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Home , 2021 in British music, Ashan Pillai, Laurence Cottle, Mark Bassey, Mark Warman, Neil Brand

YOUR FUTURE IS MUSIC’S FUTURE PROSPECTUS 2021/22 Music must always move forward. There has to be a place for new musicians to connect, collaborate and create. We are that place. A risk-taking conservatoire where the traditions of the past meet the talent of the future. Our mission: to create the music that will move the world tomorrow.

This is an accessible pdf.

Royal of Music ©2020 Every effort has been made to ensure that the information included in this prospectus is correct at the time of publication. Please consult our website for the most accurate and up-to-date information.

Please address any queries about this publication to2 [email protected] . CONTENTS

3 INTRODUCTION 40 OUR DEPARTMENTS 6 A message from our 42 Accordion 8 Imagine yourself here 44 Brass 46 Choral 10 ABOUT THE ACADEMY 48 Composition & 12 Music’s future starts here Contemporary Music 14 Into our third century 50 Conducting 16 Sending music to the world 52 Guitar 17 Creative partners 54 Harp 56 Historical Performance 18 STUDENT LIFE 58 20 Your future is music’s future 60 Musical 22 The new generation 62 24 Meet your mentor 64 Organ 27 Learn by performing 66 Piano 28 Skills for life 68 Piano Accompaniment 29 Space to grow 70 Strings 30 Your stage awaits 72 Timpani & Percussion 32 Find inspiration, find knowledge 74 Vocal Studies 34 Musicians, united 76 Woodwind 35 All together now 36 calling 78 OUR COURSES 38 Find your place 80 Academy courses 39 Reaching outwards 82 Undergraduates 83 One-year courses 84 Postgraduates 85 Postgraduate degrees 86 Postgraduate diplomas 88 Research 89 The art of collaboration 90 Open Academy

92 YOUR FUTURE STARTS HERE 94 The next step 95 Ready to audition? 96 Tuition fees 97 Get in touch

INTRODUCTION 3 4 INTRODUCTION TODAY’S ASPIRATION TOMORROW’S ARTIST

We take musical potential, then challenge our students to find their own voice and develop individual excellence. From pre-school to post-doc, we help thousands of students turn aspiration into achievement. We embed risk-taking and reality into everything we do. Our graduates leave ready for a life in music. We listen outwards, continually embracing new ideas, always opening up what we do to new audiences.

INTRODUCTION 5 A MESSAGE FROM OUR PRINCIPAL

One of the biggest influences on your development as a musician will be your teacher, and at the Academy you will find the very best – their names are listed in the department pages of this prospectus. You will also work regularly with renowned visiting professors and guests – distinguished figures who are part of the Academy family – in performances and masterclasses that you will remember for the rest of your life. Indeed, the breadth and quality of collaborative opportunities here will lay the groundwork for a fulfilling musical life. As write this, we are in Coronavirus lockdown – a situation that has brought As Britain’s oldest conservatoire, the home to all of us the importance of Academy is steeped in tradition but is music in our collective wellbeing. also one of the most progressive musical The extraordinarily special qualities of the institutions in the world. Students have Academy community have never been access to cutting-edge technology in more evident than during the various our amazing performance spaces, our stages of this crisis. In normal times, our programming is groundbreaking, and in all building resounds with music and the our disciplines, from classical to musical general hubbub of chatter and laughter theatre and jazz to composition, we as students and staff go about their encourage students to explore their business. But even while we are kept apart horizons to the limit. physically, we are finding innovative ways to connect, collaborate and create. For you, the most pressing question is probably ‘what will it actually be like to study We can’t pretend that there won’t be at the Academy?’. I hope that the pages challenges ahead as the whole world that follow – in addition to the information adjusts after the pandemic. You can be on our website – will go a long way to confident, however, that at the Academy answering this and helping you decide your individual talent will be matched to whether the Academy is the right fit for you. the opportunities and needs of the current We hope to welcome you soon. era. Musicians will need imagination, versatility and resilience as never before. Professor Jonathan Freeman-Attwood CBE As we turn into our 200th year of existence, we’re more confident than ever in our ability to help you realise your dreams and ambitions.

6 INTRODUCTION MOVING

MUSIC

FORWARD

INTRODUCTION 7 IMAGINE YOURSELF HERE

8 INTRODUCTION AT THE ACADEMY YOU WILL…

Hone your performance Prepare physically and skills. Our students mentally for a career at the take part in around 500 top of an ever-expanding events every year music profession

Learn from the masters. Develop professional skills Experience inspiring one- that will help you thrive to-one tuition with the in today’s musical world world’s finest teachers and build your audience

Work with your musical Collaborate internationally heroes. We have an with many leading illustrious roster institutions, including of visiting professors The

Be inspired by different Showcase your talent with genres – classical, jazz, cutting-edge technology opera, , and in our world-class historical and all forms performance spaces of new music Live in the heart of Make lifelong friends London, one of the most and professional contacts vibrant, creative cities in from around the world the world

Raise your musical game Earn an internationally by working alongside respected degree awarded outstanding peers from by the Academy and the over 50 countries

INTRODUCTION 9 ABOUT THE ACADEMY

10 ABOUT THE ACADEMY You come to the Academy knowing that big personalities have walked through these same doors, and they were students once, just like you

ABOUT THE ACADEMY 11 MUSIC’S FUTURE STARTS HERE

The moves music Every student benefits from a stimulating forward by inspiring successive generations curriculum and an ambitious range of of musicians to connect, collaborate and concerts and events. Legendary artists come create. We are the meeting point between here not just to perform, but to become the traditions of the past and the talent of mentors, friends and musical partners. the future, seeking out and supporting the musicians today whose music will move A world of music comes to us – and we the world tomorrow. send music back out into the world. As we enter our third century, our aim is to Join us and you will become part of a shape the future of music by discovering musical melting pot. Our students come and supporting talent wherever it exists. from more than 60 countries. We challenge them to find their own voice, take risks There is so much music to be made. and push boundaries. , Felicity We look forward to helping you make it. Lott, and all learnt their craft here. We are excited to discover who’s next.

12 ABOUT THE ACADEMY 90% BMus students graduated with a first or upper second 93% MA/MMus students graduated with 550 distinction or merit performance events

881students from 61 countries

6106participants worked with Open Academy in 57 projects

£4.6minvested in scholarships and financial support for talented musicians

All data from 2018/19 academic year ABOUT THE ACADEMY 13 1957 Harrison Birtwistle 1991 The innovative INTO OUR studies clarinet at BMus degree the Academy is launched THIRD CENTURY The Sinfonia travels overseas for the first time, to the Republic of Korea 1800 1900 1961 Former student 1992 The refurbished 1903 Aged 13, Sir Duke’s Hall reopens wins a becomes conductor of scholarship to study the first orchestra piano at the Academy

1822 The Royal 1968 HM Queen 1994 Ligeti attends the Academy of Music is Elizabeth The Queen 10-year anniversary founded as Britain’s 1911 The Academy Mother opens our of the International first conservatoire, moves to custom- new library Composer Festival, in Tenterden Street, built premises on which has previously Hanover Square Road celebrated Messiaen, 1826 Carl Maria von Berio, Henze Weber conducts our and Tippett first orchestral concert 1997 The Academy is 1830 King George IV the first conservatoire grants a Royal Charter 1969 to found its own becomes a student recording label 1856 enters the Academy 1971 Simon Rattle 1998 HRH The 1923 Sir , becomes a student Duchess of Gloucester a former student, joins becomes the as a professor Academy’s President 1935 Junior Academy The Sinfonia makes its is founded first orchestral visit to Beijing and Tokyo 1936 visits the Academy 1976 The Sir Jack 1999 The Academy 1886 Franz Liszt visits Lyons Theatre becomes the first the Academy is opened conservatoire to be admitted as a 1982 full member of the becomes a student University of London 1-5 York Gate is 1953 HM The purchased for the Queen becomes the Academy by the Academy’s Patron Heritage Lottery Fund

14 ABOUT THE ACADEMY 2010 Honorary 2013 The Sir Elton The new Susie Doctorates are given John/Ray Cooper Sainsbury Theatre and 2000 to , organ is installed in Angela Burgess Recital 2001 The two-year and the Duke’s Hall Hall open postgraduate Royal Academy Opera course is introduced 2011 Royal Academy The David Josefowitz Opera presents the Recital Hall opens acclaimed premiere of Sir ’s Kommilitonen!

2014 A practice centre is added to 2002 A Royal Opera 2012 The Privy Council our facilities House performance grants degree- 2017 The entrance is with Sir Elton John awarding powers to refurbished to include raises nearly £1m the Academy step-free access for the Elton John 2019 Hans Scholarship Fund Abrahamsen becomes the first Oliver Knussen Chair of Composition

The Academy is An Academy and rated Gold in the 2005 A combined Juilliard orchestra Teaching Excellence Academy and Juilliard performs at the BBC Framework (TEF) School orchestra Proms and in New York A joint Academy- performs under Sir with soloist Imogen 2018 Student cellist Juilliard orchestra at the Cooper, conducted by Sheku Kanneh-Mason performs at the BBC Proms performs at the BBC Proms wedding of the Duke 2009 The Bach 2012-18 Visiting and Duchess of Sussex Cantata Series, which professors appointed will run over a 10-year include John Adams, period, is launched Semyon Bychkov, James Ehnes, Sir , Edward Gardner, Richard Goode, Dave Holland, Steven 2019-21 Students Isserlis, Oliver Knussen, take part in major Claude-Michel collaborations with Schönberg, Nikolaj Tokyo Geidai, Glenn Szeps-Znaider and Gould School and the Czech Philharmonic

ABOUT THE ACADEMY 15 SENDING MUSIC TO THE WORLD

Sharing information, knowledge and artistry Together, our students, with peer institutions and musicians is an integral part of our identity. Collaborations alumni and professors with The Juilliard School and growing relationships with Sibelius Academy, create a global Shanghai Conservatory, Tokyo University of the Arts, Glenn Gould School in Toronto and community of music the University of Music and Performing Arts Vienna are based on our shared values of Our students represent the very best artistic and educational excellence. talent from around the world, with about half coming from the UK, a quarter We are dedicated to offering the very best from mainland Europe and a quarter from education to students from all over the world. other countries. We will do everything in our power to ensure that European students continue to play as This vibrant mix enriches our community essential a role as ever in our future. and reflects our international outlook. When you come here, you will widen your cultural Our Admissions Team will be happy to help perspective and form lifelong friendships with any queries you might have about with people from around the globe. When applying to the Academy from outside the you leave, you will remain a valued member UK. Contact them on +44 (0)20 7873 7393 of the Academy family. or email [email protected].

16 ABOUT THE ACADEMY CREATIVE PARTNERS OUR ASSOCIATED ARTISTS INCLUDE:

Hans Abrahamsen John Adams Pierre-Laurent Aimard Oliver Knussen Chair Visiting Professor of Composition Visiting Professor of Music of Composition

Lorenza Borrani Semyon Bychkov Visiting Professor of Klemperer Chair of Conducting Professor Chamber Orchestras of Historical Performance

Sir Mark Elder Edward Gardner Philippe Herreweghe Sir John Barbirolli Chair Sir Chair Visiting Professor of of Conducting of Conducting Historical Performance

Trevor Pinnock Claude-Michel Schönberg Nikolaj Szeps-Znaider Principal Conductor, Visiting Professor of Musical Theatre Viotti Visiting Professor of Music Academy Chamber Orchestra

Christian Thielemann Robin Ticciati Ryan Wigglesworth Carl Maria von Weber Sir Colin Davis Visiting Professor of Conducting Fellow of Conducting Professor of Music

ABOUT THE ACADEMY 17 STUDENT LIFE

18 STUDENT LIFE One of the main things that attracted me to the Academy was the atmosphere. The staff and students are open, receptive and completely unpretentious

STUDENT LIFE 19 Decca (, Sheku and Isata What drives us is the Kanneh-Mason, Benjamin Grosvenor, Miloš Karadaglić and Martynas Levickis) thought of all the and Sony Music UK (Ashley Henry). music yet to be made, It’s why alumni such as and Katherine Jenkins have become household the careers yet to names, and why established musicians such as Sir Simon Rattle, Edward Gardner, begin and the stories Maxim Vengerov, Sir Harrison Birtwistle, , Dame Evelyn Glennie, yet to be shared Dame Felicity Lott, Sir Elton John, and continue to Whether you’ve already mapped out your fill the world’s concert halls, opera houses career path or are planning to use your time and recording studios. at the Academy to explore as many new avenues of music making as possible, we’re We look forward to playing our part here to help you find your way. in the next chapter of your story.

Our commitment to preparing students for a life in music is why they go on to win contracts with major international labels including Deutsche Grammophon (, Sir , Daniel Hope),

20 STUDENT LIFE This building has been absolutely at the centre of everything that I have done, everything that I have learnt

Sir Simon Rattle

STUDENT LIFE 21 THE NEW GENERATION Recent graduates are already shaping musical culture in countless ways

Alumnus Edward Gardner conducts a joint 22 STUDENT LIFE Academy-Juilliard orchestra at the 2019 BBC Proms Stephenson Ardern-Sodje Joseph Havlat Sam Oladeinde Went straight into Solo pianist and chamber Joined the original West End Hamilton in the West End musician; founding member cast of Hamilton; currently after graduation of Ensemble x.y 1st cover Ramses in The Prince of Egypt Bertie Baigent Ashley Henry Assistant Conductor of Jazz pianist and composer Michael Pandya the Colorado Symphony; signed with Sony Music UK Young Artist, Bayerische Music Director of Waterperry Staatsoper Opera Studio Jonathon Heyward Opera Festival Chief Conductor, Shengzhi Ren Tom Blomfield Nordwestdeutsche Joint Principal Oboe, Philharmonie (from January Young Artist 2019/20 ; 2021); previously Assistant Timothy Ridout oboe professor at Conductor, Hallé High-profile solo player the Academy Adam Hickox Nadège Rochat Laura Bowler Assistant Conductor, International soloist and Composer, vocalist Rotterdam Philharmonic recording artist; cello and Artistic Director Orchestra (2019-21) professor at the Academy of Size Zero Opera Luke Hsu Keval Shah Alberto Casadei Solo violinist and Violin Lecturer in Lied, Solo cellist and Channel Young Artist Sibelius Academy chamber musician Ben Hulme Paige Smallwood Henry Clay Principal Horn, Previously Éponine in Principal Cor Anglais, Royal BBC Philharmonic Les Misérables on the US Scottish National Orchestra Yehuda Inbar tour; now with the US tour Jacob Collier Piano soloist and of Hamilton Four-time Grammy- chamber musician Julie Svěcená winning jazz and pop Robbie Jacobs Solo violinist multi-instrumentalist Director of Artistic Ella Taylor Tabea Debus Programming, Boston National Opera Studio Virtuoso recorder player, Children’s Chorus (USA) Young Artist 2019/20 YCAT artist since 2018 Lily Kerhoas Freddie De Tommaso Anne Denholm Starring as Cosette in Les Tenor at Official Harpist to HRH The Misérables in the West End House, Covent Garden, Prince of Wales (2015-19) Ross Knight Wiener Staatsoper and Michael Foyle Solo Tuba, Orchestre de Staatsoper Berlin Soloist, chamber musician la Suisse Romande Amy Yule and guest leader; violin Daniel Lebhardt Principal Flute, Hallé professor at the Academy Solo pianist Jingzhuo Zhang Ben Glassberg Jason Lewis Principal Cello, Shanghai Principal Conductor, Associate Principal Philharmonic Orchestra Glyndebourne Tour; Trumpet, Royal Scottish Music Director, L’Opéra Runqing Zhou National Orchestra de Rouen Normandie Cello, Shanghai Rob Luft Symphony Orchestra Christopher Hart Jazz guitarist; BBC New Principal Trumpet, Royal Generation Artist 2019-21 Scottish National Orchestra

STUDENT LIFE 23 24 STUDENT LIFE It was the prospect of one-to-one time with some of the best musicians in the world that prompted me to choose the Academy over any other conservatoire

Your professor will be one of the most significant musical influences of your life. We know how vital it is to find someone who brings out the best in you

During your time at the Academy, you will be supported by outstanding teachers who will challenge you to find your own voice. They will share not only their artistic and technical expertise, but also practical advice on how to prepare for a career in music. It’s a relationship built on trust and mutual respect – one that will remain important to you for many years to come.

You’ll find plenty of inspiration beyond your one- to-one classes, too. Our academic staff provide the intellectual background to your instrumental studies, fuelling your curiosity and offering a firm foundation for your musical development.

We don’t just study music’s past – we spark its future.

STUDENT LIFE 25 Performing is a way of life at the Academy. Music comes to life in We hold over 500 events a year, from intimate solo and chamber performances performance. There to orchestral concerts, staged , musicals and festivals. Our busy diary of is no better way to events provides plenty of opportunities for students to gain ensemble experience and develop your craft perform publicly, not only at the Academy but also in world-famous venues such as the , Royal Festival Hall and .

Academy orchestras and ensembles, which include the Symphony Orchestra, Chamber Orchestra, Manson Ensemble (contemporary music), String Orchestra,

26 STUDENT LIFE LEARN BY PERFORMING

Big Band, Baroque Soloists and Symphonic Orchestra, both of which are in residence Wind and Brass Ensembles, cover a huge every year, giving classes and masterclasses, breadth of repertoire. holding mock auditions and offering side- by-side performance opportunities. And you’ll be working with the very best in the business – regular guest conductors Jazz students have played at the EFG London include Semyon Bychkov, Sir Mark Elder, Jazz Festival, and our Musical Theatre and Edward Gardner, and Royal Academy Opera productions are fully Christian Thielemann. We invite members of staged and directed by well-known artists. the world’s top orchestras to lead sectional rehearsals, and students participate in side- The Academy records exclusively on Linn, by-side schemes with orchestras including available on Apple Music. In the past three the London Symphony and Philharmonia years we have worked on projects with orchestras and London Sinfonietta. We Oliver Knussen, The Juilliard School and also have significant partnerships with the Trevor Pinnock. Czech Philharmonic and Knussen Chamber

STUDENT LIFE 27 SKILLS FOR LIFE We teach more than just music. We also develop the personal, practical and technical skills you need to build a fulfilling career

ARTIST DEVELOPMENT We offer one-to-one career guidance sessions, too. Our events are run by Academy Our artist development provision is an specialists and invited experts from all fields integral part of your degree course. We of music, including established solo artists, prepare you practically, creatively and orchestral fixers, agents and festival directors. strategically for a sustainable career in the music profession, by encouraging RECORDING FACILITIES you to develop your core artist skills, self- knowledge and professional awareness. The Academy’s recording facilities were Since the Covid-19 crisis, this element of thoroughly redeveloped as part of our your education has become even more theatre construction project. In addition to crucial, and it is our aim that you will leave filming many orchestral and other public the Academy as a fully rounded, creative events, provision for student recordings has and adaptable musician, with the tools been greatly increased. and know-how to gain employment in good times and bad. We offer talks on a During term time, the David Josefowitz comprehensive range of practical subjects, Recital Hall, Angela Burgess Recital Hall and including preparing professional documents, Duke’s Hall are available (when not in use for auditioning well, how to get funding, working teaching or public events) for ‘unattended’ with online content, personal recording student recordings using high-quality built- techniques, self-employed finances and how in cameras and microphones. The video to practise effectively. We also consider all recording process is easy to use – students your creative and career options, with talks are loaned a tablet with a one-button- and workshops on effective programming, press app. Files can be accessed online orchestral life, working with promoters, and immediately after recording. producing and creating your own projects. Alongside our lectures and events, there For students wishing to work with an are one-off sessions throughout the year engineer, many audio recording sessions focusing on more specialised areas, such are available at St Mark’s, a short walk from as West End work, writing for video games, the main building. Sessions are allocated TV and film, and the improvising musician. on a monthly basis.

28 STUDENT LIFE Our main performance spaces are the From concert halls Duke’s Hall, our flagship 350-seat concert venue; the David Josefowitz Recital Hall, to practice studios, which was built in 2001; and the fabulous Susie Sainsbury Theatre and Angela Burgess you’ll be working in Recital Hall, which opened in 2018. spectacular spaces STUDENTS ALSO BENEFIT FROM: where many great • Outstanding teaching and practice studios and rehearsal and lecture rooms careers began • Further practice studios in our custom-built suite at Cross Keys Close, a short walk away The Academy’s buildings combine historic elegance with contemporary architecture • Use of nearby St Mark’s Church and cutting-edge technology. • Dedicated professional recording services Most of your studies will take place in our • Our well-equipped library striking Edwardian building, which dates • The Academy Museum, which hosts from 1911, and a Regency terrace designed regular research events and includes by in the 1820s. on-site instrument workshops • An excellent canteen serving healthy and affordable meals • A friendly bar

STUDENT LIFE 29 The Susie Sainsbury Theatre and Angela YOUR STAGE Burgess Recital Hall opened in 2018, following one of the most ambitious building and renovation projects in the history of the AWAITS Academy. The new spaces have won many industry awards, including three RIBA awards (most notably, London Building of the Year) We look forward to and a World Architecture Award. hearing your music The 309-seat theatre and 100-seat rooftop recital hall include professional-standard fill our award-winning recording facilities and the very latest in new technologies, ensuring that they will continue theatre and recital hall to be fit for purpose long into the future. These spaces, together with 14 refurbished practice and dressing rooms, a large refurbished jazz room, five new percussion studios and a control suite for the audiovisual recordings department, have significantly enhanced the Academy’s facilities.

30 STUDENT LIFE A superbly rebuilt and enlarged theatre, beautifully finished in cherry wood, not unlike Glyndebourne inside and blessed with excellent acoustics

The Times

STUDENT LIFE 31 FIND KNOWLEDGE Our library holds historical collections of international significance. It’s the perfect place to immerse yourself in the past and discover ideas for the future

Whether you’re an undergraduate or IT SERVICES postgraduate student, you’ll find everything Technology plays a vital role in supporting you need for your day-to-day lessons, your studies. Our drop-in IT Service Desk recitals and research in our Library. It will help you set up your email account, contains over 200,000 items, including connect to wifi and access our range of remarkable collections of performance services. You will be able to get Office 365 materials – 16th-century lute books in for free on your devices and book practice the Robert Spencer Collection, autograph rooms from your phone between classes. manuscripts by Purcell, Sullivan, Vaughan Williams, and other leading Eduroam, the free education and research composers, and marked scores from the wifi network, is available in all our buildings, collections of Henry Wood, , and when connected, you can print John Barbirolli, , Otto wirelessly from your device and access our Klemperer and Charles Mackerras. The range of digital resources. We also have a professional library staff will help you to number of computer suites for when your make the most of these valuable resources. phone just doesn’t cut it.

The Orchestral Library has approximately 4,000 sets of parts, constantly augmented with new acquisitions. Important research collections include orchestral sets from the libraries of Henry Wood and . Students can also apply for access to the University of London Library and the British Library.

32 STUDENT LIFE FIND INSPIRATION A violin once played to Marie Antoinette, Purcell’s original score of The Fairy Queen, a Viennese piano with six pedals. Welcome to a treasure trove of musical inspiration

Since its foundation in 1822, the Academy We also hold artworks, performance has acquired important collections of materials, manuscripts and other objects, musical instruments, many of which are many of which belonged to such influential available to students on request. figures as Yehudi Menuhin, Robert Spencer, , and Henry The Rutson Collection contains examples by Wood. These collections offer students Stradivari and Amati, as well as other unique unique insights into the creative processes Italian instruments. The Becket Classical of great musicians and help to inform our Collection and the Spencer Collection of knowledge of performance practice. lutes and guitars offer fascinating material for researchers and period performers. Over There is a practice space in the Strings the years, other important Italian instruments Gallery, giving ensembles an opportunity and examples of the French, German, to rehearse with an informal audience. English and Dutch schools have been added. Classes, seminars and events often take We also commission instruments from place in the galleries, surrounded by today’s most gifted instrument makers for exhibits. Students can also become gallery our unique Calleva Collection. In total, we assistants, a paid role designed to fit around hold over 200 fine stringed instruments and their studies. more than 150 bows.

The Academy Museum displays many of these instruments alongside historic keyboards dating from 1600 to 1920 by makers such as Broadwood, Pleyel and Erard, which students can apply to play.

STUDENT LIFE 33 Our Students’ Union is here to ensure everyone is supported and represented throughout their time at the Academy

MUSICIANS, UNITED

Our Students’ Union (SU) plays a key role in and regular yoga sessions. As a member Academy life, and every enrolled student institution of the University of London, we is automatically a member. Whether you’d also have access to hundreds more societies like to join a specific club, need advice from and clubs – but if you still can’t find what a friendly face or want to make sure you you’re looking for, we can help you set up don’t miss out on the best social events (or your own. maybe all three!), we’re here for you. Working alongside the Students’ Union We start the year with Freshers’ Week, President are four student representatives – with other social highlights including the Undergraduate Rep, Postgraduate Rep, the Christmas Party and Summer Ball. International Rep and Events and Societies We hold regular jazz jams in the bar and Rep. Together, they ensure that students’ canteen areas, with pub quizzes, film voices are heard at all levels of the Academy. nights and therapy dog days also taking The SU President attends all boards and place throughout the year. We have active committees to make sure any concerns, LGBTQ+ and BAME societies, a football team however big or small, are addressed.

34 STUDENT LIFE ALL TOGETHER NOW

SPECIAL SUPPORT Every student here If things get tough, it’s important to know where to turn. This may be your teacher or is backed by a Head of Year/Tutor, but there are also trained counsellors to whom you can talk about strong network that any aspect of your life. They will also be able to refer you to specialist external resources recognises the person as appropriate. as well as the musician We believe in a preventative approach to performance-related injury by teaching Student wellbeing is critical. We want you excellent technique and pointing you towards to make the most of your time here and a range of therapeutic disciplines, including establish good habits that will help you in the individual Alexander Technique lessons. If future. Our courses are designed to develop physical issues arise, we can put you in touch your ability to thrive in the music profession with a range of medical specialists through and sustain your physical and mental health our uniquely close relationship with the throughout your career. We have a strong charity Help Musicians. network of experienced staff to help you through your studies and we dedicate Students with specific learning needs can significant resources to this area. get practical support (including assistance with funding applications, where relevant) Your Head of Year (for undergraduates), from our Disability Advisor. We also have Tutor (for postgraduates) and Principal Study an Additional Support Tutor, who can Teacher will give you advice and guidance. arrange specialist tuition and work with They are supported by your Head of you to develop strategies that will help your Department and Head of Programme, and by musical learning. the Dean of Students, Deputy Principals and Principal, all of whom take a close interest in Our specialist English Language Support the quality of your experience at the Academy. Tutors can help international students improve their communication skills. In all our courses, regular time is set aside Some students will be invited to attend an to focus on the practical things that will English Language Welcome Week before help you frame your career, from the start of the academic year. We provide entrepreneurial skills and forging your weekly language classes for students who professional identity to maintaining a healthy, need regular assistance, and a Help Desk balanced lifestyle and dealing with the for those who require language support for pressures that inevitably arise. their written work.

STUDENT LIFE 35 Welcome to a city where international influences converge – a magnet for the world’s best performers and a continual source of inspiration

London is one of the most beautiful, vibrant, performing in venues across the city, diverse and exciting cities in the world. Living or head to one of the many , and studying here is an experience unlike any galleries, clubs, bars, parks or museums. other. With the best culture, entertainment and nightlife on your doorstep, one thing you Whatever your passions and interests, in can guarantee is that you’ll never be bored. London you will find somewhere to enjoy them and people to share them with. London is brimming with both history and innovation, and the Academy is situated at the heart of it all. Regent’s Park is just around the corner, and within walking distance are I love the cultural Wigmore Hall, Oxford Street, the theatres of the West End and the diverse bars of Soho. richness of London Jump on a Tube or bus and in 20 minutes you can be enjoying the buzz of the South and the diversity Bank or the eclectic mix of market stalls, food and live music in Camden. of the Academy’s Creative inspiration is everywhere. Take a international break from your studies to see world-class soloists, bands, orchestras and singers community

36 STUDENT LIFE CAMDEN MARKET

KINGS PLACE LONDON ZOO

REGENT’S PARK BRITISH LIBRARY 40 mins 30 mins 20 mins

MARYLEBONE STATION THE BRITISH MUSEUM

PADDINGTON WALLACE COLLECTION STATION WIGMORE HALL

NATIONAL GALLERY TRAFALGAR HYDE PARK SQUARE TATE MODERN LONDON BIG BEN EYE ROYAL ALBERT HALL BUCKINGHAM V&A MUSEUM PALACE

STUDENT LIFE 37 FIND YOUR PLACE

INTERNATIONAL STUDENTS HOUSE (ISH) We’ll help you plan This charity offers affordable accommodation for students from your future in London, a variety of universities and institutions. ISH is on Great Portland Street, very including finding the close to the Academy.

right place to live There are other private halls of residence across London, as well as hostels, lodgings, The sheer size of London can make moving homestays and house shares. For advice here seem a daunting prospect, but don’t on searching for a property, dealing with worry – our staff are on hand to help estate agents, private landlords, deposits, students and prospective students with a rent, references, contracts and more, wide range of accommodation, including: see our guides to accommodation at ram.ac.uk/accommodation. UNIVERSITY OF LONDON (UoL) INTERCOLLEGIATE HALLS All current and future Academy students The largest community of Academy students are eligible for free advice on private live in UoL’s Lillian Penson Hall, which is only accommodation and house hunting two Tube stops or a short bus ride from from the UoL Housing Services (ULHS). the Academy. They have a large database of available accommodation – both whole properties and individual rooms.

38 STUDENT LIFE REACHING OUTWARDS

Our aim is always to attract the best from every background

Our alumni and friends contribute generously each year to provide financial support to students like you. In fact, about a third of all the scholarship funds we award come from donations, and every effort is made to increase the amount available to students each year.

Entrance Scholarships (except for Gap Year and Year Abroad courses) are merit based, and are awarded following a live audition in the UK or at one of our overseas audition centres (page 95). Applicants who require financial support may also apply for means-tested bursaries after audition.

FINANCIAL HARDSHIP Students who are experiencing financial hardship during their time at the Academy can apply for help through the Dean of Students.

STUDENT LIFE 39 OUR DEPARTMENTS

40 OUR DEPARTMENTS We are encouraged not just to become great musicians but to think about our future. I like the fact that we are treated as young professionals rather than students

OUR DEPARTMENTS 41 ACCORDION

Become a confident, creative performer with the HEAD OF ACCORDION support of our friendly community OWEN MURRAY Administrator: Karen Ingram In 1986, the Royal Academy of Music became the first +44 (0)20 7873 7380 British conservatoire to introduce teaching for the classical [email protected] accordion. The department has been a pioneering force ever ram.ac.uk/accordion since, developing new repertoire and producing some of the world’s most successful accordion players. The Head of Accordion, Owen Murray, is himself a celebrated performer, dedicated teacher, recording artist and international soloist VISITING PROFESSORS with experience in all aspects of accordion performance. OF ACCORDION Friedrich Lips Students and professors work together in a lively and creative Cao Xiaoqing environment. As part of your course you will perform solo repertoire, hone technical skills, form VISITING PROFESSOR ensembles and connect to the wider musical world. OF BANDONEON Mario Stefano Pietrodarchi The accordion is thoroughly integrated into the life and work of the Academy. Our undergraduate and postgraduate students enjoy countless collaborations with Academy composers and performers of other instruments.

42 OUR DEPARTMENTS I consider all of my students to be unique, and it is that very uniqueness that I strive to develop. A copy, no matter how good, is worthless; the original is priceless

Owen Murray, Head of Accordion

OUR DEPARTMENTS 43 BRASS

Follow in the footsteps of recent alumni, who perform ARTISTIC DIRECTOR AND in top ensembles and hold principal orchestral positions HEAD OF BRASS around the world MARK DAVID Administrator: Alice Kelley The Academy’s Brass Department is widely considered +44 (0)20 7873 7320 to be one of the leading conservatoire departments in [email protected] the world. We offer individual lessons with our team of ram.ac.uk/brass distinguished professors and visiting professors, who are active at the highest professional level, an unparalleled range of masterclasses with the many internationally renowned artists who visit regularly, and a rich orchestral and chamber music programme.

As well as receiving the essential musical and technical grounding in the core repertoire, our undergraduate and postgraduate students take advantage of a wide range of performance opportunities. Collaborations with prestigious venues across London, partnerships with orchestras, and competitions – both internal and external – will help you make the most of your time at the Academy and prepare you for a fulfilling career in music.

Working with such talented and motivated students makes my role at the Academy an exciting, challenging and fulfilling one. Seeing them achieve the success they deserve is a rewarding experience

Mark David, Head of Brass

44 OUR DEPARTMENTS INTERNATIONAL PROFESSORS Trombone VISITING PROFESSORS Horn Horn Roger Montgomery tenor trombone Radovan Vlatković natural horn Dudley Bright Katy Woolley Martin Owen tenor trombone David Pyatt Matthew Gee Trumpet Michael Thompson tenor trombone Eric Aubier Chair Bob Hughes Trombone bass trombone Jörgen van Rijen Chair Keith McNicoll bass and contrabass trombone Lower Brass Trumpet Peter Moore Rex Martin Paul Beniston tenor trombone Jeroen Berwaerts PROFESSOR IN RESIDENCE Mark David Tuba Jeroen Berwaerts Head of Brass Rex Martin Robert Farley Lee Tsarmaklis SENIOR TUTOR natural trumpet, cornetto Euphonium and OF BRASS John Hutchins Bass Trumpet Bob Hughes natural trumpet James Maynard Mike Lovatt Derek Watkins Serpent and Ophicleide Chair of Trumpet Stephen Wick Will O’Sullivan Gareth Small ENSEMBLE IN RESIDENCE Septura

OUR DEPARTMENTS 45 CHORAL CONDUCTING

Enhance your musicianship, technique and professional HEAD OF CHORAL CONDUCTING skills on our two-year postgraduate course PATRICK RUSSILL Administrator: Sam Batchelor Our distinctive degree is the UK’s longest-established +44 (0)20 7873 7405 specialist course in conducting for choirs. It covers a wide [email protected] range of sacred music for both concert and liturgical ram.ac.uk/choralconducting events, as well as selected secular repertoire. With expertise in conducting, rehearsal and baton techniques, choral repertoire, vocal technique and aural skills, our professors will ensure that you graduate with the tools you’ll need for VISITING PROFESSORS an active and diverse career. Roland Börger David Hill The Academy’s location in the centre of London, at the James O’Donnell heart of the British choral tradition, provides an enviable learning environment and enables us to collaborate closely TEACHING STAFF with leading professional, amateur and collegiate choirs. Alexander Ashworth vocal technique We offer choral conducting as a principal study at Paul Brough postgraduate level only. At undergraduate level, it is technique and interpretation offered as an optional choir-training class. performance classes Ruth Byrchmore My role is to draw students aural skills Sian Edwards into the modern realities symphonic repertoire and skills of the choral conducting Cathal Garvey baton technique profession as well as the Esther Jones rich British traditions of pedagogy Patrick Russill choral musicianship Head of Choral Conducting

Patrick Russill, Head of Choral Conducting

46 OUR DEPARTMENTS OUR DEPARTMENTS 47 COMPOSITION & CONTEMPORARY MUSIC

Develop your individual style and musical personality HEAD OF COMPOSITION with a rich schedule of project-based work PROFESSOR PHILIP CASHIAN Administrator and Project Our collaborative degree courses offer opportunities for Manager: Emily Mould performance and recording in a wide range of contexts. +44 (0)20 7873 7379 [email protected] Our undergraduate course is shaped to give you a strong ram.ac.uk/composition foundation in compositional technique, whether your interests lie in writing for concert, media and film, staged productions or electronic music.

At postgraduate level, our demanding courses comprise a full schedule of project work, including workshops, performances and recordings of student compositions. Over the past year, the Composition Department has staged at least 20 concerts of new works, both inside and outside the Academy.

Courses are taught by dedicated teachers and active composers who are engaged in a broad range of compositional activities.

RIGHT: Sir Harrison Birtwistle works with students in the Duke’s Hall

48 OUR DEPARTMENTS VISITING PROFESSORS SUPPORTING STUDIES Hans Abrahamsen Dr Philip Dawson Oliver Knussen Chair Dr Gareth Moorcraft of Composition Paul Morley Sir Harrison Birtwistle HONORARY James Newton Howard RESEARCH FELLOWS Andrew Norman Dr Tansy Davies Bent Sørensen Ryan Wigglesworth Richard Rodney Bennett Professor of Music

PROFESSORS I chose the Academy for Dr Rubens Askenar its unrivalled opportunities, Gary Carpenter including weekly one-to-one Prof Philip Cashian composition lessons with Head of Composition Dr Edmund Finnis such respected composers as Helen MBE David Sawer, Edmund Finnis Morgan Hayes David Sawer and Gary Carpenter

OUR DEPARTMENTS 49 CONDUCTING

Immerse yourself in our friendly, collaborative HEAD OF CONDUCTING environment and benefit from regular coaching from SIAN EDWARDS leading conductors Administrator: Sam Batchelor +44 (0)20 7873 7405 The Academy’s postgraduate Conducting degree is one [email protected] of the most respected in the world. By focusing on a ram.ac.uk/conducting small, high-quality intake, we are able to offer students many opportunities to rehearse and perform in different settings, from two-piano workshops and intimate chamber ensembles to full symphony orchestra. TEACHING STAFF Ruth Byrchmore The course begins with technical and rehearsal skills, aural training and musicianship followed by opportunities to integrate your work into other Sian Edwards departments, including early music performance, opera, Head of Conducting contemporary music, and education and outreach. Prof Raymond Holden contextual studies in performance We offer a two-year course of principal-study conducting practice and performance history at postgraduate level leading to an MA or MMus. We Colin Metters have also launched a one-year Continuing Professional Professor Emeritus Development Diploma aimed at professional musicians of Conducting who want to move from their own specialism into Patrick Russill conducting. At undergraduate level, you can study choral repertoire and skills conducting as a second subject, starting with introductory classes, which you can continue as an intermediate or advanced elective.

RIGHT: Klemperer Chair of Conducting, Semyon Bychkov, during a residency with the Czech Philharmonic at the Academy

50 OUR DEPARTMENTS It was without doubt thanks to the top-of-the-line education I received that I was able to dip straight into intense professional work as Assistant Conductor of the Hallé

Jonathon Heyward, alumnus

OUR DEPARTMENTS 51 GUITAR

Broaden your horizons with a wide range of performance HEAD OF GUITAR opportunities and access to exceptional resources MICHAEL LEWIN Administrator: Alice Kelley The Academy is recognised worldwide as a leading centre +44 (0)20 7873 7320 for the study of the classical guitar at undergraduate, [email protected] postgraduate and doctoral levels. ram.ac.uk/guitar

Our comprehensive curriculum and unique musicological resources help students to reach the highest standards as soloists, ensemble players and teachers. Professorial VISITING PROFESSORS expertise covers every aspect of guitar performance, from David Russell the concert platform to the theatre, ballet, opera house Fabio Zanon and recording studio, as well as specialisms in the main historical periods. PROFESSORS Christoph Denoth Each year you will experience masterclasses, lectures voice and guitar and concerts by distinguished visiting artists, luthiers and composers, and have regular opportunities to perform. guitar ensembles The promotion of new music for the guitar also forms Michael Lewin an integral part of our department’s work, as does our Head of Guitar collaboration with other departments on innovative projects. Timothy Walker voice and guitar The Academy is the custodian of the Spencer Collection, which includes important lutes, guitars, books and CONSULTANTS manuscripts. The Calleva Foundation’s loan scheme gives CBE students access to instruments made by some of today’s OBE finest luthiers.

52 OUR DEPARTMENTS Michael [Lewin] was incredible because he never stopped me from expressing myself the way I wanted to, but he always helped me express myself better

Miloš Karadaglić, alumnus and President of Alumni

OUR DEPARTMENTS 53 HARP

Work closely with your peers and professors in our HEAD OF HARP tight-knit, thriving community KAREN VAUGHAN Administrator: Karen Ingram The Harp Department’s undergraduate and postgraduate +44 (0)20 7873 7380 courses cover solo, and chamber repertoire and [email protected] all aspects of orchestral playing. From Baroque to jazz, ram.ac.uk/harp our harpists are trained to take on anything the music profession requires.

The harp is thoroughly integrated into the life and work of VISITING PROFESSORS the Academy, with students collaborating regularly with OF HARP composers and other instrumentalists, and new works being Milda Agazarian commissioned every year by the Harp Department. Our Anne-Sophie Bertrand professors include celebrated performers and recording artists. You will have the opportunity to work with specialists Isabelle Moretti in orchestral and contemporary repertoire, early harp, jazz Isabelle Perrin and opera as well as distinguished visiting professors. Erika Waardenburg Academy harpists have won prizes in international VISITING PROFESSOR competitions and many alumni hold orchestral and OF JAZZ HARP teaching positions worldwide. Park Stickney

54 OUR DEPARTMENTS PROFESSORS Sue Blair I had four amazing years Orchestral Tutor here and inspirational Prof Professor Emerita of Harp teachers who led Frances Kelly and guided me. The early harp Alison Martin standard of playing now Opera Tutor is inspiring Charlotte Seale LRAM teaching diploma, Catrin Finch, technique classes alumna and visiting professor Helen Tunstall contemporary music studies, sight-reading Karen Vaughan Head of Harp, orchestral studies Catherine White Suzy Willison-Kawalec orchestral projects

OUR DEPARTMENTS 55 HISTORICAL PERFORMANCE

Further your musicianship, historical awareness and HEAD OF HISTORICAL individual creativity in our vibrant department PERFORMANCE PROFESSOR Many of the outstanding performers in the current MARGARET FAULTLESS generation of historical performance specialists are Administrator and Project graduates of the Academy’s Historical Performance Manager: Bethan White Department. As a student here, you too will learn how +44 (0)20 7873 7310 to forge your career path in this exciting part of the [email protected] professional music world. ram.ac.uk/historical

Our department has a lively atmosphere and collaborative approach. Undergraduate and postgraduate students work alongside world-class professors and performers on CHAIR a wide range of repertoire (including contemporary OF BAROQUE VIOLIN repertoire for recorder players) and participate in a variety of activities including continuo, dance and education workshops, to develop an in-depth understanding of WILLIAM CROTCH CHAIR historical performance practice. Laurence Cummings keyboards, coaching The department has a high profile across the Academy. Performance opportunities include the acclaimed VISITING PROFESSORS ‘Bach the European’ concert series, Baroque opera, Daniel Brüggen orchestral projects, chamber music and consort playing. recorder This invaluable performance experience will equip you to Philippe Herreweghe meet the demands of the professional world. Peter Holtslag recorder The Academy houses an extensive collection of fine historical instruments and specially commissioned modern copies, which are available for students to use.

RIGHT: Visiting Professor Philippe Herreweghe rehearses with Academy students

56 OUR DEPARTMENTS PROFESSORS Keyboard Clarinet Strings Carole Cerasi Eric Hoeprich Pavlo Beznosiuk harpsichord, fortepiano Bassoon violin, viola Pawel Siwczak Andrew Watts Prof Margaret Faultless harpsichord, basso continuo violin, Head of Brass Recorder Historical Performance Robert Farley Anna Stegmann Prof Elizabeth Kenny natural trumpet, cornetto lute, theorbo Flute John Hutchins Jonathan Manson natural trumpet cello, viola da gamba, Roger Montgomery Oboe viol consort natural horn Katharina Spreckelsen Nicolette Moonen Stephen Wick violin, viola serpent, ophicleide Chi-chi Nwanoku OBE double bass Jane Rogers viola The Historical Performance violin Department is full of musicians Matthew Truscott violin I grew up listening to, and it is incredibly humbling to learn from them

OUR DEPARTMENTS 57 JAZZ

Learn from an outstanding faculty of teachers HEAD OF JAZZ whose experience covers the breadth of contemporary NICK SMART jazz practice Administrator and Project Manager: Emily Mould Our Jazz Department has produced an outstanding array +44 (0)20 7873 7379 of versatile, creative and highly employable jazz musicians [email protected] since its foundation in 1987. ram.ac.uk/jazz

We support students to find their unique creative voice, which will speak equally across performance, improvisation and composition. We do this through full and varied JAZZ ARTIST IN RESIDENCE undergraduate and postgraduate courses that cover many Dave Holland aspects and forms of jazz and its meeting points with other genres. VISITING PROFESSOR Craig Taborn We foster an encouraging environment in which to learn and experiment with this extremely broad art form, equipping PROFESSORS you with all the skills you’ll need as a working musician. Bass (electric/acoustic) Thanks to the scale, focus and personal approach of our Jeremy Brown training, students get frequent performance opportunities. Laurence Cottle Our regular ensemble projects and annual Jazz Festival offer Orlando le Fleming students the chance to work intensively with some of the Calum Gourlay finest jazz players and composers in the world. Tom Herbert Jasper Høiby Michael Janisch

Drum kit Martin France James Maddren Ian Thomas Jeff Williams

LEFT: Jazz Artist in Residence, Dave Holland, 58 OUR DEPARTMENTS working with students As well as receiving an incredibly high-quality education, I’ve developed great friendships with some of the best jazz musicians of our age in the country

Guitar Nathaniel Facey Voice Chris Montague Pete Churchill Mike Outram Gareth Lockrane Lauren Kinsella John Parricelli Nia Lynn Mike Walker Julian Siegel Norma Winstone Martin Speake Jazz history/ Rhythmic skills critical listening Barak Schmool Keith Nichols Trombone Composition and arranging Pete Churchill Martin Speake Gordon Campbell Barnaby Dickinson Creative technology Piano Trevor Mires Aram Zarikian Tom Cawley aural and transcription Repertoire/improvisation Kit Downes Trumpet Tom Cawley Steve Fishwick Pete Churchill Mike Lovatt Kit Downes Nick Smart Gareth Lockrane Head of Jazz Nick Smart Saxophone James Allsopp Vibes Jazz supporting studies Jim Hart Nikki Iles

OUR DEPARTMENTS 59 MUSICAL THEATRE

Hone your skills and prepare for a fulfilling career in HEAD OF MUSICAL THEATRE musical theatre with our one-year postgraduate course DANIEL BOWLING Company Manager: The Musical Theatre Department functions as a theatre Katie Blumenblatt company. Rigorous training will give you an in-depth Assistant Company Manager: understanding of the profession and equip you with the Louise Flew skills you need to succeed. Events Manager: Gillian Schofield +44 (0)20 7873 7483 Our day-to-day acting, voice, speech and movement [email protected] tuition is taught by current practitioners, offering a direct ram.ac.uk/mth link to the industry, with projects and masterclasses being led by top professionals.

We have created an environment in which individuality is VISITING PROFESSOR nurtured and diversity embraced. Opportunities to perform OF MUSICAL THEATRE throughout the year are a priority, enabling students to Claude-Michel Schönberg learn by doing. Our aim is to create artists with a voracious appetite for investigation and ongoing discovery. SONDHEIM PROFESSOR OF MUSICAL THEATRE Recent graduates have been cast in productions including VOCAL STUDIES Hamilton and The Prince of Egypt in the West End, Mary Hammond Les Misérables in London and on tour in the UK and USA, and the UK tours of Miss Saigon, Avenue Q and The Phantom of the Opera.

I moved from New York to London to study musical theatre at the Academy and it changed my life – I would do it all again in a heartbeat

60 OUR DEPARTMENTS Paige Smallwood, alumna TEACHING STAFF Milo Twomey REPERTOIRE COACHES Dylan Brown acting through song Kevin Amos acting Lloyd Wylde Tom Brady Josh Darcy voice Alfonso Casado Trigo improvisation Ron Crocker Ryan Gover SINGING TEACHERS Caroline Humphris tap Ross Campbell Sam Kenyon George Hall John Evans Stuart Morley Project Director, Kevin Fountain history of musical theatre Alison Guill PANEL OF ADVISERS Sam Kenyon Ann James Pippa Ailion MBE LRAM teaching diploma Mary King Olga Masleinnikova Tim Richards Chrissie Cartwright devising and movement James Spilling Sir Trevor Nunn for actors Matt Ryan Matt Ryan MUSICAL DIRECTOR Project Director PROGRAMME TUTORS VISITING THEATRE DIRECTORS, Anne-Marie Speed Daniel Bowling MUSICAL DIRECTORS Head of Voice, Mark Warman AND SPECIALISTS spoken word David White See ram.ac.uk/mth Karl Stevens for recent visitors dance

OUR DEPARTMENTS 61 OPERA

Prepare for a career on the world’s most prestigious stages HEAD OF OPERA BRENDA HURLEY Royal Academy Opera (RAO) functions as a small opera Company Manager: company and a bridge to the profession. The two-year Michael Wardell postgraduate course*, which includes invaluable +44 (0)20 7873 7383 performance experience, is for exceptionally talented [email protected] singers with the potential and aspiration to succeed as ram.ac.uk/opera principals at the highest levels. Generous bursaries are available for RAO students.

Our highly focused study environment includes one-to-one EMERITUS tuition, group classes and opera scenes, as well as three PROFESSOR OF MUSIC fully staged productions per year, which are regularly Prof attended by representatives from opera companies, artist agencies and the national press. VISITING PROFESSORS John Mark Ainsley You will work closely with distinguished in-house professors Sir and international visiting artists, and will also benefit from Barbara Bonney acting and movement classes, language coaching and classes in many other areas of professional development. Visiting Professor *For undergraduate training, see Vocal Studies (pages 74-75). Sir Simon Keenlyside Angelika Kirchschlager The standard of performances is Anthony Legge absolutely amazing – not just the Sir Arthur Sullivan Visiting Professor singing but the acting, the stagecraft, Dame Felicity Lott the whole bundle. Royal Academy Ann Murray Dennis O’Neill Opera students are being given Brindley Sherratt everything they need to succeed John Shirley-Quirk Professor

Dame Felicity Lott DBE

62 OUR DEPARTMENTS PRINCIPAL STUDY PROFESSORS Nuccia Focile Michael Pollock Jonathan Papp Andrew Foster-Williams Jonathon Swinard Principal Operatic and Glenville Hargreaves Repertoire Coach Yvonne Howard STAGECRAFT AND LANGUAGES Philip Sunderland Caitlin Hulcup David Antrobus Head of Preparatory and Mary Nelson Head of Acting Vocal Faculty Opera Kate Paterson Maria Cleva Ingrid Surgenor MBE Elizabeth Ritchie Italian ​Principal Operatic and Giles Underwood Florence Daguerre Repertoire Coach Marie Vassiliou de Hureaux Mark Wilde French HEAD OF VOCAL STUDIES Prof Mark Wildman Mandy Demetriou Kate Paterson Henry Cummings Distinguished movement Professor of Singing Johanna Mayr PROFESSORS OF SINGING Catherine Wyn-Rogers German Alexander Ashworth Victoria Newlyn Catherine Benson OPERA COACHES movement Richard Berkeley-Steele Alexander Crowe Isabella Radcliffe Michael Chance CBE David Gowland Italian Raymond Connell Iain Ledingham Ryland Davies Steven Maughan

OUR DEPARTMENTS 63 ORGAN

Collaborate with distinguished soloists, holders of HEAD OF ORGAN prestigious cathedral posts and dedicated teachers PROFESSOR DAVID TITTERINGTON As an undergraduate or postgraduate student, you will Administrator: Sam Batchelor learn the crucial aspects of playing, from solo repertoire +44 (0)20 7873 7405 in a wide variety of styles to improvisation, harmonium [email protected] and organology. Frequent performance opportunities are ram.ac.uk/organ complemented by study trips abroad to play important historic instruments. Many of our organists hold cathedral or church positions that complement their studies with real-world experience. VISITING PROFESSORS Franz Danksagmüller The Academy has two mechanical-action practice organs Susan Landale built by Flentrop Orgelbouw and Peter Collins, and daily E Power Biggs Professor Emerita access to our main teaching instrument, the four-manual James O’Donnell classical organ by Rieger in St Marylebone Parish Church. In 2013, a three-manual symphonic organ built by Orgelbau ORGAN PROFESSORS Kuhn was installed in the Duke’s Hall, with generous support Bine Bryndorf from Sir Elton John and Ray Cooper. We also own a rare Prof David Titterington 1763 Neapolitan organ by Michelangelo and Carlo Sanarica, Head of Organ which is housed in nearby St Mark’s Church.

SUPPORTING SKILLS Gerard Brooks Organists immerse themselves improvisation in repertoire beyond the Anne Marsden Thomas art of teaching familiar and collaborate with William McVicker other instrumentalists across organology Anne Page the Academy harmonium Alexander Walker Professor David Titterington, specialist keyboard and Head of Organ aural skills

64 OUR DEPARTMENTS OUR DEPARTMENTS 65 PIANO

Find your artistic identity, develop your technique and HEAD OF PIANO become a well-rounded 21st-century musician PROFESSOR JOANNA MACGREGOR CBE The Academy’s innovative Piano Department is led by Administrator: Sam Batchelor the internationally renowned pianist Joanna MacGregor. +44 (0)20 7873 7405 Our intelligent, proactive and professional students are [email protected] given plenty of opportunities to perform publicly, and to ram.ac.uk/piano compete in major international competitions. Academy piano professors give weekly lessons and include celebrated performers, recording artists and festival directors. Visiting professors also teach one-to-one lessons and give masterclasses and lectures throughout the year.

In addition to a substantial programme of solo, concerto and chamber repertoire, we encourage you to curate performances, commission new music and collaborate across artistic boundaries – an approach that lies at the heart of our annual Summer and Autumn Piano Festivals.

My aim is to encourage young pianists to think imaginatively, be daring, and create opportunities for themselves

Professor Joanna MacGregor CBE, Head of Piano

66 OUR DEPARTMENTS VISITING PROFESSORS PROFESSORS ENSEMBLE COACHING Sulamita Aronovsky Ian Brown Pascal Devoyon Prof Christopher Elton Prof Michael Dussek Broadwood Visiting Chair Professor Emeritus of Piano Nicola Eimer of Piano William Fong Diana Ketler Richard Goode Ian Fountain Florian Mitrea Rustem Hayroudinoff John Reid Steven Osborne Diana Ketler Amandine Savary Pascal Rogé Prof Joanna MacGregor CBE Andrew West Yevgeny Sudbin Head of Piano Tessa Nicholson Neil Brand Carole Presland film improvisation Tatiana Sarkissova Adrian Brendel Amandine Savary chamber music Colin Stone Mei-Ting Sun

OUR DEPARTMENTS 67 PIANO ACCOMPANIMENT

Develop the highest standards of musicianship and pianism HEAD OF PIANO through the study of ensemble repertoire ACCOMPANIMENT PROFESSOR MICHAEL DUSSEK Led by experienced performer and teacher Professor Michael Administrator: Sam Batchelor Dussek, the Piano Accompaniment Department offers +44 (0)20 7873 7405 postgraduate students the chance to work with colleagues [email protected] from all areas of the Academy’s musical life and be taught by ram.ac.uk/piano-accompaniment some of the world’s leading collaborative pianists.

In addition to weekly concerts, there are numerous performance opportunities, including Academy Song Circle, PROFESSORS which has given annual recitals at Wigmore Hall for the past James Baillieu 13 years and has performed at the Oxford Lieder and Leeds Ian Brown Lieder festivals, both of which are directed by alumni of the Prof Michael Dussek course. There are also opportunities to participate in Opera Head of Piano Accompaniment Scenes with Royal Academy Opera. Nicola Eimer Malcolm Martineau OBE Numerous former students now pursue exceptionally Joseph Middleton successful careers as song recitalists, chamber musicians, John Reid soloists, repetiteurs, conductors, teachers and festival Andrew West directors all over the world.

RIGHT: Recent alumnus Keval Shah has been appointed Lecturer of Lied at the Sibelius Academy

68 OUR DEPARTMENTS The Academy’s piano accompanists benefit hugely from the vibrant musical culture that permeates every part of this institution

Professor Michael Dussek

OUR DEPARTMENTS 69 STRINGS

Enjoy almost limitless creative scope to establish your HEAD OF STRINGS niche and launch a varied and rewarding career PROFESSOR JO COLE Administrators: Emily Good, The Strings Department provides a structured framework Jess Cresswell for undergraduate and postgraduate study. During your Strings Chamber Music time with us, you will receive intensive training in the crucial Co-ordinator: Gwenllian Llyr disciplines of solo performance, chamber music and +44 (0)20 7873 7395 orchestral playing. We will nurture your talent and help you [email protected] to become a versatile, creative and practical musician. ram.ac.uk/strings

Our highly distinguished professors and visiting professors range in age from their 20s to their 80s, encompassing an incredible breadth of knowledge and boasting an VISITING PROFESSORS extraordinary musical lineage. Lorenza Borrani Visiting Professor of Students have access to instruments from the Academy Chamber Orchestras Museum’s extensive collection, from newly minted modern Nikolaj Szeps-Znaider instruments to ‘golden-period’ Stradivari violins. The Viotti Visiting Professor Academy is unique in also having a professional team of Music of luthiers permanently on site.

Violin Our approach is to create grounded, rounded musicians James Ehnes whose progression into the music profession is natural, Chloë Hanslip informed and positive. Daniel Hope Tasmin Little OBE Roman Simovic Igor Yuzefovich Visiting Professor of Violin and Orchestral Studies

70 OUR DEPARTMENTS Viola Viola Juan-Miguel Hernandez Hélène Clément Garth Knox Yuko Inoue Garfield Jackson Hartmut Rohde Martin Outram Su Zhen Paul Silverthorne James Sleigh Cello Jon Thorne Mario Brunello Colin Carr Cello Steven Doane Prof Jo Cole Marquis de Corberon Head of Strings Professor of Cello Lionel Handy Li Jiwu Ben Hughes Professor of Cello and Sung-Won Yang Orchestral Studies Josephine Knight Double Bass Alfredo Piatti Chair Matthew McDonald of Cello Božo Paradžik Mats Lidström Joel Quarrington John Myerscough Christoph Richter PROFESSORS Hannah Roberts Violin Nadège Rochat Remus Azoitei Felix Schmidt David Smith Diana Cummings Prof David Strange Joshua Fisher Professor Emeritus Michael Foyle of Strings Rodney Friend Mayumi Fujikawa Double Bass Clio Gould Tom Goodman Giovanni Guzzo Graham Mitchell Philippe Honoré Senior Professor of Richard Ireland Double Bass So-Ock Kim Dominic Seldis Hu Kun The walls of the Sophie Langdon CHAMBER MUSICIAN Academy are quite Jack Liebeck IN RESIDENCE Professor Levon Chilingirian porous. People from of Violin the profession come Nicholas Miller TEACHING QUARTET György Pauk IN ASSOCIATION in and students Ede Zathureczky Doric Quartet go out. There’s no Professor of Violin Alex Redington PIANO ‘them and us’ Alexander Sitkovetsky ACCOMPANIMENT Maureen Smith SUPPORT Professor Jo Cole, Jonathan Stone Małgorzata Garstka Head of Strings Nicole Wilson Ying Xue

OUR DEPARTMENTS 71 TIMPANI & PERCUSSION

Explore the complex world of timpani and percussion HEAD OF TIMPANI playing at the highest level AND PERCUSSION NEIL PERCY The Academy’s Timpani and Percussion Department has Administrator: Alice Kelley an international reputation for outstanding training. Our +44 (0)20 7873 7320 teachers include soloists, principal players and leading [email protected] session musicians, all of whom understand the priorities ram.ac.uk/percussion and challenges of an ever-changing profession.

Your employability is central to our mission – whether you come to us as an undergraduate or a postgraduate, you will INTERNATIONAL VISITING develop all the skills you need for your lifelong musical and PROFESSORS professional development through a course that offers a Peter Erskine variety of experience across related instruments. drum set Marinus Komst By focusing on a small number of talented students, we timpani are able to provide ample resources and dedicated practice Joe Locke spaces, as well as a wide range of performance opportunities vibraphone and projects – one of the reasons our graduates go on to have rewarding and diverse careers. PROFESSORS Timpani Antoine Bedewi Our ethos has always been Principal Timpani, BBC Symphony Orchestra to keep standards high and Simon Carrington numbers relatively low. Add to Principal Timpani, London Philharmonic Orchestra this our incredible line-up of Benedict Hoffnung professors and the prospects Baroque Timpani, Academy of Ancient Music of high achievement take off William Lockhart Principal Timpani, Neil Percy, Head of Timpani and Percussion

72 OUR DEPARTMENTS Percussion Andrew Barclay Principal Percussion, London Philharmonic Orchestra Neil Percy Head of Timpani and Percussion; Principal Percussion, London Symphony Orchestra Sam Walton Co-Principal Percussion, London Symphony Orchestra

Drum Set, Latin American and Ethnic Percussion Paul Clarvis David Hassell

Marimba, Solo Repertoire and Concerti

Marimba Eric Sammut

OUR DEPARTMENTS 73 VOCAL STUDIES

Train for an international career alongside singers HEAD OF VOCAL STUDIES of every voice type from all over the world KATE PATERSON Senior Administrator: Chris Loake Vocal Studies students are driven, dedicated and +44 (0)20 7873 7444 versatile, with a reputation for outstanding quality and [email protected] professionalism. Our singing professors are committed ram.ac.uk/vocal teachers with considerable experience as professional performers and a wide range of industry knowledge and insight.

VISITING PROFESSORS We offer Principal Study at undergraduate and postgraduate John Mark Ainsley levels. As a member of our department you will benefit Sir Thomas Allen from exceptional opportunities and one-to-one lesson Barbara Bonney time. Our comprehensive training includes vocal and Susan Bullock performance technique, stagecraft, repertoire, historical Marjorie Thomas performance, new music, audition preparation and Visiting Professor language tuition, preparing students for high-level work on stage and in concert. Sir Simon Keenlyside Angelika Kirchschlager Students and recent graduates have found success in top Anthony Legge concert venues, with opera companies in the UK and Sir Arthur Sullivan abroad, and in international competitions. Visiting Professor Dame Felicity Lott Ann Murray Dennis O’Neill My vocal teacher has helped Brindley Sherratt me build up my confidence. John Shirley-Quirk Professor She provides not only support, but also honesty and tough love when necessary

74 OUR DEPARTMENTS PROFESSORS OF SINGING Valeria Racco Marcus van den Akker Opera Role Coach Alexander Ashworth Catherine Benson Opera Role Coach Richard Berkeley-Steele Marek Ruszczynski Michael Chance CBE repertoire Raymond Connell Andrew Smith Ryland Davies Opera Role Coach Nuccia Focile Philip Sunderland Andrew Foster-Williams Head of Preparatory Glenville Hargreaves and Vocal Faculty Opera Yvonne Howard Ingrid Surgenor MBE Caitlin Hulcup Principal Operatic and Mary Nelson Vocal Repertoire Coach Kate Paterson Anna Tilbrook Head of Vocal Studies repertoire Elizabeth Ritchie Lada Valešová Giles Underwood Opera Role Coach Marie Vassiliou Chad Vindin Susan Waters repertoire Mark Wilde Prof Mark Wildman SONG, STAGECRAFT Henry Cummings Distinguished AND LANGUAGES Professor of Singing David Antrobus Catherine Wyn-Rogers Head of Acting Gavin Carr HEAD OF OPERA English and American Brenda Hurley song, oratorio Maria Cleva REPERTOIRE COACHES Italian James Baillieu Florence Daguerre repertoire, Song Circle de Hureaux James Cheung French repertoire Mandy Demetriou Alexander Crowe movement Opera Role Coach Regina Gössel Matthew Fletcher German repertoire Alessandro Grottola Victoria Newlyn Christopher Glynn Italian movement repertoire Karen Halliday Isabella Radcliffe Janet Haney movement Italian repertoire Caitlin Hulcup James Simmons Iain Ledingham opera audition acting Opera Role Coach, repertoire, repertoire Richard Stokes Italian recitative, choirs Esther Jones professor of Lieder, Joseph Middleton vocal ensemble Song Circle repertoire, Song Circle Yvonne Kenny Nicole Tibbels Jonathan Papp Handel and Mozart French Principal Operatic and Johanna Mayr Mark Wilde Vocal Repertoire Coach German English song

OUR DEPARTMENTS 75 WOODWIND

Unlock your potential with a bespoke programme HEAD OF WOODWIND of study and performance KEITH BRAGG Administrator: Alice Kelley Our professors have decades of experience as internationally +44 (0)20 7873 7320 renowned soloists, seasoned chamber musicians and [email protected] principal players in London’s top orchestras, and have trained ram.ac.uk/woodwind many of the finest woodwind players in the UK and around the world.

Our undergraduate and postgraduate courses offer hugely varied opportunities, from one-to-one lessons with world-class soloists to full symphony orchestra concerts, equipping students with the skills they need to enter the music profession at the highest level.

Students study solo repertoire, hone technical skills, form chamber music ensembles and learn the crucial aspects of playing in a professional orchestral woodwind section. We will encourage you to perform frequently and help you to establish and promote your own chamber groups.

The instrumental and academic tuition is exceptional, and it is a privilege to be surrounded by such accomplished musicians

Hannah Morgan, alumna

76 OUR DEPARTMENTS VISITING PROFESSORS Karen Jones Angela Malsbury Flute Helen Keen Chi-Yu Mo Emily Beynon piccolo E flat clarinet Denis Bouriakov Patricia Morris Christopher Richards Paul Edmund-Davies piccolo Mark van de Wiel June Scott Oboe Saxophone Jonathan Kelly Oboe Simon Haram Tom Blomfield Huw Wiggin Clarinet Sue Böhling Andrew Marriner Bassoon cor anglais Patrick Messina Jonathan Davies Christopher Cowie Simon Estell Jill Crowther PROFESSORS contrabassoon cor anglais Flute Fraser Gordon Ian Hardwick William Bennett contrabassoon Celia Nicklin Keith Bragg Amy Harman Melanie Ragge Head of Woodwind Robin O’Neill Timothy Rundle Samuel Coles John Orford Michael Cox Clarinet Kate Hill Laurent Ben Slimane LRAM (ART OF TEACHING) Sophie Johnson bass clarinet Simon Carr piccolo Timothy Lines

OUR DEPARTMENTS 77 OUR COURSES

78 OUR COURSES After researching the Academy’s courses and ethos, I knew it was the right place for me. I liked the idea of being responsible for my own projects, while still receiving specialist support

OUR COURSES 79 ACADEMY COURSES Our curricula are packed with variety and creative opportunities

Whether you’re coming to study on our four-year BMus course, starting your postgraduate studies on our MA or MMus courses, pursuing post-’s training on our Professional Diploma or Advanced Diploma courses or undertaking an extended research project for a PhD, you will be among like-minded musicians who share your commitment and talent.

PATHS TO SUCCESS Our curricula offer a finely tuned mix of principal study, practical activities, artist development and academic components. Courses are designed to give you everything you need for a successful career in music, with enough flexibility to meet the individual aspirations of each student, while also covering the realities of being a professional musician.

PROVEN TRACK RECORD Our emphasis on one-to-one lessons and small- group teaching and our tailored approach to artist development result in one of the best employability records of any British university.

INSPIRING RESOURCES Our library, collections and museum provide a wide range of excellent, regularly updated resources that support teaching and research and enable young musicians to find their own artistic identity in the context of the musical riches of the past.

IGNITE YOUR CURIOSITY All our courses benefit from a vibrant research culture, to which students at all levels contribute. We focus in particular on creative practice, whether through artistic collaboration, the creation of new texts or the investigation of performance traditions. Artistic and intellectual curiosity are given every opportunity to flourish.

80 OUR COURSES OUR COURSES 81 UNDERGRADUATES Tailor your studies to suit your musical interests on our four-year degree course

The Bachelor of Music (BMus) combines focused study in HEAD OF UNDERGRADUATE performance, composition or jazz with artist development PROGRAMMES and academic studies. Every aspect is designed to help you DR ANTHONY GRITTEN realise your full potential and to prepare you for a career in music. BMus Heads of Year are available to discuss all aspects of your programme of study and personal wellbeing, as well as how to balance your busy timetable. BMUS HEADS OF YEAR With responsibility for both academic and pastoral welfare, Ruth Byrchmore Heads of Year work closely with your Head of Department, Dr Adriana Festeu lecturers and professors to monitor your overall progress. John Hutchins Martin Outram BMus students’ study programmes can be diverse, but they all share three core elements:

PRINCIPAL STUDY This is the focal point of your musical development and includes individual lessons as well as a combination of masterclasses, performance classes, chamber music, concerts and everything else you do in your specialism. The focus for performers is on gaining experience in public concerts. You will have at least one hour of one-to-one tuition per week in your principal study and may also take a related study (for example, piccolo for a flautist). You will be assessed during the year through technical testing and chamber music, and at the end of each year in a recital.

ARTIST DEVELOPMENT A successful career requires more than pure talent. You will need to be able to draw on a whole range of artistic and entrepreneurial skills, and recognise and make the most of opportunities when you see them. We offer a wide range of activities, events and modules for you to hone your skills in areas such as studio recording and editing techniques, self-promotion and marketing, writing CVs, making funding applications, understanding the music business and working in arts management.

82 OUR COURSES ONE-YEAR COURSES

You will also have the opportunity to We offer several one-year courses for get involved in Open Academy (pages undergraduates, which enable you to study 90-91), which has an active programme at the Academy as an enrolled member of of community and participation electives the student body without committing to a and projects. If you want to develop your full degree course with us. teaching skills, you can study for the Academy’s teaching licence, the LRAM. GAP YEAR Spend a year at the Academy before taking ACADEMIC STUDY up a full-time undergraduate place at Academic study is essential to your another institution. creative and intellectual development. Core modules in Aural, Analysis and ORGAN FOUNDATION History reinforce your awareness as This is for gap-year students preparing a listener, develop your interpretative for an Oxbridge organ scholarship, or for abilities and extend your knowledge those who want to develop organ and and imagination. choral direction skills before starting formal university or conservatoire training. Electives encourage you to pursue your individual interests as you prepare EXCHANGE for a musical career. Some class The Academy has exchange agreements electives encourage exploration of with conservatoires across the world. specific repertoire and development Exchanges are normally for a full academic of technical skills, while others enhance year, although shorter placements may your artistic skills. Many encourage be possible. you to engage in self-directed independent study. STUDY ABROAD This allows non-UK students studying for a music degree elsewhere to benefit from a conservatoire education as part of their degree studies at their ‘home’ institution. The standard placement length is one academic year, but shorter periods are possible (minimum one academic term). For more information, visit ram.ac.uk/one-year.

OUR COURSES 83 POSTGRADUATES

Work in a uniquely collaborative performance environment designed to help you achieve your ambitions

Postgraduate study is a vital part of the Academy’s musical HEAD OF POSTGRADUATE culture – we have the largest body of postgraduate PROGRAMMES musicians in the UK. We offer a wide range of opportunities, PROFESSOR NEIL HEYDE including a broad selection of degrees and diplomas and professional development courses, as well as a thriving research culture.

SENIOR POSTGRADUATE The creative buzz is second to none, and our aim is to TUTOR AND ASSOCIATE HEAD ensure that you will have significant opportunities to work OF RESEARCH under the direction of world-leading musicians. We provide Dr David Gorton individual tutorial supervision for all students, and our vibrant postgraduate community provides excellent SENIOR POSTGRADUATE TUTOR networking opportunities. Dr Sarah Callis Whether you want to focus solely on performance, study a POSTGRADUATE TUTORS specialism or incorporate research into your studies, we offer Dr Amy Blier-Carruthers a variety of highly flexible study programmes to suit your Roderick Chadwick individual interests and career ambitions. Dr Briony Cox-Williams Dr Mei-Ting Sun Dr Jessica Walker Anna Wolstenholme

84 OUR COURSES POSTGRADUATE DEGREES

MASTER OF ARTS IN PERFORMANCE MASTER OF MUSIC IN PERFORMANCE OR COMPOSITION (MA) OR COMPOSITION (MMUS) The Master of Arts in Performance (including The Master of Music in Performance orchestral or choral conducting) or (including orchestral or choral conducting) Composition is the standard postgraduate or Composition has the MA at its core and course for students who want to focus adds a Master’s project. This is the standard on their principal study and build their postgraduate course for composers and professional skills. The MA is designed to give normally takes two years, but in certain cases you maximum flexibility to develop your own students can take it in one year. performance initiatives and form a bridge to a professional career. It is normally a two- Your final Master’s project can be a concert year course, but in certain cases students with commentary, a recording-based can be allowed to take it in one year. project, a dissertation or a combination of these. You will be supported by a team MASTER OF ARTS IN of specialists and encouraged to pursue MUSICAL THEATRE (MA) project work that is directly useful to your A one-year course of intensive full- creative development. A concert based time study for Musical Theatre specialists around your own research, compositions (page 60-61). or performance interests might include a practical focus on the delivery of the event, or you might pursue more conceptual areas in a substantial written document.

I wanted to improve my skills as a performer, but also build a long-lasting career. I knew the Academy was the best place to achieve both

OUR COURSES 85 POSTGRADUATE DIPLOMAS

PROFESSIONAL DIPLOMA (PROF DIP) The Professional Diploma offers you the chance to explore a specialism at postgraduate level in preparation for the next stage of your career development. Applicants normally hold a postgraduate degree in performance or composition, and must put forward a proposal outlining their specialism and what they hope to achieve.

CPD DIPLOMA IN CREATIVE MUSIC LEADERSHIP OR CONDUCTING The Continuing Professional Development (CPD) Diploma is an opportunity for professional musicians to gain valuable skills, knowledge and experience in creative music leadership or in conducting (pages 50-51). CML students have opportunities to be part of Open Academy projects (pages 90-91), and you will also be offered project placements with partner organisations. In the final term you will be supported to design, lead and evaluate your own project.

ADVANCED DIPLOMA IN PERFORMANCE (ADV DIP) The Advanced Diploma in Performance is designed to provide high-level professional performance training within a largely self- directed one-year programme of study. You will be mentored by an Academy professor and receive one-to-one lessons throughout the year. The openness of this structure will allow you to plan and execute a programme of study that is tailored to your individual artistic needs. Applicants for the Advanced Diploma will usually hold a postgraduate degree in performance.

ADVANCED DIPLOMA IN OPERA (ADV DIP) Royal Academy Opera offers a two-year postgraduate course of intensive training for opera singers (pages 62-63).

86 OUR COURSES OUR COURSES 87 HEAD OF Prof Elizabeth Kenny POSTGRADUATE Dean of Students RESEARCH PROGRAMMES Dr Emily Kilpatrick Prof Neil Heyde Prof Joanna MacGregor CBE ASSOCIATE HEAD Pursue your Head of Piano OF RESEARCH Gerard McBurney Dr David Gorton creative and Honorary FACULTY Research Fellow intellectual Hans Abrahamsen Dr Frances Palmer Kathryn Adamson Honorary passions with Librarian Research Fellow Dr Rubens Askenar Daniel-Ben Pienaar our MPhil/PhD Christopher Austin Curzon Lecturer in Dr George Biddlecombe Performance Studies research degrees Honorary Christopher Redgate Research Fellow Honorary Our research degrees are aimed at Dr Amy Blier-Carruthers Research Fellow performers and composers with Dr Timothy Bowers Patrick Russill highly developed skills and focused Honorary Head of career aspirations. You will work with Research Fellow Choral Conducting a supervisor and a team of creative Dr Sarah Callis David Sawer staff on a substantial research Dr Gary Carpenter Dr Olivia Sham project. This will normally be driven Prof Philip Cashian Honorary by your activity as a performer or Head of Composition Research Fellow composer, but will also require Roderick Chadwick Dr Jennifer Sheppard critical context and reflection. Dr Jonathan Clinch Peter Sheppard Skærved Dr Briony Cox-Williams Viotti Lecturer in The Academy offers a two-year Prof Margaret Faultless Performance Studies MPhil and a three-year PhD Head of Dr Alyn Shipton degree in Performance Practice or Historical Performance Dr Robert Sholl Composition. MPhil students will Dr Edmund Finnis Nick Smart usually apply to transfer to PhD Prof Jonathan Head of Jazz in their second year of study. For Freeman-Attwood CBE Janet Snowman both MPhil and PhD, you will be Principal Bicentenary allocated 30 hours of supervision Prof Jane Glover Research Fellow per year. You may apply for a further Felix Mendelssohn Dr Mei-Ting Sun year to complete or write up your Emeritus Professor Prof David Titterington portfolio or dissertation at a reduced of Music Head of Organ rate. Supervision hours are divided Helen Grime MBE Dr Jessica Walker between academic and practical Dr Anthony Gritten Nicholas Walker supervision, as negotiated with the Head of Undergraduate Huw Watkins Postgraduate Programmes Board Programmes Honorary and your supervisor. Morgan Hayes Research Fellow Dr Alexander Hills Julian West Prof Raymond Holden Head of Open Academy Dr Roy Howat Ryan Wigglesworth Prof Timothy Jones Sioned Williams Deputy Principal Honorary Dr Zubin Kanga Research Fellow Honorary Dr George Zacharias Research Fellow

88 OUR COURSES THE ART OF COLLABORATION

The force of creative and collaborative investigation runs through the Academy

The Academy is a community of artefacts, including fine stringed instruments collaborators. We encourage creative ranging from Cremonese masterpieces to interaction between students and staff, examples by today’s leading makers, historic between performers, composers, instrument keyboard instruments, musical iconography, makers, scholars and practitioners in other composers’ manuscripts, and a wide range art forms, and between the Academy and of performance materials annotated by the wider world. We support projects that iconic 19th- and 20th-century performers. strike new ground in musical practices, engage with new audiences, re-evaluate and build on musical traditions, and have an impact in the wider world. The outcomes I’ve had space to of our research take many different forms, experiment with my including compositions, performance materials, public performances, new own projects, while instrumental technologies, recordings, also developing as a broadcasts, websites, and other types of public advocacy for innovative practice, as composer within a well as books and scholarly articles. community of thoughtful

Our research culture also draws on our and creative musicians globally significant collection of musical

OUR COURSES 89 OPEN ACADEMY Develop your skills and find new meaning in your music making

Open Academy, our community and participation HEAD OF OPEN ACADEMY department, works with around 6,000 people beyond JULIAN WEST our enrolled students and staff each year. Administrator: Mateja Kaluza +44 (0)20 7873 7442 As the importance of participatory and community [email protected] music programmes continues to grow both in the UK ram.ac.uk/openacademy and internationally, it is crucial that our students have the opportunity to obtain skills and experience in this exciting and expanding area of work. Open Academy electives are available at both undergraduate and VISITING LECTURERS AND postgraduate levels, offering seminars and workshops PROJECT LEADERS alongside hands-on experience in the field. We also Isabelle Adams offer fellowships to graduating students who will be John Barber the future leaders of this work. Rosie Bergonzi Sam Glazer Working closely with our artistic and community partners, Hazel Gould our projects include workshops with children and Gawain Hewitt young people in mainstream schools and SEND (special Tim Keasley educational needs and disability) settings, disabled Jessie Maryon Davies people, those receiving treatment in hospitals, residents James Moriarty and staff of care homes, and people attending day centres. Phil Mullen Hannah Opstad Through Open Academy you will not only develop James Redwood your musicianship, skills and confidence, but also Tony Robb make connections with people from all walks of life and Jackie Walduck reflect upon the contribution you can make to society through your artistry. Caroline Welsh Tim Yealland Suzi Zumpe

90 OUR COURSES OUR ARTISTIC PARTNERS INCLUDE: Wigmore Hall Glyndebourne Opera English National Opera English Touring Opera Spitalfields Music I’ve learnt so

OUR COMMUNITY much about the PARTNERS INCLUDE: Camden Music Hub transformative power Tri-borough Music Hub Resonate Arts of music. Whether Royal London Hospital Chelsea and Westminster Hospital you’re 5, 25 or 95, City Lit Awards for Young Musicians music can break down barriers and forge connections

OUR COURSES 91 YOUR FUTURE STARTS HERE

92 YOUR FUTURE STARTS HERE The idea of visiting London for my audition was very intimidating, but the Academy came across as such a friendly place – I felt at home straight away

YOUR FUTURE STARTS HERE 93 • C ome to a concert or masterclass to experience the Academy’s friendly THE NEXT STEP atmosphere and be inspired by our music making. We hold over 500 events every Every great musical year, many of which are free of charge. • M eet our students and find out more journey starts with a about studying here at one of our Open Days. Go to ram.ac.uk/opendays for single step. If you’re more information. • T ake a virtual tour of the Academy at interested in joining ram.ac.uk/about-us/facilities. us, here’s what to • A sk the relevant department or our Admissions Team if you have any do next questions – email [email protected] or call +44 (0)20 7873 7393. • C heck which course is right for you by Details might change, visiting ram.ac.uk/study/programmes. so please check our website • A pply for Academy courses through for all the latest information UCAS Conservatoires. Our ID is R53. To join the Academy in September 2021, about applications, auditions the application deadline for most studies and Open Days. is 6pm (UK time) on 1 October 2020.

My Academy audition was such a positive experience. The staff and students were so welcoming – they really made me feel like I would be part of a family

94 YOUR FUTURE STARTS HERE READY TO AUDITION? We’d love to hear you perform and learn more about what makes you tick musically. Here’s how to make it happen

We’re here to seek out the promise of today DISABILITY and create the virtuosos of tomorrow – the Candidates are recruited on the basis of audition process helps us to do that. We their musical abilities and potential, and know it might seem daunting, but we’re we welcome enquiries and applications very friendly! It’s not so much about what from students with disabilities. Contact our you already know as what we think you’re Disability Advisor at [email protected] for capable of achieving, and whether we can more information about the support services help you on that journey. It’s also a chance in place for students with specific learning for you to find out if we’re the right fit for you. difficulties and disabilities.

If you’re thinking of applying, we recommend WHERE AND WHEN the following: If you live in Europe, auditions take place in London on dates between 30 November • D o your research before your audition – and 11 December 2020, except for browse our website and social media Conducting, Choral Conducting, Repetiteur, channels and, if you can, come to an the Continuing Professional Development Open Day and talk to our students. Diploma and Research Degrees, auditions and interviews for which begin in February • A pproach the audition as you would a 2021. See ram.ac.uk/audition for full details. concert – arrive in good time, make sure you have everything you will need and We recommend that international candidates dress comfortably. audition in London, but some principal • B e prepared – if you’re not ready, it might studies can be auditioned at audition centres be better to wait a year. in North America and in Beijing, Hong Kong, Seoul, Shanghai, Singapore, Sydney, Taipei • T ry to enjoy yourself – we want you to and Tokyo. do your best. • P ut the audition in perspective. Whatever You can find the audition requirements the outcome, the world is big and the for your principal study on our website possibilities endless if you have ability at ram.ac.uk/departments. and perseverance.

YOUR FUTURE STARTS HERE 95 TUITION FEES*

BMUS PROFESSIONAL DIPLOMA UK/EU students £9,250 (Musical Direction and Coaching) Non-EU students £24,100 UK/EU students £11,350 Non-EU students £22,350 MA and PGCERT (standard two-year course) UK/EU students £12,450 ADVANCED DIPLOMA Non-EU students £24,950 (Performance) UK/EU students £11,150 MA and PGCERT (intensive one-year course) Non-EU students £22,250 UK/EU students £14,950 Non-EU students £27,450 ADVANCED DIPLOMA (Opera) UK/EU/non-EU students £17,000 MA AND PGCERT (Musical Theatre) UK/EU students £16,100 CONTINUING PROFESSIONAL Non-EU students £19,850 DEVELOPMENT DIPLOMA UK/EU students £11,150 MA AND PGCERT Non-EU students £22,250 (Musical Direction and Coaching) UK/EU students £13,750 MPHIL/PHD Non-EU students £25,100 UK/EU students £6,850 Non-EU students £15,000 MMUS (standard two-year course) PhD writing-up fee £1,500 UK/EU students £13,450 Non-EU students £28,050 STUDY ABROAD (incoming) EU students £15,950 MMUS (intensive one-year course) Non-EU students £23,250 UK/EU students £15,950 Non-EU students £30,550 CHESTER ROAD GAP YEAR/ORGAN FOUNDATION EU students £12,250 PROFESSIONAL DIPLOMA Non-EU students £23,250 E UK/EU students £11,150 L C IR C R Non-EU students £22,250 E N IN

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Y O cost loans. UK and EU postgraduate loans are also The UK government has not yet RR EST B RK E W E RUNSWICK PLACE REGENT’S AC L RR P PARK TE L available for Master’s and Research degrees. These confirmed the new arrangements YORK GA T EN T C BAKER ALLSOP E S MADAME P RE STREET TUSSAUDS ARK C are funded by the UK government and administered for EU students who arrive in the ST

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BAKER ST PL H AD OR NE RO ST G through the Student Loans Company. The Academy UK after 31 December 2020. MARYLEBONE TLAND P REET MARYLEBO CHURCH provides means-tested fee waivers for UK and EU Tuition fees for 2021/22 will be ONE HI

LA BMus students from low-income households. For listed at ram.ac.uk/fees as soon CE more information, visit ram.ac.uk/financial-support. as they are available. MARYLEB

96 YOUR FUTURE STARTS HERE GET IN TOUCH To find out more about the Academy, go to our website at ram.ac.uk

SWITCHBOARD: PRINCIPAL STUDY +44 (0)20 7873 7373 DEPARTMENTS

Admissions, fees and visas: Accordion: [email protected] [email protected] Brass: Disability Advisor: [email protected] [email protected] Choral Conducting: [email protected] Students’ Union: Composition: [email protected] [email protected] Conducting: Accommodation: [email protected] [email protected] Guitar: [email protected] Harp: [email protected] Historical Performance: [email protected]

CHESTER ROAD Jazz: [email protected] Musical Theatre: [email protected] E L C IR Opera: C R E N IN [email protected]

REGENT’S PARK Organ: Y O [email protected] R

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Piano Accompaniment:

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O E [email protected] UTE ERRACE R CIRC L TER T ULS ACE EAST ERR Strings: E YORK T MAC FA

Y O RR [email protected] EST B RK E W E RUNSWIC REGENT’S AC L RR P PARK TE L YORK GA T Timpani and Percussion: EN T C BAKER ALLSOP E S MADAME P RE STREET TUSSAUDS ARK C K PLACE ST [email protected]

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BAKER ST PL AD H NE RO ST G MARYLEBONE Vocal Studies: REET MARYLEBO CHURCH ONE HI [email protected]

LA CE Woodwind: MARYLEB [email protected]

YOUR FUTURE STARTS HERE 97 98 YOUR FUTURE STARTS HERE MUSIC HAS THE POWER TO MOVE THE WORLD – A POWER THAT GOES BEYOND WORDS, THE POWER TO CONSOLE, MOTIVATE, DELIGHT AND UNITE

YOUR FUTURE STARTS HERE 99 IMAGE CREDITS

David M Bennett Philipp Rathmer Page 15 (Elton John) Page 14 (Evelyn Glennie)

Giorgia Bertazzi Sheila Rock Page 17 (Robin Ticciati) Page 17 (Semyon Bychkov)

Marco Borggreve Helen and David of Roscoe Rutter Page 17 (Pierre-Laurent Aimard) Pages 7, 8, 12, 14 (Duke’s Hall entrance), 16, 24, 28, 34, 37, 40-41, 43, 44, 47, 51, 53, 54, 55, 65, 66, 69, Marc Brenner 70, 71, 73, 75, 76, 77, 78-79, 80-81, 82, 85, 86-87, Page 61 89, 92-93, 94 Chris Christodoulou Adam Scott Pages 6, 15 (John Adams and Academy-Juilliard Pages 10-11, 15 (Susie Sainsbury Theatre and orchestra at BBC Proms), 22, 45 Angela Burgess Recital Hall), 30-31 Harry Cole Lars Skaaning Page 67 Pages 15, 17 (Hans Abrahamsen) Matthias Creutziger Matthias von der Tann Page 17 (Christian Thielemann) Page 17 (Trevor Pinnock) Benjamin Ealovega Jake Turney Page 17 (Sir Mark Elder and Page 15 (Sheku Kanneh-Mason) Edward Gardner) Wikimedia Commons Philip Gatward Page 14 (Arthur Sullivan, public domain), (Franz Pg 14 (Harrison Birtwistle) Liszt, part of the Portrait Collection Friedrich Lars Gundersen Nicolas Manskopf at the library of the Johann Pg 17 (Nikolaj Szeps-Znaider) Wolfgang Goethe-University Frankfurt am Main), (Myra Hess, public domain), (Henry Wood, public Michiel Hendryckx domain available at cdn.loc.gov/service/pnp/ Page 17 (Philippe Herreweghe) ggbain/36500/36534v.jpg), (Richard Strauss, Michael Johnson Wilhelm Willinger/public domain), (John Barbirolli, Front cover, pages 4, 18-19, 26-27, 38, 59, 84, creative commons attribution-share alike 3.0 95, 98-99 Netherlands, nationaalarchief.nl)

Keystone Press Agency Ltd Robert Workman Page 14 (Her Majesty Queen Elizabeth The Queen Pages 15 (Duke’s Hall), 17 (Laurence Cummings), Mother with Sir Thomas Armstrong and students) 56, 60, 63

Frances Marshall Pages 49, 50, 57, 68 DESIGN Piera Mungiguerra Johnson Banks Page 17 (Lorenza Borrani)

Riccardo Musacchio Page 17 (John Adams)

AW Musto Page 14 (Hanover Square)

Simon Jay Price Pages 15 (Academy entrance), 48

100 YOUR FUTURE STARTS HERE PATRON HM The Queen

PRESIDENT HRH The Duchess of Gloucester GCVO

PRINCIPAL Professor Jonathan Freeman-Attwood CBE

The Academy is a registered charity, number 310007, and a company registered with Companies House, number RC000438.

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