip Mark Lockett MA PhD Edwin Roxburgh Gerald Seaman Howard Skempton Ross Winters BA (Oxon) ARCM LTCL Diploma Muzieklyceum (Amsterdam) Additional research supervisors Michael Finnissy Sarah Leonard

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Research at Birmingham Conservatoire includes work recognised at an international level in musicology, composition and performance. The Research Department has undergone unprecedented growth in recent years, by substantially enlarging its academic staff and by substantial investment from the University. Research has been supported by funding bodies such as the Arts and Humanities Research Council, the Leverhulme Trust, the British Academy, the National Endowment for Science, Technology and the Arts, and the Worshipful Company of Musicians. Our staff provide high-level supervisory support for students registered for MPhil and PhD research degrees, and their personal research also informs taught components of our undergraduate and postgraduate courses. As a research student, you will be encouraged to develop a project of personal interest that is also relevant to our mission. You will also be exposed to a wide range of musicological, critical and analytical perspectives by means of regular research seminars and study days, which provide opportunities for seminar presentation, as well as the discussion and critique of papers delivered by distinguished visiting speakers. Much of the research expertise of our staff concerns the practice of music in performance and composition, including the interrelationships between practice and its cultural, social and aesthetic contexts. Their work covers a wide range of study – from Western European music through jazz, popular music and film studies, to advanced technological applications in composition. Two of our instrumental department heads are also actively engaged in research projects: Prof Michael Harris (Head of Woodwind) has published on early clarinets and David Purser (Head of Brass) is an exponent of experimental improvisation and has published on brass pedagogy. Many of our parttime staff are active as professional composers and performers, and some have significant research profiles as practitioners. Some of our part-time staff are employed specifically as supervisors of research students.

Individual research specialisms of supervisory staff include: • Lamberto Coccioli: composition; composition and performance with live electronics; interactive systems for performance • Dr Joe Cutler: composition; interdisciplinary collaborative projects • Dr Christopher Dingle: Olivier Messiaen; French music from Berlioz to the present day; music criticism and aesthetics; performance practice issues arising from early recordings • Dr Janet Halfyard: film and television music; extended vocal technique; contemporary performance practice • Dr Simon Hall: composition; interaction of acoustic instruments with live electronics; electroacoustic composition for multi-channel fixed media • Professor Peter Johnson: the study of performance in the art-music tradition; music aesthetics, contemporary philosophy and critical theory; 20th century music, especially the Second Viennese School • Dr Shirley Thompson: French Baroque music, especially Marc-Antoine Charpentier; performance practice • Prof Ronald Woodley: late medieval and early Renaissance music and music theory, especially Johannes Tinctoris; notation and manuscript studies; minimalism and post-minimalism, especially the music of Steve Reich; performance studies (clarinet and piano); early recordings

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RESEARCH CENTRE FOR COMPOSITION AND PERFORMANCE WITH TECHNOLOGY Director: Lamberto Coccioli This Research Centre uniquely draws together composers, performers, engineers and technicians in the exploration of the potential for the real-time interaction of musical performance and computer-based systems. The Centre is supported by state-of-the-art resources, including our 150-seat Recital Hall, which is hard-wired for interactive performance, electro-acoustic and mixed media events, and the latest in wireless technology (two Kroonde systems). Our software includes Forum IRCAM’s three packages (computer-aided composition, sound design and real-time interaction), Max/MSP/Jitter and Matlab. We directly challenge some traditional assumptions about the respective roles of performers and composers, encouraging performers to experiment interactively with event-generating systems triggered by their own sounds and gestures, and challenging composers to empower performers to take a more interactive role that has previously been possible in electroacoustic music. High among the Centre’s aims are creative collaborations with performers, composers and other research centres. We enjoy close links with La Kitchen in Paris and AGON in Milan and with individual composers including Julian Anderson, Luca Francesconi and Jonathan Harvey, with whom we have an ongoing project to modernise the live electronics technology in his works. The Centre is a lead partner in Integra – Fusing music and technology, a 3-year, £1,9M international project supported by the Culture programme of the European Union. Now in its second phase (2008-2012) Integra brings together five new music ensembles and six research centres across Europe and Canada to create a new open source software environment for composing and performing music with live electronics. Through software development commissions of new works, migrations of older repertoire using obsolete technology, educational and outreach activities involving students, performers and composers, Integra aims to become the standard platform for the promotion and dissemination of music with live electronics. Please see www. integralive.org for more information on the project. We would also like to acknowledge the investment and involvement of NESTA, the National Endowment for Science, Technology and the Arts, in the Birmingham Conservatoire NESTA Music Technology Scheme. To support graduates from a variety of colleges around the UK in starting music businesses, this new scheme has created at the Conservatoire an incubator environment offering business advice, office space, affordable access to facilities and start-up funding. For more information on NESTA go to www.nesta.org.uk

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Academic Tutorial Staff For a full list of teaching staff or research supervisors, please refer to your department page.

HEAD OF RESEARCH

GRADDIP COURSE DIRECTOR

Peter Johnson MA MusB (Cantab) DPhil (Oxon) FRCO

Hans Koller MMus

PROFESSOR OF MUSIC

GRADDIP LECTURING STAFF

Ronald Woodley MusB (Manchester) DPhil (Oxford) GRNCM ARNCM

Tony Dudley-Evans HonFBC Mike Gibbs BMus Prof Dip HonFBC Hans Koller MMus Chris Marshall BA MMus Liam Noble BA (Oxon) Jeremy Price BA (Hons) ABSM LGSM HonBC Julian Siegel Mike Williams GDJCM (Leeds College)

DIRECTOR OF STUDIES (UNDERGRADUATE) Janet K Halfyard PhD (Birmingham) MA BSc (Hons)

BMUS (HONS) LECTURING STAFF Ed Bennett MMus BA (Hons) HND Lamberto Coccioli (Diploma di Composizione, Conservatorio “G Verdi” Milan) Christopher Dingle PhD (Sheffield) MPhil BMus (Hons) Duncan Fielden BMus MA Simon Hall PhD MA BMus (Hons) LTCL Fumiko Miyachi PhD Christopher Morley BMus AMus TCL Karen O’Connor BSc (Hons) Psychol GRNCM PPRNCM ARCM University Fellow for Teaching and Learning Prof David Saint BA BMus FRCO Robert Spearing BA (Hons) GRSM ARCM PGCert(RCM) Gareth Thomas PhD Michael Wolters PhD

BMUS (HONS) JAZZ COURSE DIRECTOR Jeremy Price BA (Hons) ABSM LGSM HonBC Lecturer in Jazz Hans Koller MMus

DIRECTOR OF STUDIES (POSTGRADUATE) Shirley Thompson PhD BMus (Hons) PGCE

PGDIP/MMUS LECTURING STAFF Christopher Dingle PhD (Sheffield) MPhil BMus (Hons) Janet K Halfyard PhD (Birmingham) MA BSc (Hons) Peter Johnson MA MusB (Cantab) DPhil (Oxon) FRCO Liam Noble BA (Oxon) Shirley Thompson PhD (Hull) BMus (Hons) PGCE Michael Wolters PhD

ADVANCED PGDIP COURSE DIRECTOR Michael Hill MA (Oxon)

HEAD OF PROFESSIONAL DEVELOPMENT Chris Marshall BA MMus

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Coaching

TUTORIAL STAFF

............................................................................................................................................ STRING DUO COACHES

VOCAL COACHES

STAFF ACCOMPANISTS

Jonathan French BMus (Hons) DPS (MusPerf) Robert Markham DMA (The Juilliard School) Jo Sealey ABSM GBSM HonBC

Stephen Barlow Robin Bowman Robert Markham DMA (The Julliard School) Simon Nicholls GRSM ARCM LRAM Jane Robinson Helen Yorke

Jonathan French BMus (Hons) DPS (MusPerf) Ben Kennedy BMus (Hons) Robert Markham DMA (The Juilliard School) Jo Sealey ABSM GBSM HonBC Julian Wilkins

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STRING DUO COACHING

ACCOMPANISTS

During your individual first study lessons, you will work on a range of issues critical to professional performance: the development of advanced instrumental technique, musicality, communication and interpretation. However, it is important that you get the chance to practise and reinforce these skills outside your lessons.

We have an excellent team of professional staff accompanists who are available to play for performance classes and exams. To prepare for masterclasses or performance classes, you will also be allocated rehearsal time with an accompanist and/or coach, free of charge.

If you are an undergraduate string student, you will receive 10 half-hour coaching sessions per year as part of your first study allocation. These sessions will enable you to concentrate on your overall development as a performer, including how you communicate with your audience, as well as how to form an effective partnership with your accompanist.

If you are involved in a chamber or early music ensemble, you will be able to work with a specialist coach in your area. Jazz students working in small groups also receive intensive coaching from experienced jazz musicians.

VOCAL COACHING If you are a singer, the opportunity to rehearse and â&#x20AC;&#x2DC;sing inâ&#x20AC;&#x2122; repertoire under the guidance of an experienced vocal coach will be integral to your study; for this reason, coaching is integrated into your first study allocation. Your 40 hours of individual tuition will include 14 halfhour coaching sessions, where you will work primarily on non-technical issues: presentation, communication with your audience and overall musicality. Normally you will work with a song/language coach during the first stages of your study, progressing, if appropriate, to an experienced operatic coach who might also provide additional input on technical issues. Over and above this basic allocation, you will receive additional coaching as negotiated. Among others, you will work extensively with our main vocal study accompanist, Jonathan French, who plays for most song classes and student exams. Our student accompanists occasionally play for song classes as well, providing you with the opportunity to work collaboratively and, in some cases, form lasting working partnerships with your colleagues.

ENSEMBLE COACHING

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Chamber music

TUTORIAL STAFF

............................................................................................................................................ HEAD OF PROGRAMME

COACHES

EARLY CHAMBER MUSIC

John Todd AGSM Dip Kons Luz

David Angel ARAM, Recital Diploma (RAM), (Maggini Quartet) Mark Bebbington Prof George Caird MA (Cantab) FRAM ARCM FRSA HonFLCM David Childs Margaret Cookhorn GMus RNCM (Hons) Anna Cooper Peter Dyson Judith Hall BA (Melb) Prof Michael Harris ARCM FRCM Nicholas Hawke William Howard BA (Oxon) ARCO (Schubert Ensemble) John Humphreys ARAM ARCM Robin Ireland BA Mus, Hon.D.Mus Robert Markham DMA (The Juilliard School) Margaret Newman BA (Mus) LRAM (Perf) FTCL David le Page David Purser ARCM David Quigley Johnathan Rimmer Jane Salmon MA Cantab, ARCM Hons, (Schubert Ensemble) Christopher Steward LTCL Richard Weigall ARCM Prof Malcolm Wilson GBSM ARCM

Gail Hennessy BMus (Hons) Annabel Knight Andrew King Martin Perkins MA Jeffrey Skidmore BA (Oxon) (Ex Cathedra) Andy Stone-Fewings Ross Winters

CHAMBER ENSEMBLE IN RESIDENTS Schubert Ensemble of London

JUNIOR FELLOWS Boult Quartet

For instrumental teaching staff, please see department pages.

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We regard Chamber Music as a vital part of all our instrumental and orchestral training. At the start of the academic year you and your fellow students will be encouraged to form your own chamber ensembles. Each ensemble is allocated coaching from a member of staff with particular experience in the relevant area, and advanced groups regularly take part in masterclasses with visiting professional ensembles. Early Music ensembles also receive specialist coaching from members of the Orchestra of the Age of Enlightenment and Fretwork. Each spring our week-long Chamber Music Festival offers intensive coaching and performance opportunities, including open masterclasses with featured artists such as the Allegri String Quartet (2004), the Maggini String Quartet (2005), the Alberni String Quartet (2006), the Coull Quartet (2008) and the Chilingirian Quartet (2007 and 2009). The Festival normally features the works of one or more composers, with recent events focused on Brahms (2004), British composers (2005), Mozart and Shostakovich (2006), Stravinsky and Elgar (2007), and Haydn and Mendelssohn (2009). More recently, the Festival has begun to include additional events such as lectures and films. Our series of formal and informal concerts provide many other performance opportunities, as does our experienced External Engagements team.

The Conservatoire enjoys an excellent relationship with the Birmingham Chamber Music Society (BCMS) whose annual concert series attracts professional chamber ensembles from around the world to Birmingham. The BCMS Series is hosted by our own Adrian Boult Hall, giving our students fantastic opportunities to enjoy the highest quality of chamber music performances. Additionally, our advanced students regularly participate in masterclasses with BCMSâ&#x20AC;&#x2122;s visiting ensembles and accomplished ensembles have had the opportunity to perform in the series itself. Supported by Druckers, the BCMS provides a Derek Young Memorial Award to the winners of the Conservatoireâ&#x20AC;&#x2122;s annual Sylvia Cleaver Chamber Music Prize. EARLY CHAMBER MUSIC Early Chamber Music is offered as part of our comprehensive Early Music programme (see page 110) and provides further opportunities for public performance once or twice each term. Coached by Early Chamber Music specialists, students perform on period instruments music from the Renaissance, Baroque and Classical periods. Recent programmes have included Gabrieli canzone, Vivaldi violin concertos and Mozart piano trios.

110

Early music

TUTORIAL STAFF

............................................................................................................................................ ARTISTIC DIRECTOR OF EARLY MUSIC AND CAPELLE BAROQUE ORCHESTRA Jeffrey Skidmore BA (Oxon) HonFBC (Ex Cathedra)

PROGRAMME CO-ORDINATOR Martin Perkins MA MPhil HonBC

BAROQUE VIOLIN CONSULTANT

Margaret Faultless

BAROQUE VIOLIN AND VIOLA Kate Fawcett BA HonBC Jane Rogers GRSM ARAM LRAM Diane Terry

BAROQUE CELLO AND VIOLA DA GAMBA Imogen Seth Smith BA (Hons) ARCM

VIOLONE/BAROQUE BASS Kate Aldridge Peter Buckoke HonARCM ATCL STAT

RECORDER Grace Barton BMus (Hons) DPS Annabel Knight GRSM (Hons) MMus DipRCM (Teach) Christopher Orton BMus (Hons) AdvPgDip Ross Winters BA (Oxon) ARCM LTCL Diploma Muzieklyceum (Amsterdam)

SACKBUT AND CLASSICAL TROMBONE Susan Addison ARCM (Hons) HonAssocRAM

BAROQUE VOCAL CLASSES Andrew King BA ARCM

EARLY KEYBOARD CONSULTANT

BAROQUE AND CLASSICAL FLUTE

Gary Cooper

Neil McLaren ARCM FTCL

BAROQUE AND CLASSICAL OBOE

Douglas Hollick BA (Hons) ARCM Martin Perkins MA MPhil HonBC

Gail Hennessy BMus (Hons)

FORTE PIANO

CLASSICAL CLARINET Prof Michael Harris ARCM FRCM

Sharona Joshua David Ward ARCM LRAM

BAROQUE AND CLASSICAL BASSOON

LUTE, THEORBO AND EARLY GUITAR

Alastair Mitchell BA (Hons) (York) Cert Adv Studies (GSMD)

Elizabeth Pallett BA (Hons) HonBC

NATURAL TRUMPET

MEDIEVAL AND RENAISSANCE STUDIES

David Blackadder Michael Laird

HAND HORN Sue Dent

HARPSICHORD AND CONTINUO

To be appointed

VIOLA DA GAMBA Peter Wendland

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EARLY MUSIC

CAPELLE BAROQUE ORCHESTRA

It is increasingly essential for all musicians to be aware of the issues surrounding historically informed performance as these are embraced by the classical music world at large. Since the early 1990s we have maintained a strong commitment to performance practice and Early Music through an innovative programme of cross-departmental activities. All of our students have the opportunity to study a period instrument or to have stylistic awareness lessons with specialist visiting tutors, and advanced performers can audition for Birmingham’s renowned Ex Cathedra Choir and Orchestra.

Our full period instrument Baroque orchestra performs on average once a term, exploring a rich variety of music, from large-scale works such as Charpentier’s Actéon and JS Bach’s Christmas Oratorio to smaller repertoire including Handel and Corelli concerti grossi, Purcell theatre music and Bach cantatas. Every two years Capelle joins forces with the Vocal & Operatic Department to produce one or two fully staged Baroque operas. Recent productions have included Purcell’s Dido and Aeneas and Fairy Queen and Cavalli’s La Calisto.

Two recently established Corton-Hyde Early Music Scholarships support talented students wishing to further their studies in Early Music at Undergraduate or Postgraduate level. Awards are available for continuo students (keyboards, bowed and plucked strings) and for instrumental/vocal students.

Run by Gail Hennessey, our oboe band is one of the only ‘all-student’ ensembles in the country. Repertoire stretches from the Baroque era to the 20th century and the band performs frequently within the Conservatoire and at external engagements. Members have the opportunity to perform on the different period instruments including oboe da caccia, tenor oboe, Baroque oboe and bassoon and Jingling Jonnys.

WORKSHOPS AND MASTERCLASSES Regular workshops and rehearsals are taken by leading specialists in the field of period performance. Recent visits by Anneke Boeke, Nicholas McGegan, Trevor Pinnock, Dan Laurin and other leading musicians have enabled students to experience first-hand issues currently being explored by professional orchestras on both modern and period instruments.

BAROQUE OBOE BAND

EARLY MUSIC STUDIES Offered as a weekly elective to all students, Early Music Studies explores a wide range of music and performancepractice issues from Mediaeval to Classical periods, in practical and theoretical classes. Recent topics have included Baroque Dance, keyboard temperament, Rhetoric, Renaissance ornamentation. Visiting specialists have included Rebecca Austen-Brown, Andrew Parrott, Jeremy West and Oliver Webber.

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Ensembles

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Choirs

TUTORIAL STAFF

............................................................................................................................................ CHAMBER CHOIR CONDUCTORS Jeffrey Skidmore BA (Oxon) (Ex Cathedra) HonFBC Paul Spicer BMus (Lond) ARCM ARCO FRSA HonFBC

CONSERVATOIRE CHORUS CONDUCTOR Chi Hoe Mak MMus AdvPgDip

GOSPEL CHOIR Peter Daley MA

Our large chorus and two chamber choirs provide a range of performance opportunities for students who wish to be involved in ensemble singing.

CONSERVATOIRE CHORUS The Conservatoire Chorus performs a variety of large-scale choral works and gives opportunities to advanced students to participate as soloists. Recent repertoire has included Mozart’s Vesperae Solenne di Confessore, Rachmaninov’s The Bells, Britten’s War Requiem and Stravinsky’s Symphony of Psalms. The Chorus is open to all students and is compulsory for first year students.

CHAMBER CHOIR Under the direction of Paul Spicer (Finzi Singers) and Jeffrey Skidmore (Ex Cathedra), Chamber Choir is a small specialist ensemble, selected by audition. The Choir presents concerts of repertoire from the Renaissance to the present day, both at the Conservatoire and further afield, including occasional trips abroad. The Choir recently issued its first CD, of 20th-century English choral repertoire, conducted by Paul Spicer.

CAMERATA Open to students who want to gain further experience in small ensemble singing, Camerata is primarily directed by our postgraduate Choral Conducting students. The Choir rehearses varied repertoire and performs, on average, twice a year.

GOSPEL CHOIR Directed by Peter Daley, this dynamic and eclectic choir performs traditional and newly composed gospel music and has been featured on BBC Radio 3.

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Orchestras and large ensembles

TUTORIAL STAFF Conductor in Residence Lionel Friend studied with Sir Adrian Boult, Hans Schmidt-Isserstedt and Sir Colin Davis, and later at the London Opera Centre. He has worked for Welsh National Opera and Glyndebourne Festival Opera as conductor, chorus master and assistant to John Pritchard and Bernard Haitink; and has held positions in Germany and with English National Opera, conducting a wide range of composers, from Mozart to Berg. His symphonic repertoire is equally broad and he has conducted concerts with the Philharmonia, Royal Philharmonic, City of Birmingham Symphony and Royal Liverpool Philharmonic, the Orchestre National de France, Hungarian National Philharmonic, Swedish Radio Symphony, and Austrian Radio Symphony. His many performances of 20th century works include over 100 premiĂ¨res and his CDs include music by Stravinsky, Schoenberg, Debussy, Poulenc and Britten.

............................................................................................................................................ HEAD OF PROGRAMME

WIND ENSEMBLE

GUITAR ORCHESTRA

David Purser ARCM

Prof Michael Harris ARCM FRCM

CONDUCTOR IN RESIDENCE

BRASS BAND CONSULTANT CONDUCTORS

Mark Eden ARAM GRSM (Hons) LRAM ProfCert (Hons)

Lionel Friend LRAM ARCM

RECENT GUEST CONDUCTORS Nicholas Cleobury Scott Ellaway Daniele Rosina Edwin Roxburgh

SYMPHONIC WIND ORCHESTRA Guy Woolfenden OBE

Nick Childs James Watson

BRASS BAND Ian Porthouse GBSM

BRASS ENSEMBLE David Purser ARCM

CONSERVATOIRE FOLK ENSEMBLE Joe Broughton BMus HonBC To help you develop a working knowledge of the style and background of music from many periods, our range of orchestras and ensembles covers all of the major musical formats of the last five centuries and each year welcomes a number of eminent and inspiring guest conductors.

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SYMPHONY ORCHESTRA

BRASS BAND

This advanced orchestra covers a wide range of symphonic repertoire, giving regular concerts in the Adrian Boult Hall, and periodic concerts in Birmingham’s magnificent Symphony Hall or Town Hall. Concerts have taken the Orchestra to other venues in the UK and abroad, notably to Lyon (France) for a joint project with the conservatoires of Lyon and Frankfurt.

The Brass Band explores traditional repertoire as well as preparing contemporary test pieces and other demanding repertoire with its two consultant conductors. Students often have the chance to appear as soloists, and the band often adds outside appearances to its regular Conservatoire concert schedule.

REPERTOIRE ORCHESTRA

The Brass Ensemble rehearses and performs a variety of large-scale works through the year. The Ensemble also plays for all of the University’s Graduation Ceremonies, which gives members an unrivalled opportunity to appear in the magnificent surroundings of Symphony Hall.

This ensemble provides orchestral repertoire and training experience for instrumentalists, including first- and second-year undergraduate students. Public concerts or workshops are given every term.

THALLEIN ENSEMBLE Created in 1992 the Thallein Ensemble is devoted to the performance of new music and 20th century repertoire. Its flexible performing resources (1 to 20 players, plus electronics) enable the ensemble to tackle a vast and exciting range of works. UK première performances include works by Ivan Fedele, Philippe Leroux and Fausto Romitelli. In recent years, the Ensemble has celebrated the works of featured composers such as Jonathan Harvey, Gerald Barry, Colin Matthews and Pierre Boulez, often as part of our Frontiers Concert Series.

SYMPHONIC WIND ORCHESTRA As well as exploring the traditional wind-band repertoire, this ensemble has given an impressive number of first performances under the direction of conductor Guy Woolfenden. In addition to regular concerts in the Adrian Boult Hall, the Orchestra has performed at several international wind festivals in England and abroad.

WIND ENSEMBLE Exploring the larger forms of wind chamber music, this ensemble emphasises the importance of chamber music in the overall training of woodwind students. Projects include a CD recording of Dvorák and Strauss serenades and a CD of Mozart’s Gran’ Partita K361, together with the six Notturni for voices and bassett horns.

BRASS ENSEMBLE

GUITAR ORCHESTRA We have a healthy Guitar Orchestra, which takes on demanding works throughout the year by composers such as Roland Dyens and Leo Brouwer. Performances include the annual intercollegiate concert series as part of the Bolívar Hall (London) International Guitar Festival, as well as regular concerts in the Conservatoire’s venues and outside the college.

CONSERVATOIRE FOLK ENSEMBLE Although run on an elective basis, the Conservatoire Folk Ensemble has become an enviable addition to our range of performing ensembles. Currently 65 members strong, the Ensemble performs a mixture of original folk-based music and traditional tunes specially arranged for the group under the direction of Joe Broughton. The Ensemble undertakes a short UK tour every spring, occasionally working with guest artists. Recent appearances include The Lichfield Festival.

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Jazz

TUTORIAL STAFF

............................................................................................................................................ JAZZ BIG BAND Jeremy Price BA (Hons) ABSM LGSM HonBC

RECENT JAZZ ORCHESTRA GUEST CONDUCTORS Mike Gibbs Pete Hurt

JAZZ BIG BAND Specialising in traditional big band arrangements and the classic repertoire of Count Basie, Duke Ellington and Thad Jones, the Conservatoire Big Band provides initial training in large jazz ensemble playing. The Band, which typically includes up to 20 players, rehearses once a week and performs once per term. Recent projects have included a performance of Duke Ellingtonâ&#x20AC;&#x2122;s Far East Suite and a concert with Elaine Delmar.

JAZZ ORCHESTRA Comprised mostly of senior jazz students, our Jazz Orchestra tackles challenging music from the contemporary repertoire, featuring composers such as John Warren, Stan Sulzmann and Maria Schneider, and works with well known guest conductors. The size of the ensemble is flexible according to the demands of the repertoire and performances are given about once a term. In recent years, the Orchestra has appeared with Henry Lowther, Pete Hurt, Mike Gibbs and performed Dave Hollandâ&#x20AC;&#x2122;s compositions in concert in the presence of the composer.

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Professional development

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PROFESSIONAL DEVELOPMENT

PERFORMANCE OPPORTUNITIES

Your development as an individual musician is of vital importance. So, in addition to providing you with the best combination of one-to-one training, masterclasses and coaching, the professional development aspects embedded into each one of our courses are designed to offer you both personalised advice and significant scope to discover and develop your own artistic direction.

If you are an instrumentalist or singer, performance will be integral to your course. In addition to solo performance, you will be expected to participate in a range of ensemble activities appropriate to your first study area. Your Head of Department will work with you to negotiate a suitable balance of activity, including participation in orchestras, bands, choirs, chamber music, etc.

Embedded into all core modules, Personal Development Planning (PDP) (see page 56) focuses on increasing your self-awareness as a musician. Not only will you cover topics relevant to all musicians, ranging from practical advice on tax to CV writing, but you will also explore issues specific to your own development, such as time management and your personal learning style. Professional development, however, encompasses a lot more than PDP. For instance, you will be offered the chance to perform and record at the highest level, using our professional-quality venues and studios (see pages 41 and 42). Furthermore, whatever your course and specialism, you’ll be able to tailor your study to suit your own musical and professional aspirations. You will have access to a wide range of musicianship electives to supplement your core study, as well as the opportunity to take advantage of study abroad and to pursue paid professional work through our external engagements programme. A variety of professional schemes is available to help you in the final stages of your transition from student to professional. Having the ability to follow your interests and nurture your talents will not only help you to develop your individual musical profile, but also ensure that your course remains interesting, relevant and enjoyable.

Our performance programme includes several orchestras and large ensembles, ranging from our Symphony Orchestra to our Thallein Ensemble for contemporary music; chamber music; early music, performance opportunities in large and chamber ensembles; and a well-developed world music programme (see pages 1-8 for further details). Both undergraduate and postgraduate vocalists are given the opportunity to participate in our active and inclusive opera and stage performance programme (see page 88). Composers can take advantage of our dedicated Composers’ Ensemble when organising performances of new compositions. A number of ongoing and special concert series and festivals provide further opportunities to showcase particular areas of work (see page 124). In addition, there have been many special large-scale events in recent years, including: • Three Cities Orchestra – an orchestral project bringing together students from Birmingham, Lyon and Frankfurt under the baton of Prof Rolf Reuter for concerts in Lyon and Birmingham • Duke Ellington’s Far East Suite – performed by our Jazz Orchestra and acclaimed jazz pianist Liam Noble • Red Revolution – a Symphony Orchestra concert including Beethoven and Berlioz conducted by Lionel Friend in Symphony Hall • Messiaen Centenary concert in Town Hall including highly acclaimed performances of Oiseaux exotiques and L’ascension.

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The Conservatoire is fantastic as it pushes you to succeed but, at the same time, is friendly and relaxed. This balanced environment generates a wonderfully creative atmosphere to study in and ensures you get the most out of each day, both musically and personally. ALISON BACH (Alumna) BMus (Hons), French horn Studied with: Elspeth Dutch and Simon de Souza

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CONCERT SERIES

FESTIVALS

We present over 400 events per year, including concerts, special events, open masterclasses and more. Although many of our concerts are individually organised events, there are also several series threading their way through the year, which give structure to our concert programme.

Whether focused on a particular theme or not, festivals can uniquely provide much-needed chances to step back from the day-to-day rush of student life in order to focus solely on performance.

Monday Showcase

Our annual week-long festival of chamber music normally takes place in the spring and includes staff and student performances, plus a celebrity recital and masterclass from a different visiting ensemble each year. More recently, the festival has included complementary films and lectures. See also page 108 for details of recent Chamber Music weeks.

With its in appreciative audience of regular attendees, this series of free lunchtime concerts provides an excellent opportunity to give first performances of challenging repertoire.

Tuesday Performance Platform Dedicated to our rising stars, this series acts as a platform for our most accomplished performers and is usually devoted to students on the Advanced Postgraduate Diploma course.

Friday Orchestral Series A series of large ensemble concerts, including performances from our Symphony Orchestra, Repertoire Orchestra, Brass Band and Wind Orchestra, Thallein Ensemble and Capelle Baroque Orchestra

Frontiers Contemporary Music Series Featuring guest performers and composers, as well as student performers and composers, this series explores contemporary music, acoustic and electroacoustic. Certain concerts are normally held in collaboration with spnm and the BMIC’s Cutting Edge tours. More recently, Frontiers has enjoyed its own mini-festival, Frontiers Plus, which has celebrated the works of resident composers such as Gerald Barry and Colin Matthews.

Chamber Music Week

New Generation Arts Festival (NGA) NGA is one of the University’s most ambitious undertakings of recent years. Reaching across all the University’s arts faculties and including participation from other Birmingham-based arts training organisations and artists, NGA celebrates graduating and alumni artists in music, creative writing, fine arts, design, moving image, dance and drama. Normally held at the end of June and designed to showcase Birmingham’s talent to a national audience, NGA provides an exciting promotional opportunity for our senior students and graduates. www.newgenerationarts.co.uk

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JIYOUNG LEE (Alumna) BMus (Hons), harp Studied with: Catherine White Catherine is an amazing teacher. She has the ability to be very musical and technical at the same time. She’s like a mother to us. Initially I was worried that, with so few harpists, the Conservatoire might not feel competitive enough. But because the Department is small, we get so many opportunities to play – with different ensembles, orchestras, in projects; different genres, pieces – and we can have really close one-to-one relationships with our teacher, lots of individual attention. Plus, there’s so much free time to practise.

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Recording

.......................................................................................................................................... Most musicians will find themselves taking part in a recording at some point in their career, so we think it is essential for you to have the opportunity to gain an understanding of the recording process during your student years. Our Music Technology Department provides core support for all students (score-writing skills, recordings of concerts, demos and special projects), as well as a number of electives. Classes in Recording Techniques and Performing with Technology are open to all students, while those with previous experience can also access advanced classes covering topics like sound design, interactive installations and computer-aided composition. In particular, there is a studio module for jazz students, which provides tuition in basic digital recording techniques and production. Although it is not compulsory, almost all of our students gain some experience of recording – through studio or on site sessions, producing, engineering or editing – by the time they graduate. Nearly one in three create a CD of their own as a major project, using our state-of-theart facilities (see page 42). A unique aspect of studying at the Conservatoire is that you will be able to collaborate on recordings and productions with the highly skilled students on our BSc (Hons) Music Technology course, taught jointly with the University’s faculty of Technology, Engineering and the Environment.

Aside from a considerable number of excellent student projects, recent Conservatoire recording projects include:

WIND ENSEMBLE • CD of Dvorák and Strauss serenades recorded in aid of the charity Music for Harry • CD of Mozart’s Gran’ Partita K361, together with the six Notturni for voices and bassett horns

CHAMBER CHOIR • Conducted by Paul Spicer, the Choir’s first CD focuses on 20th century English choral repertoire

JUCE • Our own jazz label, JUCE has released two CDs of music composed and performed by our Jazz Department staff.

FOLK ENSEMBLE • DVD, based on the Ensemble’s 2006 UK tour, featuring performances of traditional tunes, new arrangements and original compositions. The film (by Jonathan Day) includes singing, dancing and a good smattering of merriment.

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Musicianship electives

TUTORIAL STAFF Jeremy Price is a trombonist on the current jazz scene and has worked with Stan Sulzmann, Mike Gibbs, Randy Brecker and David Murray. He has authored jazz education material published by International Music Press and the Associated Board of the Royal Schools of Music. He is a member of the London Jazz Orchestra and has played for London Sinfonietta as well as for numerous commercial sessions.

............................................................................................................................................ AFRICAN DRUMMING Jahman Sillah African Master Drummer

ALEXANDER TECHNIQUE

Alison Loram ARCM PAAT BSc (Hons) PhD Roy Thompson Pauline Wetherell LRAM STAT

FOLK MUSIC

PERFORMANCE COACHING

Joe Broughton BMus HonBC

Karen O’Connor BSc (Hons) Psychol GRNCM PPRNCM ARCM University Fellow in Teaching and Learning

GAMELAN ENSEMBLE Jonathan Roberts

GOSPEL CHOIR Peter Daley MA

INSTRUMENTAL CONDUCTING Daniele Rosina

KODÁLY MUSICIANSHIP Miranda Zwalf

PHYSIO AND MOVEMENT Trudi Brass BSc (Hons) DC MMCA

RAGA SANGEET (SECOND STUDY AREA) Sitar Clem Alford Sangeet Sudhakar (Calcutta) Sur Mani (Bombay)

SAMBA AND BRAZILIAN RHYTHM Louise Smart

KLEZMER

Sue Shortland-Webb

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MUSICIANSHIP ELECTIVES Renowned for its diversity, our musicianship electives programme gives you the freedom to customise your course according to your own needs. Through them, you’ll have the chance to try out the widest possible variety of activities which might influence your career and to pursue at the highest level those which resonate with your core values as a musician. Elective modules cover everything outside your core study and fall roughly into three categories: • Those that offer essential support in progressing your first study work • Those that apply directly to your specialist area and give you the chance to enhance your employability and skills • Those that contribute to broadening your musical knowledge and your enjoyment of music Often, activities which are part of the core curriculum in one first study area will be available as electives to students in other first study areas (though, in some cases, participation is subject to audition). Your first study will determine which activities you are required to undertake, and your personal goals will suggest which categories the rest of our electives fall into for you.

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KAREN O’CONNOR Performance Coach and University Fellow for Teaching and Learning Karen’s groundbreaking work at the Conservatoire has been turning heads all over the country. She has been profiled in national publications, invited to do numerous workshops and was recently appointed a University Fellow to continue her innovative work in performance coaching. Recently, Karen asked her students to sum up mental skills training for performance in one phrase, for those who don’t know what it is. Here are some of the responses: “The smallest mental changes can make the biggest performance differences.” “It can make you think about yourself in a new light and be more aware of the potential you can reach.” “Learn how to prevent anxiety from hiding your performance talent.” “There are solutions available.” “Do it even if you don’t think you have any big problems – it can really, really help.” “I found it so helpful to air my views and realise that others face the same worries.” “Learn how to get the best out of yourself in order to produce a successful performance.” “Even if you don’t suffer from performance nerves, you can learn how to expect the unexpected and develop strategies to deal with it.” “Everyone can benefit from it.” “Essential!”

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Suporting your development

............................................................................................................................................ ALEXANDER TECHNIQUE We are committed to supporting your progress in your first study through the Alexander Technique. It offers a practical means for change by bringing about an improvement in balance and co-ordination. Through a series of classes and individual lessons, you’ll be provided with an introduction to the Technique and an insight into its application in performance. Our sessions demonstrate how the Technique can improve vocal and instrumental skills and address the problems of performance.

PHYSIO & MOVEMENT To support your general health as a musician, we also offer Physio & Movement, an active, practical class that covers all aspects of movement and mobility. Relevant to players, singers and even composers, the class provides training in how to use the whole body more efficiently. The content of the weekly sessions varies according to students’ needs; some come with a specific problem, while others attend as a preventative measure. As well as providing a basic introduction to anatomy for musicians, classes typically combine stretching, breathing techniques, Feldenkrais and practical massage techniques for problem areas such as the wrists and the neck. The class will encourage and help you to focus on how you move your body and occasionally incorporates work with instruments. Trained in chiropractic and Alexander techniques, tutor Trudi Brass began delivering Physio & Movement masterclasses at the Conservatoire over 10 years ago. The success of these masterclasses led to a scheduled session, which is now available to all students on a regular, occasional, drop-in or private basis.

PERFORMANCE COACHING Sport psychology and the mental regimes it embraces have long been recognised as playing a crucial role in strengthening the performances of elite athletes when under pressure. Our innovative programme of coaching in performance skills applies these same trusted

methodologies and strategies to the particular demands of music preparation and performance. Through workshops and individually tailored coaching sessions, you will be introduced to a range of mental techniques which can be used to enhance your musical skills. The programme relies on a collaborative approach between you – the performer, your first study teacher and our Performance Coach, CBSO oboist Karen O’Connor, herself an active professional performer: “Students are normally allocated up to five one-hour sessions with me, sufficient time for me to introduce them to ways of managing the mental element of the performing equation. My immediate task is to find out what the student has been experiencing during lessons, concerts, exams, auditions, competitions, etc. Performance issues presented range from mild performance anxiety, to full-blown ‘I ran off the stage’ panic episodes. Techniques we work with include setting realistic performance goals, mental rehearsal, pre- and during performance routines, breathing and relaxation, improving concentration and motivation, coping with injury, dealing with distractions, performance simulation, objective post performance evaluation... to name a few. My working style is totally collaborative and between-session homework tasks are a key component of the process. These tasks give students the opportunity to ‘plug in’ their burgeoning skills to their daily performing life, outside the consulting room. It’s wonderful to observe confidence and performance enjoyment returning, as an initially troubled young performer begins to bloom, and also to see the ways in which their increasing performance confidence impacts positively on the rest of their lives. My aim is that students leave confident, happy and well on the way to a successful professional career, with all the skills needed to make me redundant – my ideal scenario!” In 2007, Karen was appointed a University Fellow in Teaching in Learning to continue developing this area of innovative work.

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ENHANCING YOUR CORE SKILLS COMPOSITION SKILLS AND MUSIC TECHNOLOGY • Brass Band scoring and arranging • Composers’ Ensemble This ensemble brings together student composers with instrumentalists and singers who wish to rehearse and perform newly composed music on a regular basis. It gives performance students a realistic insight into what it is like to work with a composer and vice versa. We offer a wide range of activities in sound recording, video soundtrack work, and computer composition: • Max/MSP • Performing with Technology • Introduction to DJ • Recording Techniques

CONDUCTING Led by Daniele Rosina, these introductory and followon classes allow you to develop your instrumental conducting skills. • Conducting: Beginners • Conducting: Intermediate/Advanced

EARLY MUSIC • Capelle Baroque Orchestra (see page 111) • Early Music (see page 111)

ENSEMBLE SINGING • Chamber Choirs and Camerata (see page 114) • Conservatoire Chorus (see page 114) • Gospel Choir (see page 114)

GENERAL SKILLS AND OTHER ELECTIVES Music in the Community • Music and Wellbeing in partnership with the pediatric unit at Heartlands Hospital • Nurturing creativity in Early Years in partnership with a local primary school/community centre Students from all courses are encouraged to investigate and develop links with a wide variety of community groups. Recent projects have taken place in local schools, hospitals and other community venues. Participating students gain experience in workshop and communication skills; and project planning, management and delivery, which serves as initial training for those who wish to undertake postgraduate work in Community Music (see page 59) and Music Therapy. • Chamber Music coaching • Journalism - Led by freelance music journalist Chris Morley. • Kodály Method • Second Study (see page 63) Our second study provision allows you to develop your skills on a related or complementary instrument through individual specialist lessons.

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Broadening your musical knowledge

............................................................................................................................................ African Drumming

Gamelan Ensemble

Alongside East African amadinda xylophone music, students can take Djembe instruction from Gambian Master-drummer Jahman Sillah.

One of the most co-operative musical systems in the world, gamelan is taught at the Conservatoire by Jonathan Roberts. The Conservatoire owns a very fine Central Javanese bronze gamelan with additional Balinese instruments.

Folk Music Run on an elective basis, the Conservatoire Folk Ensemble has become an enviable addition to our range of performing ensembles. Currently 65 members strong, the Ensemble performs a mixture of original folkbased music and traditional tunes specially arranged for the group under the direction of Joe Broughton. The Ensemble undertakes a short UK tour every spring, occasionally working with guest artists. Recent appearances include The Lichfield Festival.

Gospel Choir Directed by Peter Daley, this dynamic and eclectic choir performs traditional and newly composed gospel music and has been featured on BBC Radio 3.

Raga Sangeet Focusing on North Indian music, the Conservatoireâ&#x20AC;&#x2122;s excellent provision includes specialised instruction as a second study in tabla, sitar and voice, as well as in performing ragas on Western instruments. Staff include Clem Alford (sitar) and Sarwar Sabri (tabla).

Samba and Brazilian Rhythm ESP (Escola de Samba Paradiso), a percussion bateria led by Louise Smart, rehearses every week, and has played at carnivals and street festivals all over the West Midlands.

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Professional schemes

............................................................................................................................................ CBSO ORCHESTRAL TRAINING SCHEME The CBSO has firmly established its name on the world stage. In recent years, under the leadership of Sir Simon Rattle and now Sakari Oramo, the orchestra has maintained a growing relationship with the Conservatoire, which includes conductors and ensemble workshops, research and the CBSO Training Scheme. The Training Scheme provides the opportunity for selected students from the Strings, Woodwind, Brass and Percussion Departments to gain firsthand professional experience by observing and playing in CBSO rehearsals. Students on the Scheme also have the opportunity to perform in CBSO masterclasses and receive orchestral audition training and mentoring from orchestra principals. Auditions for the Scheme reflect professional orchestral audition procedures. www.cbso.co.uk

PHILHARMONIA ORCHESTRA PARTICIPATION SCHEME The celebrated Philharmonia Orchestra has been the resident orchestra at Leicesterâ&#x20AC;&#x2122;s De Montfort Hall since 1997. The success of this innovative regional residency has provided the ideal foundation for a partnership between the orchestra and the Conservatoire: the Philharmonia Orchestra Participation Scheme. Enabling exceptional fourth year and postgraduate students to participate as observers during the final rehearsals for some of the Orchestraâ&#x20AC;&#x2122;s Leicester concerts, the Scheme provides valuable first-hand exposure to the professional orchestra setting and challenging repertoire, as well as renowned conductors and players. The Conservatoire recommends students for the Scheme. www.philharmonia.co.uk

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BRB PIANISTS FOR DANCE SCHEME

SCHOLARSHIP

Birmingham Royal Ballet (BRB) is one of the jewels in the city’s cultural crown and the Pianists for Dance Scheme is part of BRB’s developing relationship with the Conservatoire. It allows piano students to attend BRB rehearsals and performances, and offers selected students the opportunity to train as rehearsal pianists with this internationally renowned company. Trainees undertake improvisation classes and challenging repertoire, working with the company and its Education Department. This successful scheme has already produced a number of professional ballet pianists: www.brb.org.uk

Acclaimed as one of the finest concert halls in the world, Birmingham’s Symphony Hall has maintained a long and varied partnership with the Conservatoire. Among its collaborations with the college is an organ scholarship funded by the Percy Whitlock Trust and established in celebration of the outstanding four-manual Klais organ inaugurated in Symphony Hall in 2001. The Scholar plays a significant role in Symphony Hall’s education programme, presenting the organ to school groups and members of the public, as well as giving recitals. www.thsh.co.uk

PROFESSIONAL DEVELOPMENT FOR ORGANISTS

Originally formed by players from within the CBSO, Birmingham Contemporary Music Group (BCMG) is now established as one of Europe’s leading ensembles. Its core work revolves around the commissioning and performance of new music and its partnership with our Composition Department represents a natural extension of that purpose. As well as running workshops for our composition students, BCMG players regularly undertake read-throughs of student works, giving young composers invaluable feedback and the benefit of experience within a professional context. Furthermore, our contemporary music group, the Thallein Ensemble (see page 93), receives ensemble coaching from BCMG’s visiting conductors and composers, as well as BCMG players. www.bcmg.org.uk

In addition to the Whitlock Organ scholarship (see below), organ students can take advantage of scholarships offered by; St Chad’s Cathedral; Birmingham Cathedral; Solihull; and other local churches (see page 183 for application information).

SYMPHONY HALL AND THE WHITLOCK ORGAN

BCMG WORKSHOPS AND READING SESSIONS

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BIRMINGHAM JAZZ COLLABORATIONS

NESTA

Birmingham Jazz is the region’s foremost jazz organisation and a strong supporter of our jazz programme and students. Each year Artistic Director Tony Dudley-Evans reviews third- and fourth-year students’ performances in order to provide them with feedback from a professional promoter’s perspective and advise on possible performance opportunities. This valuable link has in the past led to the inclusion of several outstanding senior students in major jazz festivals, such as the Cheltenham International Jazz Festival, as well as gigs in and around Birmingham such as Symphony Hall Foyer, the Jam House and the mac. Birmingham Jazz also works with the Conservatoire to arrange regular masterclasses with visiting professional artists, as well as free access to many Birmingham Jazz gigs for our jazz students. Selected students are also invited to sit on Birmingham Jazz’s committee, where they experience programming and management decisions first-hand. www.birminghamjazz.co.uk

Thanks to investment and involvement from NESTA, the National Endowment for Science, Technology and the Arts, the Birmingham Conservatoire NESTA Music Technology Scheme supports graduates from a variety of colleges around the UK in starting music businesses. This new scheme has created at the Conservatoire an incubator environment offering business advice, office space, affordable access to facilities and start-up funding. For more information on NESTA go to: www.nesta.org.uk

NTI We have teamed up with Birmingham’s Apple Accredited Training Centre to offer students a reduction on all their certified pro application media courses, available at the New Technology Institute in Birmingham. To find out more, visit: www.ntibirmingham.co.uk

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EXTERNAL ENGAGEMENTS Our External Engagements programme offers advanced students the chance to undertake paid professional engagements throughout the Midlands area. With advice available on programming, presentation, contracts and fees, these opportunities can constitute a vital part of your professional training. For Music Technology students, there is ample scope to be involved in recording live concert performances at the Conservatoire, and those wishing to learn about and be involved in concert management can join the team of Concert Stewards who work to ensure the smooth running of internal and external events.

INTERNATIONAL EXCHANGE Although there will be plenty to keep you busy here in the UK, we know study abroad brings enormous benefits to those who undertake it in terms of both musical and personal development. Therefore, we encourage our thirdyear undergraduate students to apply for a three-month exchange with our SOCRATES/ERASMUS and other partner institutions. These include prestigious and internationally renowned music colleges in Paris, Ferrara, Lyon, Brussels, Weimar, Vienna, Bucharest, Krakow, Odense, Oslo, Malmö, Prague and the USA. Many of our students have gone on to successful further study at other international conservatoires and, in particular, the Weingarten Scholarships (see page 193) present further opportunities for postgraduate study at the Franz Liszt Academy in Budapest or the Kodály Institute at Kecskemét in Hungary. On a less formal basis, we encourage and support our senior students to travel to international competitions and summer schools. We are also a committed member of the Association Européenne des Conservatoires (AEC), which fosters and supports staff exchanges and intensive projects and collaborations between member European conservatoires, including the exciting Three Cities Orchestra. For this project, our orchestral students joined forces with students from Lyon and Frankfurt to present concerts in Lyon’s Auditorium and Birmingham’s Symphony Hall. The mix of home and overseas students, incoming exchange students and visiting international professionals resulting from all these international activities makes the Conservatoire a musically and culturally stimulating environment in which to learn.

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Conservatoire courses

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...................................................................................................................................................................... COURSE CONTENTS 142 146 150 152 154 156 160 166

BMus (HONOURS) BMus (HONS) JAZZ GradDIP JAZZ PgCert MUSIC PgCert MUSIC (SPECIALIST PERFORMANCE) PgDip/MMus MUSIC ADVANCED PgDip PROFESSIONAL PERFORMANCE RESEARCH: MPhil/PhD

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BMus (HONOURS) APPLICATIONS

: (CUKAS)Institution code B34 : Course code 300f

DURATION

: 4 YEARS FT / 5 YEARS WITH PGCE

COURSE OVERVIEW Throughout the course, great emphasis is placed upon developing strong practical skills. Intensive individual tuition is complemented by an array of activities designed to develop individual artistry and musical fluency. Academic studies are delivered from a predominantly practical viewpoint. Musicianship skills are taught through workshops which relate theory to practice and involve student performances. Other contextual studies contribute to the broad framework of musical understanding required by both performers and composers.

PRACTICAL WORK • Weekly individual specialist tuition • Masterclasses • Individual or ensemble coaching • Performance/composition workshops • Ensemble playing • Teaching techniques • Specialist activities in chosen area (please see departmental pages for details) • Option of two years additional second study tuition (see page 39) ACADEMIC WORK • Musicianship (Harmony, Aural, Improvisation, Composition) • Music History • Analysis • Performance Practice • Professional Development FEES See our website for up to date information on fees.

ENTRY REQUIREMENTS For insurance purposes, you must be at least 18 years of age by 1 September in the year of enrolment.Normally, you should satisfy one of the following: • GCSE passes in 5 subjects (grade C or above) and 2 passes at A2 Level (each grade E/40 points minimum) • Scottish Certificate of Education/Scottish Qualifications Authority Intermediate/Higher/Advanced Higher in 5 different subjects, of which 3 are at Higher level • Irish Leaving Certificate with 5 different subjects at grade C or above, 4 of which are Higher level • An International Baccalaureate with a minimum of 24 points • All other non-UK applicants should have completed a course of secondary education at a high school/college/conservatoire, including classes in music theory. You should normally possess a qualification which would be required for entry to a university in your home country. • A standard in First Study equivalent to that of the Associated Board’s Grade VIII (Distinction): this may be demonstrated at audition or on your audition recording. Candidates hoping to satisfy these requirements should note that successful performance at your audition is accepted as the equivalent of one A2 Level/ SQA Higher/Advanced Higher/ILC Higher in Music.

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AUDITION REQUIREMENTS • Instrumentalists (percussionists excepted) must perform two pieces (or movements) of different styles and periods of their own choice. Candidates may also be asked to play scales (ABSM Grade VIII standard) and sight-read. • Singers must perform two pieces (or movements) of different styles and periods of their own choice. At least one of the pieces must be an aria (with recitative, if available) from an opera or oratorio. Candidates may also be asked to sight-read. • Percussionists will be asked to play pieces on timpani, drum kit, snare drum and tuned percussion (xylophone, vibraphone or marimba). • Composers must send a portfolio of at least three compositions and a high-quality recording of at least one of these works. Official accompanists will be provided, but you may bring your own accompanist if you prefer. ENGLISH LANGUAGE REQUIREMENTS IELTS: 6.0/TOEFL: 550 See page 29 for further details FURTHER DETAILS Admissions Team T: +44 (0)121 331 5901 E: conservatoire.admissions@bcu.ac.uk

146

COURSE STRUCTURE BMus1

FIRST STUDY PERFORMANCE/ COMPOSITION

BMus2

BMus3

BMus4

Year 4 with PGCE

First study Performance/ composition

Final recital/ Portfolio

60 credits

45 credits

First study activities

15 credits

15 credits Professional Portfolio

Major Project (student defined)

Professional Portfolio

15 credits

45 credits

15 credits

Professional development

Professional Portfolio 15 credits

Contextual studies

Musicianship

Year 5 with PGCE

History (16001900)

20th century and contemporary music

Contextual studies specialisms

Contextual studies project

15 credits

Performance Practice and Notation

Case Studies

Performance Practice and Notation

15 credits

Musicianship (Harmony and aural)

Musicianship specialisms

15 credits

147

Y1&2 Years 1 and 2 concentrate on providing a thorough grounding in technical and performance skills, plus contextual knowledge, including an emphasis on harmony and aural training. Professional development, embedded into your core modules, focuses on increasing your self-awareness, covering areas such as time management and analysis of your individual learning style. You will be encouraged to experiment through a variety of performance options.

Y3 Year 3 offers the opportunity to begin specialising through the choice of advanced studies in each area, plus enhanced professional development activities. The Conservatoire participates in a number of international exchange schemes with both European and US conservatoires. Provided you have attained an appropriate level of skill, you will be encouraged to spend a term or semester abroad during Year 3, studying at one of our partner institutions.

Y4 In Year 4 you will be assessed on performance or composition (as appropriate), two projects and some professional development tasks. From early on in the course, you will work towards a major project, which forms an important component of the final year. Allowing for the fact that your ambitions may change during the course of your studies, the major project offers a flexible platform for you to explore a specialism and format appropriate to your professional aspirations. Examples of projects include chamber music, accompaniment, recorded performance and dissertation. If youâ&#x20AC;&#x2122;re interested in teaching, itâ&#x20AC;&#x2122;s now possible to split your fourth year of study to accommodate parttime study of a PGCE, achieving Qualified Teacher Status, as well as your BMus (Hons) by the end of the course.

The Guitar Department offers a stable and supportive learning environment, with great teaching and guidance. The academic subjects are relevant and comprehensive, and the learning support is second to none. MATTHEW PRIOR (Alumnus) BMus (Hons), guitar Studied with: Mark Ashford

148

BMus (HONS) JAZZ APPLICATIONS

: (CUKAS)Institution code B34 : Course code 310F

DURATION

: 4 YEARS FT / 5 YEARS WITH PGCE

149

COURSE OVERVIEW The BMus (Hons) Jazz is a highly specialised course specifically designed to meet the needs of the modern jazz performer. The course is heavily weighted toward practical work, with the majority of time dedicated to one-toone lessons, small group coaching and private practice. All academic classes support different aspects of jazz performance and include Jazz History, Transcription and Analysis, Contemporary Issues, and Composition.

COURSE OUTLINE The individual lesson is at the heart of a conservatoire education and your 40 hours per year of individual tuition will cover several different areas of musicianship. In the early years of the course your tutor will concentrate on helping you to establish a productive practice regime and build a foundation of fundamental technical skills, with an emphasis on improvisatory processes. As you mature, your tutor’s role will increasingly become one of mentor and guide, overseeing your artistic and conceptual development and providing the space for you to find a personal voice. Small group coaching follows a similar pattern: in Years 1 and 2 you will be assigned to a small group, typically of two to three frontline instruments plus rhythm section, which will receive intensive weekly coaching on core repertoire. In Years 3 and 4, you will run your own small group, in which you will have you own choice of repertoire and personnel, and be able to apply for mentoring and coaching as you see necessary for the band’s development. Senior small groups receive coaching from Visiting Artist in Residence Dave Holland and other international guests. For jazz musicians, the relationship between improvisation and composition is central to developing an individual voice and personal approach, so a significant strand of composition modules runs through all four

years of the course. All student compositions feed into performance, from being included in small group programming to being performed by our Jazz Composers‘ Ensemble.

PROFESSIONAL DEVELOPMENT One of the central aims of the course is to launch jazz performers into the music profession. You will have a chance to document your work as a jazz musician through a studio project in the third year. You will also design a major project in the fourth year around an area of professional practice of your choice. As further professional development, you will look at contemporary role models in jazz performance, undertaking in-depth case studies of their careers. There are also classes providing advice on how to manage a freelance portfolio career in music, covering topics such as personal finance and tax, publicity and events promotion, applications to funding bodies, and bidding for commissions.

150

ENTRY REQUIREMENTS For insurance purposes, you must be at least 18 years of age by 1 September in the year of enrolment. Normally, you should satisfy one of the following: • GCSE passes in 5 subjects (grade C or above) and 2 passes at A2 Level (each grade E/40 points minimum) • Scottish Certificate of Education/Scottish Qualifications Authority Intermediate/ Higher/ Advanced Higher in 5 different subjects, of which 3 are at Higher level • An Irish Leaving Certificate with 5 subjects at grade C or above, 4 of which are at Higher level. • An International Baccalaureate with a minimum of 24 points • All other non-UK applicants should have completed a course of secondary education at a high school/college/ conservatoire, including classes in music theory. You should normally possess a qualification which would be required for entry to a university in your home country. • A standard in First Study equivalent to that of the Associated Board’s Grade VIII (Distinction): this may be demonstrated at audition or on your audition recording.

Candidates hoping to satisfy these requirements should note that successful performance at your audition is accepted as the equivalent of one A2 Level/ SQA Higher/ Advanced Higher/ILC Higher in Music.

AUDITION REQUIREMENTS • You will be required to perform two contrasting pieces with a rhythm section (provided), one of which must be chosen from a list of standards, and one of their own choice. You will also be asked to perform a short transcribed solo (drummers and vocalists excepted) and sight-read. • Pianists, bassists and drummers audition by taking their place in the rhythm trio. • Drummers and vocalists will be asked to play through the chord changes of any of the listed standards at the piano. • Drummers must also take part in an interactive test, joining in with various grooves indicated by the piano and bass. • All candidates will be interviewed at audition. Full details of our audition requirements are available from the Admissions Team.

FURTHER DETAILS Admissions Team T: +44 (0)121 331 5901 E: conservatoire.admissions@bcu.ac.uk

FEES See our website for up to date information on fees.

ENGLISH LANGUAGE REQUIREMENTS IELTS: 6.0 / TOEFL: 550. See page 29 for further details

151

WITH PGCE YEAR 1

YEAR 2

YEAR 3

YEAR 4

YEAR 5

FIRST STUDY PERFORMANCE

• Individual lessons • Own small group • Performance platform • Materclasses

• Individual lessons • Group coaching • Repertoire class • Materclasses

VOCABULARY AND STUDIES

(Technical module)

JAZZ MUSICIANSHIP 1

JAZZ MUSICIANSHIP 2

JAZZ MUSICIANSHIP 3

RHYTHM WORKSHOP

STUDIO PROJECT

• Individual lessons • Own small group • Performance platform • Materclasses

FINAL PERFORMANCE

major project

A project, created around your choice of specialism, which can be one of four types:

• Studio project • Dissertation • Teaching • Student defined

final performance

• Studio project • Dissertation • Teaching • Student defined

TRANSCRIPTION PROJECT CIT SKILLS FOR MUSICIANS

COMPOSITION & ARRANGING • Big Band

COMPOSITION

• Basic Tenchniques

History • Jazz Panorama

• Transcription • Analysis • Seminar • Performance

• Extended techniques and concepts

History • Case studies • Seminar

composition & arranging portfolio

PROFESSIONAL DEVELOPMENT

JAZZ IN CONTEXT

CONTEMPORARY ISSUES IN JAZZ

• Entrepreneurs

152

GradDIP JAZZ APPLICATIONS

: (CUKAS)Institution code B34 : Course code 410F

DURATION

: 1 year Full-time

COURSE OVERVIEW This conversion course offers intensive training in practical jazz skills for graduates who have a strong interest in jazz but have not received specialist jazz musicianship training or one-to-one tuition in jazz performance. Alongside the development of solid generic musical and academic skills, you will typically have undertaken some academic modules in jazz as part of your previous study, and will have participated in ensemble activities as a jazz performer.

COURSE OUTLINE

FEES

The course aims to help you develop skills useable at a professional level through a combination of individual specialist tuition with a variety of tutors (40 hours in total), small group coaching, performance workshops, repertoire building and jazz musicianship. These practical activities are underpinned by a programme of academic work designed to develop contextual knowledge and skills. Modules include composition, analysis, contemporary issues and professional development. You will also be encouraged to take part in the broad programme of practical elective activities offered by the Conservatoire.

See our website for up to date information on fees.

ENTRY REQUIREMENTS You should possess a good Bachelor’s Degree or equivalent. While it is not necessary to demonstrate advanced skills in jazz, you must demonstrate at audition/ on your audition recording an appropriate level of musical fluency and technical proficiency in your chosen specialist area, as well as a basic grasp of jazz skills.

ENGLISH LANGUAGE REQUIREMENTS

Large performing ensembles include the Conservatoire’s Big Band and Jazz Orchestra, and there are frequent performance opportunities for small groups in the Conservatoire’s lunchtime and evening concert series. In addition to acting as a useful stand-alone course for developing your professional skills, the Graduate Diploma in Jazz offers ideal preparation if you are looking to study jazz at postgraduate level (see page 112). A variety of assessment methods are used, including essays, seminars and performances.

IELTS 6.0/TOEFL 550. See page 19 for further details

Please note that, although you normally need to be a graduate to apply for this course, the Graduate Diploma in Jazz is classed as an undergraduate course and does not qualify for support from postgraduate funding bodies, such as the Arts and Humanities Research Council (AHRC).

FURTHER DETAILS

AUDITION REQUIREMENTS • You should perform two contrasting pieces with a rhythm section (provided), as well as a short transcribed solo (unaccompanied). • Pianists, bassists and drummers audition by taking their place in the rhythm trio. • Guitarists may choose to audition with just bass and drums, or the full rhythm trio. Admissions Team: T: +44 (0)121 331 5901 E: conservatoire.admissions@bcu.ac.uk PHOTOGRAPH CREDITS

153

COURSE STRUCTURE

PROFESSIONAL DEVELOPMENT

CONTEMPORARY ISSUES IN JAZZ

COMPOSITION

PERFORMING ENSEMBLES

ANALYSIS, TRANSCRIPTION & PERFORMANCE

FIRST STUDY

JAZZ MUSICIANSHIP

PERFORMANCE PLATFORM Series of peer-assessed performances, including feedback from established promoters (Birmingham Jazz)

FINAL RECITAL

REPORTOIRE

154

PgCert MUSIC APPLICATIONS

: (CUKAS)Institution code B34 : Course code 500P

DURATION

: 1 year Part-time

155

COURSE OVERVIEW The Postgraduate Certificate in Music is a flexible part-time programme offering advanced study in performance or jazz performance (see also page 164). For recent music graduates, the course offers an extra year of focused study in performance with our dedicated team of specialist tutors. Equally, if you’ve been working in music for a few years, it presents an excellent chance to refresh and refocus your performance skills in the light of your career development plans.Specialist tuition, normally undertaken on an individual basis, is available for 25 hours over the duration of the course. As with all our postgraduate programmes, alongside your individual tuition, you will undertake a Professional Portfolio module. This negotiated programme of activities will support your first study, help you to build a unique profile as a musician, and prepare you for professional life. Your activities may be drawn from our extensive musicianship electives programme (see pages 89-94), ensemble or specialist performance programmes. The PgCert can be studied as a freestanding course, or as a progression route into further postgraduate study, including our Postgraduate Diploma, Master of Music and Advanced Postgraduate Diploma courses (see pages 159 and 163).

NEW FIRST STUDY AREA: BASS CLARINET Clarinettists wishing to explore in depth the now extensive repertoire for bass clarinet and, as a related instrument, basset horn, can take advantage of this new first study area within the PgCert or the performance pathway of the PgDip/MMus. The programme has been set up in collaboration with the Italian clarinettist Paolo De Gaspari, who has initiated a diploma for bass clarinet at the Academia in Pordenone, near Venice. His expertise, particularly in contemporary repertoire, alongside that of Prof Michael Harris (Head of Woodwind and former principal bass clarinettist of the Philharmonia Orchestra) and Mark O’Brien (CBSO, BCMG) will ensure your study is both stimulating and musically challenging. You will be offered the option of a shared orchestral audition/recital as your final assessment.

ENTRY REQUIREMENTS • You should normally possess at least a Bachelor’s Degree with Honours. • You will need to demonstrate at audition that you possess appropriate skills in your chosen specialist area.

ENGLISH LANGUAGE REQUIREMENTS IELTS 6.0/TOEFL 550. See page 29 for further details

FURTHER DETAILS Admissions Team: T: +44 (0)121 331 5901 E: conservatoire.admissions@bcu.ac.uk COURSE STRUCTURE Preliminary Performance/ Jazz Performance 15 CREDITS PROFESSIONAL PORTFOLIO 15 CREDITS CERTIFICATE RECITAL/ CERTIFICATE JAZZ PERFORMANCE 30 CREDITS

156

PgCert MUSIC (SPECIALIST PERFORMANCE) APPLICATIONS

: (CUKAS)Institution code B34 : Course code 500P

DURATION

: 1 year Full-time

157

COURSE OVERVIEW The Postgraduate Certificate (PgCert) in Music (Specialist Performance) is an intensive course offering one year of focused study in performance or jazz performance only. Designed to sit between our successful part-time PgCert (Music Performance) and PgDip courses, the PgCert (Specialist Performance) is a full-time course offering 40 hours of individual specialist tuition culminating in a substantial final performance, but without the academic content of the PgDip. The course is ideal for musicians performing at PgCert level who want to develop their repertoire, technique and stamina.

COURSE OUTLINE As with all our postgraduate programmes, alongside your individual tuition, you will undertake a Professional Portfolio module. This negotiated programme of activities will support your first study, help you to build a unique profile as a musician, and prepare you for professional life. Your activities may be drawn from our extensive musicianship electives programme (see pages 128-134), ensemble or specialist performance programmes. If you are an international student, your Professional Portfolio activities might include further tuition in English language for academic purposes. The PgCert (Specialist Performance) is suitable as a stand-alone course, or as preparation for further postgraduate study, including our PgDip, MMus and AdvPgDip courses.

ENTRY REQUIREMENTS

COURSE STRUCTURE

• You should possess a good Bachelor’s degree.

Preliminary Performance/ Preliminary Jazz Performance

• You will need to demonstrate at audition that you possess appropriate skills in your chosen specialist area.

15 CREDITS

ENGLISH LANGUAGE REQUIREMENTS IELTS 5.5/TOEFL 525 or equivalent See page 29 for further details.

AUDITION REQUIREMENTS The audition requirements for this course are the same as those for the PgCert Music Performance. See page 154 for further details.

FURTHER DETAILS Admissions Team T: +44 (0)121 331 5901 E: conservatoire.admissions@bcu.ac.uk

PROFESSIONAL PORTFOLIO 15 CREDITS

FINAL RECITAL/ FINAL JAZZ PERFORMANCE 60 CREDITS

158

MMus/PgDip MUSIC

159

APPLICATIONS

: (CUKAS)Institution code B34 : Course code PgDip 600F/600P / MMus: 800F/800P

DURATION

: 1 year Full-time

COURSE OVERVIEW Designed for recent graduates and suitable mature students, our taught Postgraduate Diploma (PgDip) and Master of Music (MMus) courses provide the opportunity for the further study of performance, composition or musicology at an advanced level. Like the Postgraduate Certificate (see page 155/157), they are suitable as stand-alone courses or as preparation for further study, such as our Advanced Postgraduate Diploma in Music (Professional Performance) (see page 159) or research degrees (see page 169). The PgDip offers specialised study in four areas: Performance, Composition, Jazz and Music Technology. The MMus offers study in any of these four pathways, or in a fifth area of specialism, Musicology.

PRACTICAL WORK

ACADEMIC STUDIES

Both the PgDip and the MMus offer a total of 40 hours of specialist tuition, normally undertaken on an individual basis. On all pathways, your first study tuition will lead to a major assessment appropriate to your chosen pathway (a recital, portfolio or dissertation).

Whether you follow the PgDip or the MMus, your practical study will be complemented by relevant academic modules. The difference between the two courses is that the MMus provides much greater academic breadth.

Your first study tuition will be supported by a programme of group activities such as performance classes, masterclasses, composition or community music workshops. A specially devised programme for Vocal & Operatic students also includes languages and stage-craft. Our postgraduate courses are designed to be flexible, allowing you to develop a specialism or distinctive musical profile within your chosen area: for instance, in the performance of contemporary music or chamber music. Throughout your course, you will be able to take part in the broad programme of practical activities offered by the Conservatoire, and you may normally audition for places in our orchestras, choirs, bands and other groups alongside undergraduate students. A Professional Portfolio module will help you negotiate a suitable programme of activities within the context of your career aspirations.

160 Course Structure PRELIMINARY STUDIES 15 CREDITS

professional portfolio 15 credits

academic studies 30 credits

MUSICAL PHILOSOPHIES 30 CREDITS

RESEARCH SEMINARS 15 CREDITS

MMUS STUDY 15 CREDITS • Performance scholarship • Cultural studies • Advanced editorial techniques • Special composition project

This is the programme of modules on offer at the time of going to press but some changes are likely in time for Autumn 2011 entry.

FOCUS ON POSTGRADUATE JAZZ STUDIES

Just as we offer a bespoke undergraduate jazz course (see page 149), any one of our flexible postgraduate programmes can be tailored to meet the unique needs of jazz musicians. There are two strands to postgraduate jazz study: Performance and Composition. You can study Jazz Performance at PgCert (see page 155/157), PgDip or MMus level, while Jazz Composition can be pursued at PgDip or MMus level. As a PgDip Jazz Performer you will receive 40 hours of individual instrumental lessons, plus small group coaching, priority access to our guest masterclass sessions (including working with Dave Holland) and regular public performance opportunities, culminating in your final performance. As a PgDip Jazz Composer you will receive 40 hours of individual composition lessons, available from Mike Gibbs, Liam Noble and Hans Koller. You will also have access to the Jazz Composers’ Ensemble, which you will be asked to direct in rehearsals and to present public concerts of your own work. Jazz Composition students also have priority access to workshops with guest composers. For both postgraduate Jazz Performers and Composers, the PgDip includes a shared module in Analysis and Aesthetics of Contemporary Jazz, which not only acts as a forum for students of both disciplines to discuss their music, but also stimulates artistic growth and conceptual development. The MMus qualification is achieved by following an additional 60 credits’ worth of academic modules, which can be taken simultaneously with the PgDip course, or at a later date as part-time study.

MMUS

FINAL RECITAL / PORTFOLIO / PROJECT 60 CREDITS

PGDIP

• Performance practice • Analysis for composers • Techniques in musicology • Music technology contexts • Analysis and aesthetics of contemporary jazz.

• Preliminary performance • Preliminary portfolio • Project proposal • Research proposal

161

PGDIP&MMUS SPECIALISED STUDY: Performance In addition to traditional western instrumental and vocal disciplines, this pathway includes specialised programmes for: • bass clarinet performance (p.155) • brass quintet performance (p.78) • choral conducting (p.93) • guitar ensemble performance (p.70)

Composition We welcome composers working in music technology and non-western idioms, as well as notated art music.

Jazz This pathway offers the opportunity to specialise in either Jazz Performance or Jazz Composition (see opposite for details)

Music Technology This new pathway makes use of the Conservatoire’s excellent facilities and equipment, and allows creative technologists to develop their skills and interests. Staff specialisms lie in electroacoustic composition, live electronics, programming, cross-disciplinary digital media and production, and we encourage study across all these areas.

Musicology MMus Only

This pathway includes a significant element of individual research supported by studies in musicology.

ENGLISH LANGUAGE REQUIREMENTS PgDip: IELTS 6.0/TOEFL 550 MMus: IELTS 6.5/TOEFL 575 See page 29 for further details

FEES For up to date fees see our website

162

ENTRY REQUIREMENTS: PGDIP • You should normally possess at least a Lower Second Class Honours Degree (preferably Music) with a minimum of 60% in your first study area. • Non-UK candidates should normally possess at least a Bachelor’s Degree or a similar degree equivalent Diploma from a conservatoire or equivalent institution. • You will need to demonstrate at audition/interview that you possess appropriate skills in your chosen specialist area.

ENTRY REQUIREMENTS: MMUS • You should normally possess at least an Upper Second Class Honours Degree (preferably in Music) or equivalent, with a minimum of 60% in your first study area. • Non-UK candidates should normally possess a good Bachelor’s Degree, or a similar degree equivalent Diploma from a conservatoire or equivalent institution. • You will need to demonstrate at audition/interview that you possess appropriate skills in your chosen specialist area.

163

AUDITION REQUIREMENTS Postgraduate audition requirements vary according to area of specialist study. A summary of the major audition elements is provided below; full details are available from the Admissions Team. • Performance candidates (excluding Jazz performers and accompanists) will be asked to present a varied programme of about 15 minutes duration. Depending on the area of study, candidates may be required to include orchestral excerpts, an extended piece and/or specified material. • Singers must include works in at least three European languages, including English. • Brass Quintet candidates must audition as an ensemble and individually. • Jazz performers should perform two contrasting pieces with a rhythm section (provided), as well as a short transcribed solo (unaccompanied). Pianists, bassists and drummers audition by taking their place in the rhythm trio. Guitarists may choose to audition with just bass and drums, or the full rhythm trio. • Piano Accompaniment candidates should bring a singer with whom they must perform three works (including a Lied), and must also perform an extended piece/movement for solo piano and sight-read. • Composers (including jazz composers) should be prepared to discuss a portfolio of compositions, which they must previously have submitted, if possible with accompanying recordings. • Musicologists should send a summary of their proposed project and be prepared to discuss this at interview. • Choral Conducting candidates may be asked to prepare a programme which will form the basis of their audition. Please contact the Admissions Team for details. • Music Technologists should be prepared to discuss a portfolio of creative work (which may comprise compositions, recordings, audiovisual work, code etc) which they must previously have submitted

FURTHER DETAILS Admissions Team T: +44 (0)121 331 5901 E: conservatoire.admissions@bcu.ac.uk

164

ADVANCED PgDip PROFESSIONAL PERFORMANCE APPLICATIONS

: (CUKAS)Institution code B34 : Course code 602F/602P

DURATION

: 1 year Full-time / 2 years Part-time

COURSE OVERVIEW The AdvPgDip (Professional Performance) is the most intensive and demanding of our postgraduate performance courses and is intended for outstanding musicians already on the threshold of a professional career. The course aims to provide you with the opportunity to progress your existing musical skills to professional performance standard and to develop originality and artistry in the presentation of musical styles. As well as deepening your musical comprehension and interpretative skills, the course also offers the chance to enhance your presentation and communication skills.

The AdvPgDip is available in one of four divisions: • Instrumental Performance • Piano Accompaniment • Opera Repetiteur • Vocal Performance Specialist tuition is available for 45 hours over the duration of the course, and may include the study of related second instruments and lessons with more than one teacher, as appropriate. In common with PgDip/ MMus students, you will undertake a support programme of Performance Practice lectures and a Professional Portfolio module. The latter consists of tutorials which help to guide the design of a programme of supporting activities in the context of your career aspirations. You will undertake three major assessments, normally in public performance conditions. Options include solo recital, chamber music and performance with orchestra.

FEES For up to date fees see our website

ENTRY REQUIREMENTS • You should normally possess a postgraduate qualification in performance. However, applicants with substantial public performance experience at an appropriate level may be considered • You will need to demonstrate at audition that you possess appropriate skills in your chosen specialist area. • All applicants (repetiteurs excepted) must send a current repertoire list and two sample 50-minute recital programme proposals to the Conservatoire at the same time as applying through CUKAS.

ENGLISH LANGUAGE REQUIREMENTS IELTS 6.0/TOEFL 550 See page 29 for further details

165

166

AUDITION REQUIREMENTS

COURSE STRUCTURE

These vary according to area of specialist study. A summary of the major audition elements is provided below; full details are available from the Admissions Team.

PERFORMANCE 1 45 LEVEL 8 CREDITS

• Instrumental performers: you should present a stylistically varied programme (25 minutes maximum) of at least three works, including one extended work/movement.

PERFORMANCE 2

• Vocal performers: you should perform a programme (20 minutes maximum) including works in at least three European languages, including English. These may include arias from the operatic and/or oratorio repertoire. You will also be asked to read short texts in French, German and Italian.

PERFORMANCE 3

• Piano accompaniment: you should bring a singer with whom you must perform three works (including a Lied), and must also perform two contrasting solo piano works from the standard repertoire, including a substantial movement from the Classical or Romantic repertoire (total duration 10-15 minutes). You will also be asked to sight-read. • Opera repetiteurs: you must play two contrasting solo piano works including a substantial movement from the Classical or Romantic repertoire (total duration 10-15 minutes). You must also play a substantial prepared extract from an operatic vocal score, give a short coaching session in a prepared operatic excerpt to a singer (without prior rehearsal) and sight-read. FURTHER DETAILS Admissions Team T: +44 (0)121 331 5901 E: conservatoire.admissions@bcu.ac.uk

45 LEVEL 8 CREDITS

PERFORMANCE PRACTICE 30 LEVEL 7 CREDITS PROFESSIONAL PORTFOLIO 15 LEVEL 7 CREDITS

167

168

RESEARCH: MPhil/PhD APPLICATIONS DURATION

169

: Direct to Research Department : MPhil - FT: approx. 2 years / PT: approx. 3 years : PhD - FT: approx. 3 years / PT: approx. 5 years including any time spent on MPhil

COURSE OVERVIEW We offer postgraduate courses leading to the degrees of MPhil and PhD. The Master of Philosophy is both a free-standing research degree involving about half the work of a PhD, and is a useful training-ground for the Doctor of Philosophy. The PhD can be accessed directly by applicants with a suitable Master’s qualification. Since our mission is to promote the highest standards of performance and composition, it follows that our Research Policy is sharply focused on these activities. Applications relating to the practice and philosophy of musical performance and composition and other areas of particular interest in the conservatoire context are therefore encouraged.

The following research areas are particularly suitable for our research environment: • Performance Studies • Performance plus Dissertation • Composition • Musical Aesthetics • Composition and Performance using Live • Electronics • 20th-Century Music • Ethno-musicology including Jazz/Pop • 17th-Century Music, especially French • Late Medieval Music Projects are sometimes directly associated with either performance or composition or both, and often include the actual practice of these arts. Research in these areas can include: performance that is genuinely original, either in repertoire or interpretation; composition that is genuinely original, either in style or in ways of using existing styles; and musicological and related studies which directly or indirectly inform the practice of music. Cross-disciplinary projects where, for example, a performer and composer may be working closely together, or where the study of some ethnic tradition informs original composition, are also encouraged.

Research students enjoy exclusive use of a dedicated studio equipped with four computers, internet access and acoustic-analysis software, as well as access to the Conservatoire’s state of- the-art electronic music studios (see p25). Students may also take part in the full range of practical activities and lectures available within the Conservatoire. The expected length of a PhD thesis is 80,000 words, but substantial musical text (e.g. an edition, performance or composition) can be included. Performers may include justified and integral performance (live or recorded) as up to 50% of the thesis. Composers may submit a folio of compositions as their ‘thesis’, accompanied only by a short essay (6,000 words minimum for PhD). Research studies may, in principle, commence at any time of the year, but it is most convenient to enrol at the start of the academic year in September. For details of our research strategy, staff publications, PhD completions and other information about our research, please visit: www.conservatoire.bcu.ac.uk/research

FEES Please see the website for current details.

170

ENTRY REQUIREMENTS MPhil • You should normally hold a good MA or MMus degree. Applicants without Master’s degrees are occasionally allowed entry, providing they can demonstrate academic skills comparable to a good undergraduate degree. • You will normally be expected to apply for transfer to PhD after about one year (full-time) or two years (part-time). It is not necessary to complete the MPhil dissertation before transferring, but you should have submitted a couple of chapters or the equivalent.

PhD • If you are applying directly to the PhD, you must have completed a good Master’s in an area relevant to your project, and convince an interview panel that you are ready to embark on study at this level.

ENGLISH LANGUAGE REQUIREMENTS IELTS: 6.0 / TOEFL: 550. See page 29 for further details.

INTERVIEW & AUDITION REQUIREMENTS Musicology (including performance-related topics) At interview you will normally be asked to bring along a recent essay demonstrating your academic writing skills.

Performers If you intend to use performance as integral to the project you will also need to audition. We would like to hear you perform for about 30 minutes, with a programme relevant to your project if possible. The standard should be equivalent to post-Masters‘ level at a UK conservatoire.

Composers You will need to present two recent scores together with recordings if available. The expected standard, in each case, is equivalent to that of a completed Masters‘ from a UK conservatoire. Feel free to consult our Research Department for further guidance.

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PIERRE BOULEZ In May 2008, the renowned conductor and composer, Pierre Boulez, visited Birmingham Conservatoire for a two-day festival promoted in conjunction with Park Lane Group, Birmingham Contemporary Music Group, and the Paul Sacher Foundation. M. Boulez was awarded an Honorary Doctorate from the university, conducted a workshop performance of Stravisnkyâ&#x20AC;&#x2122;s Dumbarton Oaks, gave masterclasses and an interview with the BBCâ&#x20AC;&#x2122;s Roger Wright as well as attending a performance of Le Marteau sans Maitre and Sur Incises.

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Junior Conservatoire

............................................................................................................................................ Headed by Timothy English, the Junior Conservatoire provides specialist musical tuition for talented young musicians. Our tutors are of the highest calibre and include members of the CBSO, professional musicians and senior Conservatoire staff. The Junior Department operates on 10 Saturdays during each school term using the full facilities of the Conservatoire. Courses are available in classical music, jazz, chamber music, Indian classical music and A Level music, and students can, where possible, combine elements from different courses to suit their individual needs. A strong emphasis is put on performance through weekly platforms and termly chamber music recitals, as well as regular concerts for the larger ensembles in the Adrian Boult Hall. • The Classical Course offers an hour of first study tuition; additional studies if appropriate; supporting studies in aural, theory and harmony; and chamber music. Two choirs, String Orchestra, Wind Orchestra, Symphony Orchestra and Chamber Orchestra are all incorporated into the timetable. There are also opportunities to study Early Music and Composition. • The Jazz Course is based on a core curriculum that includes jazz ensembles, improvisation classes, jazz aural, theory and history. Students can add individual tuition to their timetable as appropriate. • The Raga Sangeet Course involves group and individual tuition and follows the classical traditions of the Northern part of the Indian subcontinent. Sitar is available at intermediate level and tabla at foundation and intermediate levels. • The Chamber Music Course provides specialist ensemble training and includes regular workshops from visiting ensembles. • A/S and A2 Music are also available and are integrated into the Saturday timetable, or offered separately on Wednesday evenings. • Beginners as young as three years old are encouraged to apply to join the Young Strings Project studying violin, viola, cello or mini-bass as part of a course which includes choir, Kodály training, a Dalcroze Eurhythmics lesson and participation in the junior Orchestra alongside individual lessons.

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For further information or a Junior Conservatoire prospectus, please contact: Lulu Lezama, Junior Conservatoire Secretary T: (0121) 331 5905 E: conservatoire.juniors@bcu.ac.uk www.conservatoire.bcu.ac.uk/juniors

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Joint courses

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In addition to our own courses, we also run several courses in collaboration with our partner faculties at the University and South Birmingham College.

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FURTHER DETAILS Maighread Hegarty South Birmingham College T: 0121 694 5052 E: maighread.hegarty@sbc.ac.uk

www.sbc.ac.uk

HND POPULAR MUSIC PRACTICE*

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* SUBJECT TO VALIDATION

APPLICATIONS

: Institution code S29 : Course code 043W

DURATION

: 2 years Full-time

LOCATION

: In collaberation with South Birmingham College

COURSE OVERVIEW Offered by South Birmingham College (SBC) in partnership with the Conservatoire, this largely practical course is designed to equip you with the technical and vocational skills required for employment in a wide variety of roles within the music industry. You’ll be taught in SBC’s purpose-built facility, which includes a 440-seat auditorium, five recording studios and four music technology suites. You’ll also get the chance to work with current music industry professionals and possibly undertake a relevant commercial placement.

AREAS OF STUDY

ENTRY REQUIREMENTS

Much of your work will be geared towards the development of professional products, such as performances, tours, CD production or radio shows. The course will help you to develop your own professional profile and explore your individual artistic identity. You’ll also collaborate with others and explore all aspects of the contemporary music industry.

You must be at least 18 years old on entry and have one of the following relevant qualifications:

There are three course pathways: Performance, Production and Composition. In Year 1 you will chooses two of the three pathways. This will enable you to understand other areas of the discipline and to develop new skills, and also reflects the reality of the commercial music industry where practitioners may undertake a variety of roles. In Year 2 you will specialise in one area and develop more advanced skills. Much of the work in the final year is self-directed and always takes place in professional-standard environments.

• 80 tariff points • One A2 plus other appropriate qualification • GNVQ Advanced with Merit • BTEC National Diploma in a relevant subject • Scottish Certificate of Education at the Higher Grade with at least three passes at grade C • A professional qualification of an appropriate standard • A pass in a recognised access course • A portfolio of creative work • Equivalent qualifications or experience All applicants will be auditioned/interviewed. Where successful applicants demonstrate a lack of music academic skills, musicianship support classes will be offered. Skills equivalent to ABRSM Grade 5 will be required for progression to degree level study. Mature students lacking formal academic qualifications will be offered essay-writing/research support classes.

FEES For up to date fees see our website

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BSC (HONS) MUSIC TECHNOLOGY APPLICATIONS

: Institution code C25 : Course code W350

DURATION

: 3 years Full-time / Sandwich 4 years plus 1 year placement

LOCATION

: Jointly delivered with the Faculty of Technology, Engineering and the Environment

COURSE OVERVIEW The BSc (Hons) Music Technology is the most technically oriented of the courses available to students who wish to pursue music technology. For an explanation of the different music technology options, please see page 67. The BSc (Hons) Music Technology draws upon a wide range of academic disciplines including technology, sound recording, music studies and business. As a result, you will experience many different types of learning environments: laboratory experiments, practical workshops, computer sessions, studio work, seminar groups and project management. To prepare you to work in a dynamic creative industry sector, the course focuses on developing your creative abilities in tandem with your practical skills in music production, utilising professional hardware and software systems.

AREAS OF STUDY

IN DEPTH

Music technology is a growing field and the potential areas for employment are expanding all the time. Popular areas include:

The BSc (Hons) Music Technology is run jointly by the University’s Faculty of Technology, Engineering and the Environment and the Conservatoire; you will study in both faculties. Located at Birmingham’s Millennium Point, the Faculty of Technology, Engineering and the Environment offers state-of-the-art teaching and research facilities related to media and television technology. Within the Conservatoire, you will have access to extensive facilities including performance venues; well-equipped, purposebuilt recording studios; computer-based workstations; and networks for audio transfer. Apart from this, one of the real benefits of the course is the fact that you will be studying alongside and working with some of the nation’s most talented young performers.

• Recording (mixing, production, programming; mastering and duplication) • Broadcast (mixing, post-production, sound editing) • Film (location recording; dubbing; foley; post- production) • Live Sound (mixing, public address, audiovisual presentation) • Journalism (music/music technology journals) • Education (music technology teaching) • Manufacturing (product development, demonstration, sales and marketing).

PLACEMENT As part of your studies, you will have the opportunity to complete an industry placement. In addition to helping you to determine where your talents and interests lie, your placement will develop your experience, confidence and adaptability – qualities that will contribute to achieving your career aspirations.

Though weighted in favour of appraisal through coursework, the course is assessed in a variety of ways: formal examinations, essays and business reports, laboratory reports and log books, practical exercises involving the use of studio equipment, case studies, investigatory reports, folios of recordings or other creative audio work and presentations.

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FEES For up to date fees see our website

ENTRY REQUIREMENTS You should have one of the following: • GCE A Levels (typically 260-300 points), plus five GCSEs including Mathematics Grade C or higher. • A BTEC National Certificate/Diploma in Music Technology with a significant proportion of subjects having been passed at distinction standard, plus GCSE Mathematics Grade C or higher. • A distinction in the GNVQ (Advanced) with 8 mandatory modules, and 4 optional and core modules (IT, communication and Application of Number), plus GCSE Mathematics Grade C or higher. Applicants should demonstrate a strong technical aptitude together with a significant knowledge of music. Equivalent qualifications to those listed above (eg overseas equivalents) are welcome. Please contact the Faculty of Technology, Engineering and the Environment for further details.

ENGLISH LANGUAGE REQUIREMENTS IELTS: 6.0/TOEFL: 550 See page 29 for further details

FURTHER DETAILS Technology, Engineering and the Environment Course Enquiries T: 0121 331 6400 E: course.enquiries@tic.ac.uk

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KEVIN LEE (Alumnus) PgDip, bassoon Studied with: Meyrick Alexander, Nicholas Hunka, Margaret Cookhorn (contrabassoon) Since I was a child it has been my dream to go to music college to study the bassoon, so I’m very happy to be fulfilling that dream at the Conservatoire. I’ve learned a lot from my teachers this year – they are very helpful, friendly and always encouraging and, because of that, my skill and technique are developing very well here. Through rehearsing and performing with the Symphony Orchestra and other ensembles, I have made a lot of friends, especially in the Woodwind Department, all of whom are very nice and friendly (like a family). I never feel that there is too much competition between students; it just feels like we work as a team. The Woodwind Department always has different kinds of workshops and masterclasses, which are led by many high-level professional players from different countries, such as Carlo Colombo. I have had the chance to learn different styles and techniques from them. The student life within the Conservatoire is absolutely fantastic; I am very much enjoying it and pleased to be here.

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Iâ&#x20AC;&#x2122;ve learned a lot from my teachers this year â&#x20AC;&#x201C; they are very helpful, friendly and always encouraging and, because of that, my skill and technique are developing very well here.

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Applying and auditioning

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APPLYING ONLINE AT WWW.CUKAS.AC.UK The Conservatoire is a member of CUKAS, an online admissions service for most UK conservatoires. Application for all of our courses (apart from research degrees and joint courses) should be made via www.cukas.ac.uk You must apply in English. Like UCAS, CUKAS uses an online application system called Apply. To use it, follow these steps:

1. REGISTER AT WWW.CUKAS.AC.UK

4. FEES AND PAYMENTS

Registration is a process of entering your personal details, for example name, date of birth, address. Once you have completed the registration, a username will be automatically generated, and you will be asked to create a password of your choosing. Be sure to make a note of your username and password as they will enable you to log into Apply later.

There is a one-off application fee of £15, payable to UCAS. An additional non-refundable audition fee of £55 (£90 for a double audition) is payable to the Conservatoire; this is collected through the CUKAS system. You can make your payment online using a credit or debit card. The card doesn’t have to be in your name, but you do need to get the consent of the cardholder. If you can’t pay by card, you can choose to pay by an alternative method, such as cheque, postal order or bank transfer.

2. ACCESS THE ONLINE APPLICATION There are full instructions on the CUKAS website to help you fill in your application. You can work on it, save it and return to it later using your username and password. If you are stuck, remember to check the Help Text first. If you still need further information or advice, contact the CUKAS Customer Service Unit: +44 (0)871 468 0470, which is open Monday to Friday, 8.30am-6pm (UK time).

3. PROVIDE CONTACT DETAILS FOR TWO REFEREES One of your referees must be able to comment on your academic ability; the other must be able to comment on your musical ability. Your referees should know you well enough to write about you and your suitability for higher education. CUKAS will not accept references from family, other relatives or friends. The reference forms are available in Apply and you should email or post them to your referees.

5. DEADLINES The closing date for on-time applications is 1 October 2010 (for September 2011 entry), for subsequent years the on-time application deadline will fall around this date. You are advised to apply as early as possible. Late applications may be accepted until the end of August (annually) for instruments/areas in which we have unfilled places. If you have a disability, we would encourage you to apply as early as possible. Once we are aware of your disability we can try to support your individual needs. We have a range of services and equipment which can be made available to you to help you make the most of your time at the Conservatoire. If you have not made us aware of your disability or you feel you may have a disability, please contact our Admissions Team or our Disability Service.

T: +44 (0)121 331 5128 (text/voice) E: disability@bcu.ac.uk

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ADVICE FOR UK APPLICANTS All enquiries concerning UK undergraduate and postgraduate admissions should be addressed to: Admissions Team T: +44 (0)121 331 5901/5902 E: conservatoire.admissions@bcu.ac.uk

ADVICE FOR NON-UK APPLICANTS All applicants from outside the UK are strongly advised to contact us in the first instance for advice on submitting an application. All enquiries concerning non-UK admissions should be addressed to: Ruth Stanton, Assistant Registrar E: ruth.stanton@bcu.ac.uk

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RESEARCH APPLICATIONS (MPHIL/PHD) Research applications cannot be accepted through CUKAS. You are instead invited to contact the Head of Research, Professor Peter Johnson, with a draft proposal of about 500 words, as well as brief notes covering your academic career, current activity and any relevant experience. We will provide advice and assistance in generating a viable project which can then be submitted with the formal application form. Promising candidates will be invited to an interview, which may include an audition if the project includes performance. The formal selection criteria are: quality of application judged against UK university standards; suitability of project visĂ -vis the Conservatoireâ&#x20AC;&#x2122;s research priorities; availability of supervisors; overall numbers and critical mass; and other matters, such as ethical considerations. T: +44 (0)121 331 5925 E: peter.johnson@bcu.ac.uk Research studies may, in principle, commence at any time of the year, but it is most convenient to enrol at the start of the academic year in September/October.

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HND POPULAR MUSIC STUDIES

BSC (HONS) MUSIC TECHNOLOGY

MA DIGITAL ARTS IN PERFORMANCE

Applications for the HND Popular Music Studies, run in collaboration with South Birmingham College, are received through UCAS:

Applications for the BSc (Hons) Music Technology, run in partnership with the Universityâ&#x20AC;&#x2122;s Faculty of Technology, Engineering and the Environment, are received through UCAS:

Applications for the MA Digital Arts in Performance, run in partnership with Birmingham Institute of Art and Design (BIAD), are received directly by BIAD:

Institution Code C25/Course Code W350

Application: Direct to BIAD faculty office

Institution Code S29/Course Code 043W

UCAS

APPLICANT HOTLINE:

UCAS

APPLICANT HOTLINE

ENQUIRIES:

APPLICATIONS:

Rosehill New Barn Lane Cheltenham Gloucestershire GL52 3LZ

T: +44 (0)870 1122211 E: enquiries@ucas.ac.uk www.ucas.ac.uk

Rosehill New Barn Lane Cheltenham Gloucestershire GL52 3LZ

T: +44(0)870 1122211 E: enquiries@ucas.ac.uk

Gregory Sporton BIAD Visualisation Research Unit Department of Art

Faye Gelly BIAD Faculty Office Gosta Green Corporation Street Birmingham, B4 7DX

www.ucas.ac.uk

T: +44 (0)121 331 5978 E: vru@bcu.ac.uk www.biad.bcu.ac.uk/vru

* Applications for our joint courses cannot be accepted through CUKAS.

T: +44(0)121 331 5800/01 E: faye.gelly@bcu.ac.uk

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MAIN AUDITIONS Our main auditions period for undergraduate and postgraduate places is in November. In order to be eligible, you must submit your CUKAS application before the on-time deadline of 1 October 2010 (for September 2011 entry). If you are an organist, please be aware that organ scholarship trials are held at the same time as auditions and places fill up very quickly. You are therefore strongly advised to apply by the on-time deadline. For a standard single instrument audition, a nonrefundable audition fee of ÂŁ55 is payable through CUKAS at the time of application. If you are choosing between two areas/instruments, or you wish to apply for joint study (see page 63), you may request a double audition, for which there is a non-refundable fee of ÂŁ90 payable through CUKAS at the time of application. For audition requirements, please see the appropriate course page.

LATE AUDITIONS If you apply between 1 October and 4 January, you may be eligible for late auditions. However, late auditions are only held if a first study area still has vacancies after the main auditions, so you are encouraged to apply on time if at all possible. Late auditions are normally held in February and are open to both undergraduates and postgraduates. If we receive your application after 4 January, you may be given an audition if your first study area still has vacancies; this will be arranged through our Admissions Team.

PHOTOGRAPH CREDITS

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INTERNATIONAL AUDITION CENTRES If you are applying from outside the UK, you may be able to attend an audition at one of our international audition centres in China, Hong Kong, Malaysia, Singapore or Taiwan. You may also be able to receive advice about application procedures at the same time. Auditions for 2011 Entry will be held in Autumn 2010 (dates to be advised). For further information and application advice please contact Ruth Stanton, Assistant Registrar (ruth.stanton@bcu.ac.uk) or our agent for your country/centre:

CHINA mktcn@ukec.net

HONG KONG musicaudition@hotmail.com

MALAYSIA jccwong@hotmail.com

SINGAPORE jccwong@hotmail.com

TAIWAN musicaudition@hotmail.com

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AUDITION RECORDINGS

AUDITION RECORDING REQUIREMENTS

If you are an international applicant already studying or living in the UK at the time of your application, you should request an audition in Birmingham rather than sending an audition recording. If you are an international applicant and you cannot attend an audition in Birmingham or at one of our international audition centres (see page 188), you must send a high quality recording on DVD (preferably) or CD in lieu of an audition.

The requirements for audition recordings are similar to our live audition requirements:

RECORDING GUIDELINES • At the start of the recording, you must: 1. state your name 2. say a few words in English about each of the pieces to be performed • Performance candidates must have their recordings validated by an appropriate school/college/university authority as their own unedited performance.

PORTFOLIO GUIDELINES • Composers must have their portfolio validated by an appropriate school/college/university authority as their own work.

BMUS (HONS) • Instrumentalists (percussionists excepted) should submit a recording of their own performance of at least two contrasting pieces. • Singers must perform two pieces (or movements) of different styles and periods of their own choice. At least one of the pieces must be an aria (with recitative, if available) from an opera or oratorio. • Percussionists should submit a recording of pieces on timpani, drum kit, snare drum and tuned percussion (xylophone or vibraphone or marimba). • Composers must send a portfolio of at least three compositions and a recording of at least one of these works.

BMUS (HONS) JAZZ AND GRADDIP JAZZ • You should provide a recording of two contrasting pieces including rhythm section, as well as a short transcribed solo (unaccompanied). One of the pieces performed must be chosen from a list of standards; the other one is your own choice. • Full details of our audition requirements are available from our Admissions Team).

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PGCERT/PGDIP/MMUS • Performance candidates (excluding jazz performers and accompanists) must send a high-quality recording of their own performance of three or four contrasting works or movements (minimum 15 minutes). • Wind and brass players must also include two orchestral excerpts. • Singers must include works in at least three European languages, including English. • Brass Quintet candidates must include examples of ensemble and individual playing. • Jazz performers should provide a recording of two contrasting pieces including rhythm section, as well as a short transcribed solo (unaccompanied) • Piano Accompaniment candidates should send a recording of three works with a singer (including a lied), and an extended piece/movement for solopiano. • Composers must send a portfolio of at least three compositions and a high-quality recording of at least one of these works when requested. • Choral Conducting & Community Music candidates may be asked to send a DVD or VHS video tape- recording of a suggested programme. Please contact Ruth Stanton (as on page 189) for details. • Musicologists should send a summary of their proposed project and be prepared to discuss this. • All PgDip & MMus candidates must send an essay/ piece of written work from their undergraduate course, or on a prescribed topic when requested.

ADV PGDIP • See requirements for PgCert / PgDip / MMus Performance candidates above. • To be considered for the Adv PgDip, you must send a DVD performance. • All Adv PgDip applicants (repetiteurs excepted) must send a current repertoire list and two sample 50-minute recital programme proposals you must send a DVD recording of your performance. • You must also send an essay / piece of written work from your undergraduate course, or on a prescribed topic.

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SCHOLARSHIPS AND FINANCIAL AID In addition to the basic financial aid available to UK/EU undergraduates described on page 14, we offer a variety of scholarships at undergraduate and postgraduate levels. All candidates are automatically considered for financial assistance up to the value of full scholarships. Scholarships are awarded on the basis of merit (according to audition panel recommendation), with some specifically reserved to assist candidates in financial need or studying in specific areas.

ENTRANCE SCHOLARSHIPS (UK/EU CANDIDATES) A number of Entrance Scholarships are awarded each year to UK and European Union candidates on the recommendation of auditions panels.

TUITION FEES SCHOLARSHIPS (NON-EU CANDIDATES) A number of part-tuition fees scholarships are awarded each year to overseas candidates. These scholarships are normally renewed for each subsequent year of a student’s course.

BEATRIX MYATT SCHOLARSHIP FOR PIANO This scholarship is awarded once every three years to an undergraduate piano student on the recommendation of audition panels. The scholarship is worth £3,000.

CORTON HYDE EARLY MUSIC SCHOLARSHIPS Two scholarships are normally available to support talented students wishing to further their studies in Early Music. The Corton Hyde Continuo Scholarship supports a keyboard, cello/viola da gamba, or lute/theorbo player specialising in continuo, while the Corton Hyde Performance Practice Scholarship is open to a variety of musicians, including period violinists, vocalists, early oboe or flute players, recorder players and cellists. Both scholarships are worth £1,000 and may be renewed after one year by negotiation.

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DENIS MATTHEWS SCHOLARSHIPS

WEINGARTEN SCHOLARSHIPS

Established in 1989 in memory of the distinguished pianist and scholar, the Denis Matthews Trust offers scholarships through competition to pianists who are studying at Birmingham Conservatoire, as well as an additional entrance scholarship of £1,000. A scholarship of approximately £1,500 is awarded annually to a nominated postgraduate soprano candidate.

These prestigious scholarships, established through the generosity of Joseph and Lilian Weingarten, are available by competition to final year undergraduate or postgraduate Piano, Violin or Voice students at the Conservatoire. Successful students undertake up to a year of postgraduate study at the Franz Liszt Academy in Budapest. Another scholarship is available to enable a student to study the Kodály Method at the Kodály Institute at Kecskemét in Hungary.

EMI MUSIC SOUND FOUNDATION BURSARIES

JUNIOR DEPARTMENT SCHOLARSHIPS

UK students who would be unable to undertake study without financial assistance may apply to the Conservatoire for an EMI Music Sound Foundation bursary. Up to five bursaries are made available each year.

Applicants to the Junior Conservatoire may be eligible for a DCSF Music and Dance Award, or bursary funding from the Leverhulme Trust or the Wolfson Foundation. The Junior Conservatoire can provide advice and guidance to suitable candidates.

ELLA CHESHIRE SCHOLARSHIP (SOPRANO)

LEVERHULME TRUST SCHOLARSHIP (UK CANDIDATES) As a result of a generous donation by the Leverhulme Trust, a number of scholarships are awarded each year to excellent UK candidates on the recommendation of audition panels.

SYMPHONY HALL WHITLOCK ORGAN SCHOLARSHIP This scholarship, generously funded by the Percy Whitlock Trust, offers a talented organ student access to the outstanding four-manual Klais organ in Symphony Hall, acclaimed as one of the finest concert halls in the world. The Scholar plays a significant role in Symphony Hall’s education programme, presenting the organ to school groups and members of the public. The Scholarship also includes an annual recital. The successful candidate will be a highly competent player, with excellent presentational skills and the ability to capture the imagination of young people. The appointment is for one year initially, but may be renewed. The value of the Scholarship is £1,000 per annum.

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.............................................................................................. OTHER FINANCIAL AID AVAILABLE TO CONSERVATOIRE STUDENTS Access To Learning Fund The Access to Learning Fund, provided by the Higher Education Funding Council for England (HEFCE), is managed by the University’s Student Services Department. A limited amount of money is available to UK students only, in the form of either a loan or a grant.

Birmingham Conservatoire Association BSM Centenary Appeal Fund The Trustees of these two charities consider requests for financial aid from Birmingham Conservatoire students. Modest awards are made for projects or needs related to students’ official studies.

Student Awards Committee This Conservatoire Committee administers a number of funds on behalf of the University’s Trustee Committee. Applications from students are considered termly, and small grants are awarded towards the cost of Summer School fees and expenses, instrument repair and purchase, etc.

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How to find us

............................................................................................................................................ HOW TO FIND US

BY TRAIN/COACH

Located at the heart of the UKâ&#x20AC;&#x2122;s road, rail and coach networks, the city enjoys direct connections with over 500 destinations. Air links from the cityâ&#x20AC;&#x2122;s own international airport are also excellent. Locally, a network of bus, tram and train services provides easy access to all areas of the city. Detailed driving directions (including disabled access), and advice on travelling by rail and air are available at www.conservatoire.bcu.ac.uk

The Conservatoire is a 10-minute walk from both New Street and Snow Hill Stations, and a 15-minute walk from Digbeth Coach Station. Follow directions to the Town Hall and Central Library.

BY CAR From Junction 6 of M6, take A38(M) to Birmingham. We regret that onsite parking is not available, but there are four NCP car parks located close to the Conservatoire: two on Cambridge Street, one on Brunel Street and one on Suffolk Street Queensway.

BY AIR Birmingham International Airport (BHX) is well served by both bus and rail links, as well as by black cab taxis. The airport is approximately 30 minutes from the city centre by road, or 10 minutes by train.

TO M6 J7 TO M5 J1

TO M6 J6

WALSALL

BIRMINGHAM CONSERVATOIRE

TO M42/M40 COVENTRY/ WARWICK/ STRATFORD/ STATFORD/ NEC/ BIA

TO M5 J2/3

MOTORWAY MAP MANCHESTER/ NW

A41

TO M5 J4/M42 J1

EAST MIDLANDS

A38

A45

A456

WARWICK COUNTY CRICKET GROUND/ CADBURY WORLD

M42

A34

M42

A38 BRISTOL/ THE SW

4 1

M42

4 M40

OXFORD

LONDON

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