Student Guide to Music Education
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Royal Opera House Concert Master Peter Manning
PRESS STATEMENT 26 FEBRUARY 2018 ROYAL OPERA HOUSE CONCERT MASTER PETER MANNING Royal Opera House Chief Executive Alex Beard today announced that Peter Manning, Concert Master of the Orchestra of the Royal Opera House is leaving his position in August 2018 (at the end of the current Season). Alex Beard said: ‘Peter has led the Orchestra of the Royal Opera House with great distinction for the last 19 years. In that time, he has made a hugely important contribution to the artistic work of both The Royal Opera and Royal Ballet companies, helping to strengthen the reputation of the Orchestra of the Royal Opera House as one of the greatest lyric ensembles worldwide.’ Music Director of The Royal Opera Sir Antonio Pappano paid tribute to Peter’s exquisite sound and musicianship. ‘The emotional intensity of sound when Peter plays has the capacity to move any audience. He is a musician of great finesse and an artist of sincere integrity. His commitment to continually improving the artistic standards of the Orchestra of the Royal Opera House is beyond doubt. He For all Royal Opera House press releases visit www.roh.org.uk/press has played a very important role during the time I have been Music Director. I know however that as well as being an Orchestra of the Royal Opera House Concert Master, he has many musical commitments as a conductor, soloist, chamber musician, teacher and published arranger. I wish him well, following his decision to change his focus and give more time to those other interests.’ -ENDS- NOTES FOR EDITORS CV Details Peter Manning was appointed Concert Master of the Orchestra of the Royal Opera House in 1999. -
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. -
Annual Review & Report 2012/13
ROYAL ACADEMY OF DANCE Annual Review & Report 2012/13 Royal Academy of Dance Annual Review & Report 2012/13 CONTENTS Chairman’s report 02 Chief Executive’s review 04 RAD leadership 06 The Trustees 10 The Academy 12 Examinations 14 Education 16 Continuing Professional Development 18 employees in UK and Republic As the professional membership body for 122of Ireland Membership 20 dance teachers, we will inspire and empower Student Activities 22 Step into Dance 24 dance teachers and students, members and Benesh Movement Notation 26 employees and representatives The Philip Richardson Library 28 staff to make innovative, artistic and lasting in international111 offices RAD Enterprises 30 contributions to dance and dance education Annual General Meeting 32 throughout the world. Summarised financial statements 34 freelance196 examiners Key performance indicators 36 Overview 37 At a glance 38 Statement of the Board of Trustees’ responsibilities 39 freelance teachers/guest lecturers 300 Independent auditor’s statement to the Trustees of Royal Academy of Dance 40 Group consolidated statement of financial activities 41 mentors 350 Group and charity balance sheets 42 Accounting policies 43 Scholarships, awards, bursaries & fundraising 45 practical teaching supervisors 200 Corporate governance 47 Offices 49 100tutors Our highlights of the year are produced in full in a separate publication, Your stories – Our highlights, created in conjunction with this Annual Review & Report. Photo: Evan Li; Cover photo: David photo: Tett Evan Li; Cover Photo: 02 Royal Academy of Dance Annual Review & Report 2012/13 03 CHAIRMAN’S REPORT The year under review has seen an almost unparalleled Along with our successes over the past year, we have level of activity at the Royal Academy of Dance. -
The Life-Boat. Jouenal
THE LIFE-BOAT. JOUENAL OF THE IRo^al National 3Life*Boat Jnstitutlon. (ISSUED QUABTEBLY.) VOL. XIV.—No. 156.] MAY 1, 1890. [PBIOE Is. At the ANNUAL GENERAL MEETING of the EOTAL NATIONAL LIFE- BOAT INSTITUTION, held at Princes' Hall, Piccadilly, on Saturday, 15th day of March, 1890, His Grace The DUKE OF FIFE, K.T., in the Chair, the following Beport of the Committee was read by the Secretary:— to express any opinion as to the success or otherwise of the experiment, and at ANNUAL EEPOBT. present they can only venture to hope 1890. that the great problem as to the efficiency of a Steam Life-boat may soon be solved. THE important -work of the KOYAL Efforts have recently been made to NATIONAL LIFE-BOAT IxsTirtmow has produce an improved transporting car- been actively carried on during the past riage, and when the proposed alterations year, and every effort has been made have been fully tested a large proportion to place the Life-boat service in a of the stations will be supplied with it. yet higher state'of efficiency, either by It has also been decided to still further stationing new Boats on the coast, or by extend the use of the Tipping sand- improving old ones for temporary use plates, which will, it is believed, be the until such time as the Society shall be in means of expediting the launch of many a position to remove them and to substi- of the Life-boats from sandy and soft tute others of a superior type, beaches. have also been taken at many of the stations to improve or add to the facilities Life-boats.—During the year 1889, for launching the boats—in some cases twenty new Life-boats of various sizes at considerable cost —• with a view to were sent to the coast, all of which assistance being rendered to distressed have given complete satisfaction to their vessels with the least possible delay. -
ARSM (Associate of the Royal Schools of Music)
ABRSM Qualification Specification ARSM (Associate of the Royal Schools of Music) Version 1.0: January 2020 Next review: January 2021 Contents Introduction ......................................................................................................................3 About ABRSM, 3 This qualification specification, 3 About this qualification ...............................................................................................4 Overview, 4 Regulated qualification details, 5 ARSM diploma .................................................................................................................5 Syllabus, 5 Exam Regulations, 5 Entry requirements, 5 Exam booking, 6 Access (for candidates with specific needs), 6 In the exam, 6 Elements of the exam, 7 Assessment objectives .................................................................................................8 About assessment objectives, 8 ARSM (RQF Level 4), 8 Exam requirements .........................................................................................................9 Overview, 9 Scope of the assessment, 9 Exam Music, 11 Assessment ..................................................................................................................... 12 Mark allocation, 12 Result categories, 12 Marking criteria, 12 Results ............................................................................................................................... 14 Results, mark forms and certificates, 14 Malpractice and maladministration, 14 2 Introduction About -
Focus 2020 Pioneering Women Composers of the 20Th Century
Focus 2020 Trailblazers Pioneering Women Composers of the 20th Century The Juilliard School presents 36th Annual Focus Festival Focus 2020 Trailblazers: Pioneering Women Composers of the 20th Century Joel Sachs, Director Odaline de la Martinez and Joel Sachs, Co-curators TABLE OF CONTENTS 1 Introduction to Focus 2020 3 For the Benefit of Women Composers 4 The 19th-Century Precursors 6 Acknowledgments 7 Program I Friday, January 24, 7:30pm 18 Program II Monday, January 27, 7:30pm 25 Program III Tuesday, January 28 Preconcert Roundtable, 6:30pm; Concert, 7:30pm 34 Program IV Wednesday, January 29, 7:30pm 44 Program V Thursday, January 30, 7:30pm 56 Program VI Friday, January 31, 7:30pm 67 Focus 2020 Staff These performances are supported in part by the Muriel Gluck Production Fund. Please make certain that all electronic devices are turned off during the performance. The taking of photographs and use of recording equipment are not permitted in the auditorium. Introduction to Focus 2020 by Joel Sachs The seed for this year’s Focus Festival was planted in December 2018 at a Juilliard doctoral recital by the Chilean violist Sergio Muñoz Leiva. I was especially struck by the sonata of Rebecca Clarke, an Anglo-American composer of the early 20th century who has been known largely by that one piece, now a staple of the viola repertory. Thinking about the challenges she faced in establishing her credibility as a professional composer, my mind went to a group of women in that period, roughly 1885 to 1930, who struggled to be accepted as professional composers rather than as professional performers writing as a secondary activity or as amateur composers. -
CCM-Summer 2016.Pdf
Classical Reflection By Chantelle Constable Identical mirror twins Hannah and conjunction with the EP, which is Naomi Moxon grew up singing titled "The Night Before Christmas." nursery rhymes and listening to "Our video was really something Emmanuel & ourselves had been Vivaldi and Shania Twain in the car. talking about since we left The Voice. "We remember singing along... it was We had so many lovely comments probably quite embarrassing!" Now, about the song so we felt we really at the ages of 20, they are veterans of wanted to give back something to popular television talent show The those who support us!" Voice, and have just released their The girls' love of singing was instilled first Christmas EP. "We love from an early age. "Since the moment everything about Christmas... we could talk our mum would sing probably our favourite things are: with us for about an hour every Getting up early on Christmas morning. It was never about being perfect but just having fun!" Classical morning, dinner, wrapping everyone’s crossover seems to have also been an presents, and having family board instinctive choice, with the freedom it games." offers in its blend of styles and relaxing mood that appeals to a wide A video for "The Living Years," audience, even those who primarily featuring The Voice co-competitor listen to other genres. In choosing Emmanuel Nwamadi, was released in songs for their repertoire, melody enjoy everything!" takes top priority. The twins love As expected, the girls' voices are both "emotional songs," and love having soprano, and nearly identical to the audiences leave their concerts feeling point that they will often tradeoff "uplifted and happy." between the high and low harmonies within the same song ("It seems very "We always feel really honored when confusing but it happens naturally"). -
To Download the Full Archive
Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No. -
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. -
Proposals for Joint Medical School
OCTOBER 1997 FACE TO FACE WITH BY THE BOOK: NATURE: Fun at the A look back Botanic Garden. Page 9. at an historic year for the FIGHTING FIT: University The Leicester duo fighting Pages 19 to for England. Page 5 21. INSIDE PROPOSALS FOR JOINT MEDICAL SCHOOL THE Universities of Leicester and incorporating in a major fashion the based at Warwick and both to be Warwick are preparing a bid to the Coventry and Warwickshire taught the current Leicester MB Government for a joint Medical hospitals. ChB curriculum, which has recently TIN School. In a joint letter to interested been thoroughly revised to The possible creation of a joint parties in the region, Vice- incorporate the principles undergraduate Medical School is in Chancellor Dr Kenneth Edwards developed by the General Medical anticipation of the strong likelihood and Warwick Vice-Chancellor Council and published in that the Medical Workforce Professor Sir Brian Follett said: ‘Tomorrow’s Doctors’. Standing Advisory Committee will “This collaboration has emerged “We believe this joint recommend that the Government from Leicester’s desire to help development will lead rapidly to a increases significantly the number meet the national need for more genuinely innovative Medical of medical students being educated doctors and Warwick’s long School of a size capable of in the United Kingdom. standing interest in establishing a promoting high quality teaching in le http://www.le.ac.uk/ At present, Leicester Medical major presence in undergraduate an internationally competitive School has an intake -
Warwick Program
PRESIDENTIAL VISIT 14 DECEMBER 2000 PROGRAMME FOR THE PRESIDENTIAL VISIT Music by the University of Warwick Chamber Choir, conductor Colin Touchin Welcome from the Vice-Chancellor of the University of Warwick, Sir Brian Follett Speech by the Prime Minister, the Rt Hon Tony Blair, MP Speech by President William J Clinton INTRODUCTION 16,869 students (8,995 undergraduates, 6,439 postgraduates) Programmes in Humanities, Science, Medicine and Social Sciences, many with an interdisciplinary focus Founded less than 40 years ago,Warwick has postgraduate programmes. Its lively modern campus The University of Warwick is contemporary,energetic developed rapidly to become one of the UK’s most is home to some 16,000 students from over and forward looking,deeply committed to its highly respected universities. Currently ranked fourth 100 different countries,some 40% of whom are students,its impressive research agenda,and the among UK universities for the quality of its research, postgraduates. With its Arts Centre,its Science Park, wider community at home and abroad. and with the excellence of its teaching confirmed its new Medical School (in partnership with in the National Teaching Quality Assessment, the University of Leicester) and its commitment to Warwick has consistently been placed in the Top Ten lifelong learning,it has successfully balanced its in the UK universities’ league tables. It attracts high strong international and national reputation with quality students on both its undergraduate and local and community relevance. The Cybersphere - a 3D virtual environment developed by Warwick Manufacturing Group in collaboration with VR Systems UK GLOBALISATION The Centre for the Study of Globalisation and orders.