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The Assessment of Musical Attainment: Acquiring Cultural Capital And
The Assessment of Musical Attainment: Acquiring Cultural Capital and Building Learning Power in Instrumental Music Tuition A thesis submitted in partial fulfilment of the requirements of Nottingham Trent University for the degree of Doctor of Education June Bonfield-Brown November 2018 Copyright Statement This work is the intellectual property of the author. You may copy up to 5% of this work for private study, or personal, non-commercial research. Any re-use of the information contained within this document should be fully referenced, quoting the author, title, university, degree level and pagination. Queries or requests for any other use, or if a more substantial copy is required, should be directed to the owner of the Intellectual Property Rights. Abstract This thesis describes an action research project undertaken within a mass participation instrumental music programme situated in East London. This action research project aimed to improve the way in which instrumental music pupils are assessed through the use of the graded examination. It also intended to provide opportunities to gain social and cultural capital for children in East London that are available in more affluent areas of the United Kingdom. The action research methodology was employed over three cycles of research. The research involved six instrumental music teachers, including myself, as an active participant. Data was collected through focus group interviews and semi-structured interviews which were analysed using thematic and narrative analysis. Amongst the main findings of this thesis are the following: The current graded examination is unsuitable and inaccessible to children learning to play musical instruments in a group learning context. -
Z675928x Margaret Hodge Mp 06/10/2011 Z9080283 Lorely
Z675928X MARGARET HODGE MP 06/10/2011 Z9080283 LORELY BURT MP 08/10/2011 Z5702798 PAUL FARRELLY MP 09/10/2011 Z5651644 NORMAN LAMB 09/10/2011 Z236177X ROBERT HALFON MP 11/10/2011 Z2326282 MARCUS JONES MP 11/10/2011 Z2409343 CHARLOTTE LESLIE 12/10/2011 Z2415104 CATHERINE MCKINNELL 14/10/2011 Z2416602 STEPHEN MOSLEY 18/10/2011 Z5957328 JOAN RUDDOCK MP 18/10/2011 Z2375838 ROBIN WALKER MP 19/10/2011 Z1907445 ANNE MCINTOSH MP 20/10/2011 Z2408027 IAN LAVERY MP 21/10/2011 Z1951398 ROGER WILLIAMS 21/10/2011 Z7209413 ALISTAIR CARMICHAEL 24/10/2011 Z2423448 NIGEL MILLS MP 24/10/2011 Z2423360 BEN GUMMER MP 25/10/2011 Z2423633 MIKE WEATHERLEY MP 25/10/2011 Z5092044 GERAINT DAVIES MP 26/10/2011 Z2425526 KARL TURNER MP 27/10/2011 Z242877X DAVID MORRIS MP 28/10/2011 Z2414680 JAMES MORRIS MP 28/10/2011 Z2428399 PHILLIP LEE MP 31/10/2011 Z2429528 IAN MEARNS MP 31/10/2011 Z2329673 DR EILIDH WHITEFORD MP 31/10/2011 Z9252691 MADELEINE MOON MP 01/11/2011 Z2431014 GAVIN WILLIAMSON MP 01/11/2011 Z2414601 DAVID MOWAT MP 02/11/2011 Z2384782 CHRISTOPHER LESLIE MP 04/11/2011 Z7322798 ANDREW SLAUGHTER 05/11/2011 Z9265248 IAN AUSTIN MP 08/11/2011 Z2424608 AMBER RUDD MP 09/11/2011 Z241465X SIMON KIRBY MP 10/11/2011 Z2422243 PAUL MAYNARD MP 10/11/2011 Z2261940 TESSA MUNT MP 10/11/2011 Z5928278 VERNON RODNEY COAKER MP 11/11/2011 Z5402015 STEPHEN TIMMS MP 11/11/2011 Z1889879 BRIAN BINLEY MP 12/11/2011 Z5564713 ANDY BURNHAM MP 12/11/2011 Z4665783 EDWARD GARNIER QC MP 12/11/2011 Z907501X DANIEL KAWCZYNSKI MP 12/11/2011 Z728149X JOHN ROBERTSON MP 12/11/2011 Z5611939 CHRIS -
RNCM Access and Participation Plan 2019-2020
2019/20 Access and Participation Plan The Royal Northern College of Music (RNCM) is one of the world’s leading conservatoires, Assessment fostering a culture of creativity, openness, exploration, individual development, and innovatory of current practice within music performance and research. Its vision is to redefine the conservatoire as a centre for artistic innovation and creativity, inspiring and empowering all of its students performance to excel, to reach out and transform the lives of others and to shape the music industry of the future. The College’s 2019/20 Access and Participation Plan sets out its approach to widening participation, to student access, success and progression, and to raising attainment in general to Higher Education, which is central to its overall mission. The RNCM has a total HE student population of 882 (2018/19), 58% of which are Home and EU undergraduates. In addition, the Junior RNCM has over 200 pre-HE learners, 55% of which are supported by bursaries from the Music and Dance Scheme or the College’s own bursary funds. On a yearly basis the College engages with over 7,000 community and school participants through its ambitious and innovative Learning and Participation Programme, while more than 85,000 people attend the institution each year as audience members across its three main public performance spaces. Last year the RNCM spent 36% of its higher fee income specifically on access and participation measures. The RNCM is committed to the development of the highest level of artistic practice and, as such, has one major criterion for entry to its programmes, namely, an appropriate level of musical talent and potential, as assessed at audition. -
Downloaded From: Usage Rights: Creative Commons: Attribution-Noncommercial-No Deriva- Tive Works 4.0
Matei, Raluca (2019) Better practice: health promotion in the music conser- vatoire. Doctoral thesis (PhD), Manchester Metropolitan University in collab- oration with The Royal Northern College of Music. Downloaded from: https://e-space.mmu.ac.uk/622806/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk BETTER PRACTICE: HEALTH PROMOTION IN THE MUSIC CONSERVATOIRE Raluca Matei A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy ROYAL NORTHERN COLLEGE OF MUSIC AND MANCHESTER METROPOLITAN UNIVERSITY FEBRUARY 2019 Abstract This thesis addresses two main questions: 1) What can be learned from existing approaches to promoting musicians' health? 2) How can such approaches be adapted, applied and evaluated across educational and professional contexts in the UK and internationally? To answer the first question, literature reviews were conducted of interventions aimed at improving health education; preventing music performance anxiety (MPA) and performance-related musculoskeletal disorders (PRMDs); and conserving musicians’ hearing. A survey of European conservatoires was conducted to explore their provision of health education. A range of programmes was reported; they vary widely in focus, quality, and outcomes. Only 21 responses were received, so firm conclusions cannot be drawn, but guidelines on health education are clearly worth developing. A study of trends in students’ use of counselling at a UK music conservatoire showed year-on-year increases in sessions attended, primarily for issues related to self-esteem, relationships, academic concerns, loss, abuse and anxiety. To answer the second question, a compulsory health and wellbeing course for 103 first year students at the same conservatoire was designed on the basis of findings described above and in collaboration with members of Healthy Conservatoires. -
Jennie Joy Porton Phd Thesis
Contemporary British Conservatoires and their Practices - Experiences from Alumni Perspectives Jennie Joy Porton In partial fulfilment of the requirements for the degree of Doctor of Philosophy in Music Royal Holloway, University of London January 2020 Declaration of Authorship I, Jennie Joy Porton, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 23rd January 2020 Acknowledgements There are a number of special people to whom I owe my sincere and heartfelt thanks in the course of completing this research. Firstly, I must extend my overwhelming gratitude to my supervisor, Tina K. Ramnarine, who has been beside me and guiding me through this process for the past eight years, never faltering in her encouragement and patience. Secondly, I owe thanks to my advisor Mary Dullea, for her valuable support and comments. I also acknowledge the financial assistance I received from Royal Holloway University, courtesy of their College Research Scholarship. I would especially like to thank my parents for their never-ending love and faith in my working endeavours (and for that broken clarinet from the Camden Market antique shop, all those years ago!). Our beautiful Tessie, though you are gone, your quiet, unwavering strength remains and has become my foundation throughout these last eight years. Mike and Joy, you are and have always been my biggest inspirations, I count myself immeasurably lucky to be your sibling. And R.S.S., I am so grateful for the fun, laughter and love you have provided over the past three years as a welcome distraction from reading and writing! Finally, of course, my profound thanks go to all of the alumni who were involved in this study, I hope that I honour your voices in the pages that follow. -
Conservatoires UK Biennial Conference 2019 Royal Conservatoire of Scotland, 100 Renfrew Street, Glasgow, G2 3DB
Conservatoires UK Biennial Conference 2019 Royal Conservatoire of Scotland, 100 Renfrew Street, Glasgow, G2 3DB PROGRAMME Thursday 10 October Conference Facilitator: Professor Stephen Broad, Director of Research and Knowledge Exchange, Royal Conservatoire of Scotland 12.00 Registration and Welcome Lunch 13.00 Opening Performance Welcome Professor Jeffrey Sharkey, Principal, Royal Conservatoire of Scotland SESSION 1 - INSPIRING THE LEARNER JOURNEY The arts across the UK aspires to be an inclusive and diverse gathering place which is encouraging of as many people, regardless of their background, getting involved. This session explores effective delivery of the commitment to fair access through exploring opportunities created by widening access and from developing new pathways of progression. Keynote Speaker Karen Watt, Chief Executive, Scottish Funding Council Dr Lois Fitch, Assistant Principal, and Helen McVey, Director of Business Development, Royal Conservatoire of Scotland Alison Mears, Director of Guildhall Young Artists and Safeguarding, and Katharine Lewis, Secretary & Dean of Students, Guildhall School of Music & Drama Panel Session and Q&A 14.45 Tea/Coffee and Networking 15.10 SESSION 2 - THE DIGITAL FUTURE This session will discuss how the technological revolution will impact on conservatoire students and how we as institutions can help prepare for their future careers. Keynote Speaker Chris van der Kuyl, Chairman, 4J Studios Q&A and Discussion 15.50 - 16.15 Tea/Coffee and Networking 16.15 SESSION 2 - THE DIGITAL FUTURE (CONTINUED) Virtual Conservatoire Project Virtual Conservatoire has been a collaborative project across Royal College of Music, Royal Academy of Music, and Conservatoire for Dance and Drama (Bristol Old Vic Theatre School, Central School of Ballet, LAMDA and RADA) which concluded in 2019. -
Parliamentary Debates (Hansard)
Monday Volume 557 21 January 2013 No. 100 HOUSE OF COMMONS OFFICIAL REPORT PARLIAMENTARY DEBATES (HANSARD) Monday 21 January 2013 £5·00 © Parliamentary Copyright House of Commons 2013 This publication may be reproduced under the terms of the Open Parliament licence, which is published at www.parliament.uk/site-information/copyright/. HER MAJESTY’S GOVERNMENT MEMBERS OF THE CABINET (FORMED BY THE RT HON.DAVID CAMERON,MP,MAY 2010) PRIME MINISTER,FIRST LORD OF THE TREASURY AND MINISTER FOR THE CIVIL SERVICE—The Rt Hon. David Cameron, MP DEPUTY PRIME MINISTER AND LORD PRESIDENT OF THE COUNCIL—The Rt Hon. Nick Clegg, MP FIRST SECRETARY OF STATE AND SECRETARY OF STATE FOR FOREIGN AND COMMONWEALTH AFFAIRS—The Rt Hon. William Hague, MP CHANCELLOR OF THE EXCHEQUER—The Rt Hon. George Osborne, MP CHIEF SECRETARY TO THE TREASURY—The Rt Hon. Danny Alexander, MP SECRETARY OF STATE FOR THE HOME DEPARTMENT—The Rt Hon. Theresa May, MP SECRETARY OF STATE FOR DEFENCE—The Rt Hon. Philip Hammond, MP SECRETARY OF STATE FOR BUSINESS,INNOVATION AND SKILLS—The Rt Hon. Vince Cable, MP SECRETARY OF STATE FOR WORK AND PENSIONS—The Rt Hon. Iain Duncan Smith, MP LORD CHANCELLOR AND SECRETARY OF STATE FOR JUSTICE—The Rt Hon. Chris Grayling, MP SECRETARY OF STATE FOR EDUCATION—The Rt Hon. Michael Gove, MP SECRETARY OF STATE FOR COMMUNITIES AND LOCAL GOVERNMENT—The Rt Hon. Eric Pickles, MP SECRETARY OF STATE FOR HEALTH—The Rt Hon. Jeremy Hunt, MP SECRETARY OF STATE FOR ENVIRONMENT,FOOD AND RURAL AFFAIRS—The Rt Hon. Owen Paterson, MP SECRETARY OF STATE FOR INTERNATIONAL DEVELOPMENT—The Rt Hon. -
The Code of Fair Practice Agreed Between Composers, Publishers and Users of Printed Music
THE CODE OF FAIR PRACTICE AGREED BETWEEN COMPOSERS, PUBLISHERS AND USERS OF PRINTED MUSIC The Code of Fair Practice agreed between composers, publishers and users of printed music Revised edition April 2016 Published by the Music Publishers Association Ltd 8th Floor, Two Pancras Square, London N1C 4AG Tel: 020 3741 3800 Fax: 020 3741 3810 Email: [email protected] www.mpaonline.org.uk This document was drawn up by the Music Publishers Association with the support of the following organisations, who have agreed to accept its contents, and recommend its observance by all music users: ABRSM Association of British Choral Directors Association of British Orchestras British Dyslexia Association British Academy of Songwriters, Composers & Authors British Association of Symphonic Bands & Wind Ensembles British & International Federation of Festivals for Music, Dance & Speech Conservatoires UK Incorporated Society of Musicians International Association of Music Libraries (UK and Ireland Branch) Making Music Music Publishers Association Ltd (representing those publishers in Appendix B and on the MPA website) Musicians' Union Music Mark – The UK Association of Music Education National Association of Choirs National Operatic & Dramatic Association Royal Air Force Music Services Training Cell Royal College of Organists Royal Marines Band Service Royal Military School of Music, Kneller Hall Royal School of Church Music Schools Music Association Sing for Pleasure Trinity College London Tŷ Cerdd/Music Centre Wales (formerly the Welsh Amateur Music Federation) This Code does not apply to all music; in particular i. it cannot be used or applied UNLESS THE COPYRIGHT OWNER’S NAME IS LISTED IN APPENDIX B OR ON THE MPA WEBSITE; ii. -
Year 12 Performing Arts Applications
Year 12 Performing Arts Applications Performing Arts courses are available in music, dance, acting and theatre/screen production to name but a few and unlike other subjects, applicants can apply to study through UCAS, UCAS Conservatoires or through direct applications to independent institutions. University, conservatoire and independent school courses can all lead to a Bachelor’s degree. As a general rule: Conservatoire/Independent courses place more emphasis on practical development with individual tuition and performance opportunities to help you towards a career in the creative arts. University courses focus more on academic study, for example, history, analysis, criticism, harmony and counterpoint, and the philosophy and psychology of the performing arts. This study can also be combined with other subjects to give a broad critical and theoretical education. Due to the multiple application opportunities it is essential that you research course content on individual institution websites and streamline applications to target those institutions you believe are most likely to offer you a place. Things to consider include: • Who are the tutors and are they experts in areas you want to gain experience in? • What’s the balance between practical training, lectures, seminars and performances? • What performance opportunities and masterclasses are available? • What professional and industry links does the institution have • What creative arts does the institution specialise in? • Can you get experience in or payment for public performances? • Check with the institution if you are not sure which courses you are qualified for. If there is uncertainty, apply for the highest-level course you are interested in and a final decision will be made at audition/interview Studying at a Conservatoire/Independent All courses have a strong vocational, performance orientation, and course structures are reflective of the industry. -
Accesshe-UKADIA Creative HE Apply Guide Accesshe-UKADIA Creative HE Apply Guide 7 Why Study a Creative Course?
AccessHE – UKADIA Creative HE Possibly more now than ever before in history, the creative arts have a fundamental part to play in our development and survival as human beings. In an increasingly digital age, where AI and robotics have made life easier, in many respects we are in danger of becoming culturally poorer and disconnected from each other. We are challenged to ask ourselves ‘what makes us human?’ and what differentiates the human from the digital experience. We care, we play, we seek meaning and we are creative and we need to nurture our future creative talent because it is in this future that creativity will be the single most valuable commodity in both the arts and industry. One will no longer be separated from the other because the world needs creative solutions to the problems we all face. At a time when the place of the creative arts in the English school curriculum is less than assured, it is essential that the future workforce has the chance to engage with these disciplines and understands the full breadth of available options when it comes to studying a creative subject at HE level. With this guide, a joint resource developed by AccessHE and the UK Arts and Design Institutions Association, we hope to capture the richness and variety of creative courses on offer at HE providers in England, and give advice to prospective students considering further study in these areas. Good luck! Marianne Shillingford Creative Director, AkzoNobel Dulux UK Founder of the Colour in Design Awards Photography Cover: NUA Inside cover: Andrew AB Photography and LIPA Creative HE Apply Guide Contents Welcome to the AccessHE-UKADIA So, you Subjects Creative HE Apply Guide, the follow up want to & courses study a 23 What to study: to the AccessHE Creative HE Apply Guide creative Creative HE courses released in July 2018. -
Blue Book Brooks Newmark MP, Minister for Civil Society
For this agenda-setting collection, the leading civil society umbrella groups ACEVO and CAF worked with Conservative MPs and commentators to showcase some of the party’s thinking about its future relationship with The charities and social enterprises. The accompanying ‘Red Book’ and ‘Yellow Book’ feature similar essays from the Labour and Liberal Democrat Blue Book Parties. The ‘This is an innovative and ground-breaking project that has brought together a range of my colleagues in close dialogue with two of the best- known and best-respected organizations in our country’s formidable charity and social enterprise sector.’ the Voluntary of Sector Blue Book Brooks Newmark MP, Minister for Civil Society ‘It is a good moment … to look back at the last four years and assess the of the state of politics and its relationship with the voluntary sector. That is what this essay collection seeks to do.’ Sir Stephen Bubb, Chief Executive, ACEVO Voluntary Sector ‘[These ideas] should be of interest to whichever party (or parties) form the next government. The challenge will be to turn these ideas into meaningful policies that enable charities to play the central role in society Civil Society and the Conservative that we all know they can.’ Party after the 2015 election Dr John Low CBE, Chief Executive, Charities Aid Foundation With contributions by John Glen MP, Nick Hurd MP, Danny Kruger, Kwasi Kwarteng MP, Charlotte Leslie MP, Brooks Newmark MP, Sarah Newton MP, Jesse Norman MP, Dominic Raab MP and Chris White MP. With a foreword by Brooks Newmark -
Undergraduate and Postgraduate Prospectus 2020–2021 WORLD TOP TEN Make the Right Choices
LIKE NOWHERE ELSE Undergraduate and Postgraduate Prospectus 2020–2021 WORLD TOP TEN Make the right choices. Live in the right city. Learn in one of the world’s Top Ten* performing arts institutions. If your future lies in Music, Drama, Dance, Production, Film or Education, the Royal Conservatoire of Scotland has everything to help you create and realise your ambitions. *For performing arts education 2016, 2017, 2018 QS World University Rankings When you see this icon our images and extra content come to life throughout the prospectus. Download and use the free Zappar app for your smart phone or tablet to experience a place like nowhere else. Or please visit rcs.ac.uk for all creative content. Music Bachelor of Music (Hons) 34 Masters of Music/Master of Arts in Music Brass Chamber Music CONTENTS Composition WELCOME Welcome Conducting Open Days Guitar and Harp 05 Historically Informed Performance Practice Jazz Life is not a rehearsal Keyboard Learn from the best Piano Accompaniment 06 Piano for Dance Professional partnerships Opera Performance Repetiteurship Global arts community Strings International students Timpani and Percussion Students’ Union Traditional Music Vocal Studies Alumni Woodwind 18 Dance 60 BA Modern Ballet Glasgow Drama Edinburgh BA Acting I am delighted to share this introduction to the Royal Open Days 24 Conservatoire of Scotland with you. We need all of our Scotland 66 BA (Hons) Contemporary Performance Practice Sign up to an Open Day and experience what life is BA Performance in British Sign Language and English performing and creative artists in our world now more than ever. Campus and facilities You’ve been on amazing and divergent journeys to bring you like at the Royal Conservatoire of Scotland.