www.rcs.ac.uk We are appointing a new Principal The Royal Conservatoire of Scotland | We are appointing a new Principal

I’ve enjoyed my time at the marvellous Royal Conservatoire of Scotland enormously and intend to maintain our upward momentum over the coming year or so. My successor will be taking on one of the most stimulating and rewarding jobs in Scotland.

Professor John Wallace CBE

2 The Royal Conservatoire of Scotland | We are appointing a new Principal

Chairman’s Welcome

Thank you for expressing an interest in the post of Principal at the Royal Conservatoire of Scotland. The Royal Conservatoire’s current Principal, John Wallace CBE, will retire in September 2014 after twelve outstandingly successful years in office.

John Wallace will leave the Conservatoire in great shape. A new undergraduate curriculum was introduced in session 2012/13 which, at the same time as maintaining disciplinary focus and excellence, exploits the potential for interdisciplinary collaboration between and across the range of artistic disciplines offered by the Conservatoire, which includes every genre of the performing arts.

Our estate is world-class and our engagements with the Quality Assurance Agency for Higher Education tell us that, academically, we are a well-managed and effectively led institution. Applicant demand for our programmes is buoyant and, whilst we operate in the same challenging economic environment as many other higher education institutions, the Conservatoire’s financial head remains firmly above water.

The Conservatoire is now seeking an exceptional individual to succeed John Wallace, to build on his many and significant achievements and to enhance the Conservatoire’s international profile and reputation – all for the benefit of our students, current and future.

We look forward to hearing from you.

Lord Vallance of Tummel Chairman, Board of Governors

3 The Royal Conservatoire of Scotland | We are appointing a new Principal

The Royal Conservatoire of Scotland

The Royal Conservatoire of Scotland is Scotland’s national conservatoire. We are the nation’s only provider of conservatoire education in dance, drama, music, production and screen. Firmly rooted in Scotland, the Conservatoire is also resolutely international in outlook.

The history of the Royal Conservatoire can be traced back to the creation of the Glasgow Athenaeum in 1847.

From its inception, the Athenaeum offered classes in music and, in 1886, drama was introduced into its curriculum. Music proved to be so successful that, in 1890, a School of Music was formed as a discrete department of the Athenaeum. It was from the Athenaeum’s School of Music that the Scottish National Academy of Music was formed in 1929. Building upon that very firm foundation, the new Scottish National Academy of Music grew in prestige and, in 1944, its position as an Academy of international standing was recognized by King George VI, who approved that the prefix ‘Royal’ be added to the Academy’s title, making it the Royal Scottish Academy of Music.

1950 saw the creation in Glasgow of the College of Dramatic Art, which had the clear and focused aim of training actors and directors for the professional theatre. The College’s curriculum expanded quickly to include technical courses and, in collaboration with the University of Glasgow, diploma courses with a strong academic element.

It was in 1968 that the title of Royal Scottish Academy of Music and Drama (RSAMD) was adopted, reflecting the happy union of music and drama in a single institution.

The 1970s saw the introduction of the RSAMD’s first degree courses which, at that time, were validated by the University of Glasgow. In 1993/94, the RSAMD became the first UK conservatoire to be awarded its own degree awarding powers for taught degrees by the Privy Council.

Over the decades, new undergraduate and postgraduate programmes have been introduced so as to meet current and future needs – over the last 15 years these have included Scottish traditional music, film and television, musical theatre, jazz and, most recently, modern ballet. In 2011 the name Royal Conservatoire of Scotland was adopted to better reflect the extraordinary breadth of our curricular offer.

4 The Royal Conservatoire of Scotland | We are appointing a new Principal

The Conservatoire’s physical development has kept pace with its artistic and academic development. In 1987/88, the RSAMD moved from its original Victorian home to the splendid custom built building which we occupy today in central Glasgow. Ten years later, the Alexander Gibson Opera School, which provides rehearsal and coaching rooms, together with a stunning performance space, was opened and, in 2011 we moved into the splendid Speirs Locks Studios, which accommodates modern ballet and technical production. A new phase will open at Speirs Locks in 2014, providing additional large high-specification rehearsal and practice spaces.

Today, we are the UK’s only provider of conservatoire education in dance, drama, music, production and screen under the one artistic roof and one of the few conservatoires in the world to offer that range of activity. Our curricular offer extends from early years to PhD programmes.

60% of our students come from Scotland and we also recruit from some 50 countries world-wide, from New Zealand to Norway and from China to Canada. Consistently, around 95% of our graduates are in employment or further study six months after graduation. We celebrate the success of all of our graduates who make such a vital (in all senses of the word) contribution to our cultural life and to the creative industries. They are musicians, directors, singers, writers, composers, costume designers, set designers, animators, educators, actors, performance makers, producers, technicians … and more. They can be found all around the globe, in concert halls, theatres, opera houses, community and other social contexts, classrooms, film studios, production companies; indeed anywhere that performance is created.

Alongside our undergraduate and postgraduate programmes, we also offer an extensive range of pre-HE, access and short course provision, which represents a growing and increasingly important part of our activities.

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Learning and Teaching Research

Our curriculum is designed to: The Conservatoire’s distinctive research portfolio blends traditional research practices with practice- • develop excellence alongside high levels of reflection based artistic research, applied research, consultancy in all of our disciplines; and knowledge exchange. Our submission to the • foster the creative attitudes and skills needed for 2008 Research Assessment Exercise (RAE) included collaborative learning in and through practice; performances, compositions and other kinds of • enable students to take responsibility for managing scholarship in music, including applied research. The and evaluating their own learning; RAE panel found that 85% of the Conservatoire’s research • provide students with insights into a diversity of output in music artistic fields and experience of what is required to was of international ... a fantastic opportunity for BBC staff succeed in their individual arts practice; quality and 40% of to work with one of the country’s • develop the ability to use theoretical understanding that was assessed at to inform practice and practice to inform theory; either world-leading leading academic organisations and • enable students to make a contribution in the world or internationally- we have already seen the benefits in as artists, educators, advocates, and active citizens. excellent level. our programme-making from working That outcome is so closely with the staff and students of We are clear that the performing arts in the 21st century recognition of the the Royal Conservatoire. requires practitioners who are innovative, inter- cutting edge work disciplinary and collaborative artists, teachers and of our staff which, of Ken MacQuarrie technicians. Accordingly, the Conservatoire engaged course, enhances the Director, BBC Scotland in a comprehensive Curriculum Reform project which student experience resulted in a new undergraduate curriculum being through its positive introduced in session 2012/13. Our new curriculum impact on the retains the best of our traditional approach to learning curriculum. Detailed and teaching, including intense and intensive staff/ feedback on our RAE student contact time and the use of professional 2008 submission partnerships, combined with myriad performance included the following opportunities. It also offers greater opportunities for comment from the student-led artistic collaboration across and between RAE panel: disciplines; extended student choice at all levels and stages; individualised Learning Contracts, supported by “The predominant strength is undoubtedly in a network of Transitions Tutors and the opportunity of performance, where almost all the world-leading work-based learning outputs resided: this was a highly commendable and for all students. All of well-documented portfolio of practice as research. The The new curriculum will produce the indications are that strategy presents a strong case for a particularly focused independent, thinking artists who our new undergraduate approach towards research in a conservatoire context, will push the boundaries rather than curriculum is proving stressing the role of imaginative approaches towards people who will fit into an orthodoxy; to be a great success, research through performance and a commitment the Royal Conservatoire of Scotland which we look towards music in Scotland.” forward to building will be a crucible of innovation, highly on. Our postgraduate Research active staff share their knowledge, insights, connected to the creative economy. programmes will be and expertise through numerous projects and reviewed in session consultancies with our various artistic, community and Gillian Moore 2013/14. business partners. Head of Classical Music, Southbank Centre, London

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Performance fulfill their altruistic commitment to education and also help ensure that our graduates have developed the skills Performance is central to the student experience – in and insights required of future employers. essence, it is what the Royal Conservatoire does. Beyond that, our partners also benefit The Conservatoire is the busiest producing performing from the infusion of new ideas and fresh arts venue in Scotland and one of the busiest in the UK, energy which our students provide – sharing up to the presenting around 500 performances a year to a total minute thinking and new ways of doing things is a two- audience of some 40,000 people. Conservatoire students way process. also benefit from many performance opportunities in theatres, concert halls, community settings, festivals and Our current partners include: events all accross the UK and further afield. • BBC Scotland Partnerships • Edinburgh Festival Fringe • Red Note Ensemble The Conservatoire is fully integrated and well-connected • Royal Scottish National Orchestra with the creative industries and we manage a number of • Scottish Ballet partnerships, all of which help ensure that our graduates • Scottish Opera leave us equipped with the skills, knowledge and insights • Playwrights’ Studio, Scotland they will need in their • Traverse Theatre, Edinburgh We’ve worked hard with the Royal future careers. From • Arches, Glasgow Conservatoire to create a fantastic the Conservatoire’s • Citizens Theatre, Glasgow perspective, our • National Theatre of Scotland programme, which provides an exciting, various partnerships • Cockpit Theatre, London professional, safe yet challenging enrich the student • Shakespeare’s Globe Theatre, London environment where some of the best experience (our young singers can be nurtured and primary objective) The Conservatoire is also well-connected academically, encouraged as they begin their careers. and leverage the both nationally and internationally. The Conservatoire’s levels of ambition BEd Music programme is offered in partnership with the of our performance University of Glasgow and the University of St Andrews Alex Reedijk schedule. validates the Conservatoire’s PhD programmes. The General Director, Scottish Opera BA Scottish Music’s piping specialism is offered in From our partners’ partnership with the National Piping Centre and the point of view, their Conservatoire is currently developing joint programmes relationships with with Sabhal Mòr Ostaig. The Conservatoire operates the Conservatoire over 70 international exchange agreements.

7 The Royal Conservatoire of Scotland | We are appointing a new Principal

FINANCIAL INFORMATION

FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 JULY 2012 2012 2011 ‘£’000 ‘£’000 Income Funding body grants 9,476 9,698 Tuition fees and education contracts 4,812 3,988 Research grants and contracts 46 Other income 1,966 1,766 Endowment and investment income 243 196 Total Income 16,543 15,648

Expenditure Staff costs 10,613 10,170 Other operating expenses 4,590 4,149 Depreciation 1,027 949 Total Expenditure 16,230 15,268

Surplus on continuing operations 313 380 Transfer to accumulated income in endowment funds (22) Surplus for the year retained within general reserves 313 358

Balance Sheet as at 31 July 2012 Tangible assets 31,401 31,581 Investments 1,551 1,595 Total Fixed Assets 32,952 33,176

Pension (Liability)/Asset (1,722) 429 Endowment assets 7,397 7,528 Debtors 1,108 717 Cash at bank and in hand 1,262 1,959 Total current assets 2,370 2,676

Less: Creditors - amounts falling due within one year (1,243) (1,604) Net current assets 1,127 1,072 Total assets less current liabilities 39,754 42,205

Less: Provisions for liabilities and charges (622) (646) Net Assets 39,132 41,559 Deferred capital grants 29,037 29,359 Endowment funds Permanent 1,430 1,415 Expendable 5,967 6,113 7,397 7,528 Share capital 7 7 Revaluation reserve 1,037 1,024 Capital reserve 505 505 Revenue reserves 2,871 2,707 Reserves excluding pension reserve 4,413 4,236 Pension reserve (1,722) 429

Total Reserves 2,691 4,665 Total 39,132 41,559

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undergraduate and 82% undergraduate 907 postgraduate students 18% postgraduate Students from 53 countries 40% rest of the world 60% from Scotland

Annual ££££££££ turnover £16.2 million 124 support staff / 83 academic / 1500 Staff 1293 part time hourly paid/fee paid of research outputs ‘of 85% international quality’ (RAE 2008) * of our graduates in employment or 94% further study 6 months after graduation * of students either progressed 96% on course or graduated *Applications to admissions ratios 6:1 School of Music 12:1 School of Drama, Dance, Production and Screen 56% of our estate ‘as new’ 44% ‘fit for purpose’

Junior Conservatoire of Music, Music Centres, Music for Early Years, Short 2400 Courses, including CPD and Summer students Schools for all ages and stages

*2011/12 data

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GOVERNANCE AND MANAGEMENT

The Principal is an ex-officio member of the Board of The Principal convenes the Academic Board, which is Governors, which currently includes fifteen external responsible for the maintenance of academic standards, members and four elected staff and student members. quality assurance and enhancement and, under the The present Board is chaired by Lord Vallance of Tummel. general direction of the Board of Governors, the strategic The Board of Governors’ constitution and powers derive development of the Conservatoire’s academic portfolio. from statute. The Academic Board’s constitution and powers derive from statute. The Board of Governors has the ultimate responsibility for the Conservatoire’s strategic direction, the effective The Principal leads the Conservatoire Senior and efficient use of resource and the monitoring of Management Team (CSMT). The other members of the institutional performance. The Board meets five times CSMT are: a year and the Principal attends and reports to each of those meetings. Much of the Board’s business is • The Vice Principal conducted through its sub-committees which are: • The Deans of School • The Director of Finance and Estates • Academic Board • The Director of Human Resources • Buildings • The Director of Research and • Finance Knowledge Exchange • Health and Safety • The Secretary • Nominations • Remuneration The Conservatoire’s academic and artistic activities are managed through two Schools: The Principal is a member of each of these sub- committees. • School of Drama, Dance, Production and Screen • School of Music Uniquely in Scottish higher education, the Royal Conservatoire is a company limited by guarantee, with Support services are provided through: issued shares. The Principal is one of six shareholders, which include the Chairman and elected student and • Academic Administration and Support staff Governors. Although largely symbolic in nature, • Finance and Estates as they have no economic value, the Conservatoire’s • Human Resources shareholding represents a real commitment towards • Library and Information Services inclusive and accountable governance on the part of the Board of Governors.

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The Principal

The Principal is the senior officer of the Conservatoire. The Principal’s role is to provide the Conservatoire with strategic direction and leadership, and to position and represent the Conservatoire regionally, nationally and internationally. The Principal is highly visible throughout the Conservatoire community and regularly attends student performances.

The Principal ensures that the Conservatoire community shares a coherent vision and is accountable to the Conservatoire’s Board of Governors for the effectiveness, efficiency and integrity of all aspects of the Conservatoire’s activities. The Principal convenes the Academic Board, which is responsible for the maintenance of academic standards and the quality of the student experience and carries out important ceremonial duties.

The Principal is a Governor of the Conservatoire (and a shareholder in the Company) and is a member of a number of Board sub-committees. The Principal is the Conservatoire’s ‘ambassador in chief’ and is accountable for the use of public funds provided by the Scottish Funding Council for Further and Higher Education (SFC) and, in that context, is the Conservatoire’s ‘Accounting Officer’.

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Person specification: attributes and experience

The successful candidate will inspire confidence and trust and will be able to demonstrate:

• a distinguished track record in the performing arts and the capacity to engender respect across genres; • a combination of a sympathetic understanding of creative artists, especially of students and young performers, with a passionate belief in the value of education; • a strategic, global perspective and an ability to nurture and develop networks upon which to sustain partnerships nationally and internationally; • relevant senior management experience with a commitment to inclusivity, excellence and innovation, preferably in a higher education context, and the ability to handle complex issues energetically, tenaciously and decisively; • proven ambassadorial and communications skills and the ability to represent the Conservatoire and the sector at the highest levels, both in Scotland and internationally.

Role specification

Working closely with the Board of Governors, colleagues, students and a wide range of partners and stakeholders, the Principal’s main responsibilities will, under the general direction of the Board of Governors, include:

• defining an ambitious vision for the Conservatoire and promoting its values; • developing, and recommending to the Board of Governors, the Conservatoire’s Strategic Plan, which will realise the Conservatoire’s vision and ensure the Conservatoire’s long-term success; • implementing the Strategic Plan as approved, ensuring the effective and efficient management of the Conservatoire’s resources throughout the organisation, on a day-to-day as well as a long-term basis; • leading the Conservatoire Senior Management Team, fostering a culture of excellence, inclusivity and accountability throughout the Conservatoire; • ensuring that the Conservatoire complies with all terms and conditions of funding provided by the SFC and, as Accounting Officer, being accountable for the use of public funds provided by the SFC; • providing academic and artistic leadership for all aspects of the Conservatoire’s work – pre-HE, HE, and research – thereby enhancing the quality of the student experience, the standing of the institution and its reputation for excellence in performance; • chairing and providing leadership to the Academic Board, which is responsible for the overall planning, co- ordination, development and supervision of the academic work of the Conservatoire; • being highly visible to the Conservatoire community, inspiring staff and students to share in the Conservatoire’s vision and to contribute towards its achievement; • engaging with both students and staff through regular attendance at student performances; • engaging with key stakeholders externally, including the SFC, Scottish Government, national and international artistic and business partners, and other higher education institutions and organisations, developing collaborations nationally and internationally; • being an ambassador for the Conservatoire, and for education and the performing arts more generally, in national and international forums, thereby enhancing the Conservatoire’s profile and reputation.

12 TPA Dragon replaces the choir pic on p10 Can you put VV Music on p7

And if there’s any space anywhere else, use DFTV somewhere!

There should be a pic to replace the ballet pic on ‘The Principal’ page, but I don’t think it’s here – it’s a pic of an Asian girl at the piano.

Please can you number the pages on the next version as well?

Cheers Niall, and sorry for confusion!

A

The Royal Conservatoire of Scotland | We are appointing a new Principal

GLASGOW

Glasgow (from Gaelic, Glas-ghu meaning Dear Green Place) is one of the UK’s most energetic, friendly, and vibrant cities. 80,000 students live here, studying at three universities, the Glasgow School of Art and the Royal Conservatoire. The National Theatre of Scotland, the Citizens Theatre, the Tron It’s impossible not Theatre, the Royal Scottish to be awed by the National Orchestra, Scottish Ballet, Scottish Opera and vigour of Glasgow’s the BBC Scottish Symphony Orchestra are all resident cultural life in the city, which is also home to more than a dozen The Telegraph museums and galleries.

Glasgow is a UNESCO City of Music and part of the network of Creative Cities. It boasts a multitude of performance venues, including the Arches, the Royal Concert Hall, City Halls and the Barrowlands.

Higher education and the performing arts are therefore Scotland at its artsy, central to Glasgow’s identity and Glaswegians (native and riotous, high-octane, adopted) enthusiastically embrace and celebrate good-time best. the contribution which both make to the cultural, Lonely Planet economic and social life of this great city.

Glasgow is only 45 minutes by train from Scotland’s wonderful capital city, Edinburgh which, of course, hosts some of the world’s greatest arts festivals and with which the Conservatoire is developing an increasingly fruitful relationship.

The national park of Loch Lomond and the Trossachs is within a 45 minute drive of the city centre, with the breath-taking magnificence of the highlands and islands beyond.

For more information visit www.seeglasgow.com and www.visitscotland.com

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What the press say...

MONAD The Rite of Spring at 100 It has been impossible in recent As a total sensory experience MONAD times to pass through [the Royal Howard Barker Double Bill felt a bit like Spring itself, bursting with Conservatoire] and not feel the electric ... complex and incendiary stuff ... youth, talent and possibility. charge in the air. The group energy the company rise to the occasion is dynamic, almost kinetic and highly The Scotsman with aplomb ... many thrilling infectious, bubbling with an irresistible theatrical moments. The collective creativity of the Royal mix of enthusiasm and commitment. Conservatoire of Scotland, Glasgow The Herald To walk through it is to walk in a state School of Art, the BBC Scottish of wonder. It’s an understatement to say that Symphony Orchestra, and Scottish The Herald Victory is not an easy choice for the Ballet, was nothing short of a force students of the Royal Conservatoire of of nature. War and Peace Scotland, but in [a] careful, perfectly Daily Record …by far the most ambitious, annual detailed production, the play glows like winter collaboration between the a great rough jewel illuminated by fine RSAMD and Scottish Opera. performances. Albert Herring Financial Times The Herald Awesome… accompanied by a tour de force of instrumental performance …staggering. Cunning Little Vixen from the chamber ensemble The Times Impressive... this production tells (astounding woodwind playing) Janá�ek’s allegory with style. and conductor Tim Dean. …admirable. The Guardian The Herald The Guardian

14 The Royal Conservatoire of Scotland | We are appointing a new Principal

How to apply

Application packs are available at www.rcs.ac.uk/principal or by emailing Ewan Hainey at [email protected]

Applications should be sent to: Jackie Russell, Director of Human Resources Royal Conservatoire of Scotland 100 Renfrew Street Glasgow, G2 3DB or electronically to [email protected]

The closing date for receipt of applications is 5.00pm, Friday 2 August 2013.

Selection process

Through its Nominations Committee, the Royal Conservatoire’s Board of Governors has established a Selection Panel, which will make a recommendation on the appointment of the Principal to the Board. The Selection Panel will comprise of a pool of Governors, lay and elected, and will be chaired by the Board’s Chairman, Lord Vallance. The Selection Panel will meet on 9 August 2013 to identify a longlist of candidates, who will subsequently be invited to attend for interview on one of Monday 23, Tuesday 24 or Wednesday 25 September 2013. Following that interview, shortlisted candidates will be invited to attend for final interview on Tuesday 8 and Wednesday 9 October 2013. Over those two days, shortlisted candidates will have the opportunity to meet with a wide range of staff and students and will be expected to make a presentation to an invited audience of staff and students.

The recommendation of the Selection Panel will, via the Nominations Committee, be submitted to the Board of Governors for final approval in mid-October 2013.

Our Equality and Diversity Ethos

The Royal Conservatoire of Scotland welcomes a diverse population of staff and students. We are committed to promoting equality in all of our activities and we aim to provide a performing, learning, teaching, working and research environment free from unlawful discrimination against applicants, staff, and students on the grounds of age, disability, gender reassignment, marriage and civil partnership, pregnancy and maternity, race, religion and belief, sex and sexual orientation.

For further information, please see www.rcs.ac.uk/principal or contact Ewan Hainey, Secretary email: [email protected], tel: +44 (0)141 332 4101.

15 100 Renfrew Street Glasgow G2 3DB

+44 (0)141 332 4101 www.rcs.ac.uk

... the culture and heritage sectors make an invaluable contribution to our economic life, but despite these challenging times we do not measure the worth of culture and heritage solely in pounds and pence – we value culture and heritage precisely because they are so much more, because they are our heart, our soul, our essence.

Fiona Hyslop MSP Cabinet Secretary for Culture and External Affairs The Scottish Government

Patron HRH The Prince Charles, Duke of Rothesay DAcad (RSAMD) President Sir Cameron Mackintosh DDra (RSAMD) Vice President The Right Hon Lord Gill DAcad (RSAMD) FRSAMD Chairman Lord Vallance of Tummel