Prospectus 2016 gsmd.ac.uk

1 2 How tofindus Senior staff/Getting intouch Youth andadultlearning Fees, fundingandscholarships Applications, auditionsandinterviews After Guildhall Further information PGCert inPerformanceTeaching Research Degrees Research andTeaching BA inPerformanceandCreativeEnterprise Creative Learning Technical Theatrealumni MA inCollaborativeTheatreProductionandDesign BA inVideoforLivePerformance BA inTechnicalTheatreArts About TechnicalTheatre Technical Theatre Music alumni Principal Study:Jazz Principal Study:ElectronicMusic Principal Study:Composition Principal Study:ChamberMusic Principal Study:HistoricalPerformance Principal Study:OperaStudies Principal Study:VocalStudies Principal Study:Keyboard Principal Study:Wind,Brass&Percussion Principal Study:Strings,Harp&Guitar Artist Diploma MA inOperaMakingandWriting MA inMusicTherapy MMus/MLead inLeadership(GuildhallArtistMasters) MMus/MComp inComposition(GuildhallArtistMasters) MMus/MPerf inPerformance(GuildhallArtistMasters) MMus/MPerf inPerformance(GuildhallArtistMasters) BMus 38 Performance About Music Music Acting alumni MA inTrainingActors(Voice)or(Movement) BA inActingandMA About Acting Acting How wesupportyou Who weworkwith Where weare Who weare Introduction Orchestral Artistry 124 122 121 117 116 114 100 110 108 104 99 96 90 86 82 79 76 72 70 68 65 62 60 57 54 53 52 51 46 45 43 40 34 32 28 26 22 20 12 8 7 4

CONTENTS 4 5 INTRODUCTION Training in music or drama means We are situated next to the Barbican Who we are embarking on a life that can bring joy Centre on Silk Street in the City of and change to you and to the world. London with some of the best facilities At Guildhall School we provide the in the UK. On the edge of London’s lively involvement, intensity and direction East End and at the heart of the City’s for you to realise your potential and major cultural institutions, we offer an ambition. exciting and inspiring location to study music and drama. In addition, our brand As a Guildhall School student, you new facilities in Milton Court opened will work to professional standards in in 2013, with a world-class concert hall, a professional context, drawing on a theatre, studios and rehearsal rooms. pool of outstanding world-renowned artists who work with us as directors, In 2013 and 2014 we were rated No. 1 conductors, coaches and tutors. specialist institution in the UK by the Guardian University Guide, which is Our training produces accomplished testament to the quality of our teaching musicians, singers, composers, actors, and student experience. The way music stage managers and theatre technicians. and drama is taught and learnt at Some reach the very peak of their Guildhall School tests conventions. chosen professions to become household We break down boundaries between names. Others use their craft behind the traditional art forms and encourage scenes to help bring performances to cross-arts collaborations. We innovate stage and screen. The life is inspiring, and experiment, reflecting and fulfilling and demanding. exploring the big questions that affect us as artists. We train and prepare students to enter the performing arts all around the Collaboration is also vital between world. Equally we welcome students departments and with external from everywhere: 40 per cent of our organisations. Guildhall School has students are from outside Britain, professional partnerships with the representing more than 50 nationalities. Barbican Centre, the London Symphony Orchestra, the BBC Symphony Orchestra, The Guildhall School of Music & the Royal Opera House and the Academy Drama, to give us our full title, is one of of Ancient Music. These and other such the world’s leading conservatoires and alliances create wonderful opportunities drama schools. Established in 1880, we for our students. now have 750 students in Music and 180 in Acting and Technical Theatre. Community engagement is another key aspect of our approach. Our Creative Learning programme trains students to work in communities across East London and beyond; we also invite communities into the School to experience the performing arts. We respect creativity and the desire to learn, and provide training for all sorts of groups from the age of four upwards.

Above all, Guildhall School believes in the power and duty of the arts to transform lives. We encourage students in everything they do to use their craft and learning for the benefit of others.

6 The Hour We Knew Nothing of Each Other (March 2014)

7 8 Where we are

Guildhall School is located in the London’s most famous landmarks, heart of London, one of the most including St Paul’s Cathedral, the exciting cities in the world. Training Gherkin and the Shard. to be a musician, actor or theatre technician in this culturally-rich and Our facilities dynamic environment is a unique experience. With West End theatres, Our facilities include the Grade II-listed the Southbank Centre, Tate Modern Silk Street building, part of the distinctive and Covent Garden’s Royal Opera House and architecturally-renowned Barbican all close by, studying at Guildhall complex, and Milton Court, our brand means you have an array of world- new site just across the road. Opened in renowned cultural institutions on your autumn 2013, Milton Court houses doorstep. As a student, you will be world-class performance and training entitled to concessions on virtually all spaces. It includes a state-of-the-art entertainment tickets, plus discounts concert hall, a lyric theatre, a studio in shops and restaurants and on Tube, theatre and several major rehearsal train and bus travel. If you are coming rooms. Silk Street offers a more intimate from abroad, we will provide guided music hall, a dedicated lecture recital tours and special excursions to help you room, and a completely flexible theatre, find your way around. And you will theatrical workshops and labs, electronic find other major European cities easily music studios, recording and sound accessible by train or plane. studios, and over 40 teaching and practice rooms. We also have an annexe Our neighbourhood with a further 44 teaching and practice rooms, and our Sundial Court Hall of Our campus is situated in a vibrant Residence (see page 15). quarter of cultural venues. This growing cultural hub, which stretches from When it comes to showcasing students’ Guildhall School and our immediate work, Guildhall School has five public neighbour the Barbican Centre to the performance venues with exceptional Barbican’s new cinemas, LSO St Luke’s acoustic properties and extensive seating and the Museum of London, offers a capacity. And of course we also offer range of impressive performance and space where you can study and relax, exhibition spaces all within walking with a library, two student common distance. We are also right on the edge rooms, two cafés and a peaceful lakeside of East London, with all its creative terrace adjacent to the Barbican Centre. bustle and energy. And nestled between the popular areas of Shoreditch and Clerkenwell, we are close to some of

9 Much of who we are and what we a unique educational and cultural Who we work with do is shaped by collaboration. We are partnership. Built over many years, always looking for ways to collaborate, this partnership will provide you and we are proud to have established with a number of exceptional robust, purposeful partnerships with learning opportunities. These include five key organisations – organisations masterclasses and projects with the that contribute significantly to our Barbican’s International Associate programmes of study and provide Orchestras (Gewandhaus Orchester, Jazz Guildhall students with many at Lincoln Center, LA Philharmonic, exciting opportunities. These unique New York Philharmonic, and the Royal partnerships will enable you to meet Concertgebouw), and joint projects with some of the world’s most renowned the Barbican Cinema and Barbican artists, experience some of London’s Art Gallery. There is also the chance to finest venues, and receive the very best perform in Barbican venues such as the preparation for your chosen career. Theatre, Pit Theatre and Concert Hall.

Barbican Centre Additionally, the Barbican and the School collaborate on a major learning The Barbican Centre is Europe’s largest and participation programme called multi-arts and conference centre. It Creative Learning. Through Creative pushes the boundaries of all major art Learning, Guildhall students learn to forms including dance, film, music, use their skills in community settings theatre and visual arts and is situated across East London and beyond (see page immediately next door to Guildhall 9 for further details). School within the iconic Barbican Estate. The Barbican and the School enjoy

10 London Symphony Orchestra developments combine the expertise of a conservatoire with that of an opera Widely regarded as one of the world’s house, helping to support emerging leading orchestras, the London composers and librettists in the creation Symphony Orchestra (LSO) is Resident of new operatic work. Orchestra at the Barbican. It attracts outstanding players from all over the Academy of Ancient Music world, and has a roster of soloists and conductors who are second to none. An Through our partnership with the integral partner of Guildhall School Academy of Ancient Music (AAM), one for many years, the LSO now helps to of the world’s leading period instrument deliver the Orchestral Artistry specialism ensembles, we are creating a centre of within the Guildhall Artist Masters excellence in historical performance. programme, an exciting new course The AAM, who are an Associate for instrumentalists seeking a career Ensemble at the Barbican and perform in orchestral playing (see page 43). It part of their season in Milton Court, also provides a range of performance offer masterclasses, workshops, mock opportunities for other Guildhall music auditions, Q&A sessions and exclusive students, including the highly-regarded access to open rehearsals – unique concert series ‘LSO Platforms: Guildhall learning opportunities for students in Artists’, which sees Guildhall musicians this particular discipline. take part in rush-hour concerts on the Barbican stage before LSO performances. We also work with a number of other organisations on projects and BBC Symphony Orchestra performances throughout the year, for example the London Contemporary The BBC Symphony Orchestra is one of Dance School and the London Jazz the UK’s finest orchestras, performing Festival, École des Écoles, the City of extensively as Associate Orchestra of the London Festival and Wigmore Hall. Barbican and forming the backbone of the BBC Proms. Guildhall musicians Creative Learning play a significant role in the Orchestra’s Total Immersion series, which celebrates We believe that everyone has a right to the work of contemporary composers. access culturally-enriching experiences, Guildhall performances in Total which is why we will encourage you to Immersion are often broadcast on BBC use your craft to benefit others, not just Radio 3 and receive high critical praise. yourself. Through Creative Learning, Other recent collaborations with the our joint learning and participation Orchestra include Guildhall singers programme with the Barbican, we forming the chorus for a performance support a wide range of initiatives of Mahler’s Resurrection Symphony, our taking the arts into communities in actors joining the ensemble for Grieg’s East London, and bringing audiences complete Peer Gynt, and our composers writing for an ensemble including BBCSO players.

Royal Opera House

The Royal Opera House is home to the Royal Opera, one of the world’s leading opera companies, renowned for its outstanding performances of traditional opera but also for commissioning new works. The collaboration between the Royal Opera House and Guildhall has led to two areas of study in contemporary opera making: a new MA in Opera Making and Writing (see page 52) and a studentship which appoints one doctoral student as Composer in Residence at the Opera House for a period of three years (see page 108). These innovative

11 12 back into the School from those International exchange partners communities. Every undergraduate music student at Guildhall School If you’re interested in studying abroad is trained to work in participatory as part of your programme, we settings, such as hospitals, prisons, offer student exchange agreements schools and other community groups. with an array of internationally- It’s all about the power and duty of the renowned European conservatoires arts to transform lives. This ethos has and Musikhochschulen through the been embedded in the School for over Erasmus scheme. We also run similar 30 years, giving depth and scope to our schemes with Griffith University social-engagement programmes. (Australia) and The Peabody Institute of the Johns Hopkins University (USA). We are also interested in breaking More detailed information is available traditional boundaries between the at gsmd.ac.uk/studyabroad. arts, which is why all undergraduates at Guildhall – musicians, actors and theatre technicians – work on a cross- arts collaborative project together in their first year, led by Creative Learning. Designed to meet the needs of the 21st century artist, Creative Learning will also help you explore enterprise and innovation, providing opportunities for ‘lab’ work and residencies aimed at nurturing and showcasing emerging artistic talent.

13 As you start out at Guildhall School, counselling, disability support (including How we support you there are bound to be times when you learning support for students with will need help or advice. Our support specific learning difficulties), financial services are here to provide just that, advice, accommodation advice and with guidance on everything from international student support. accommodation to health and wellbeing, disability support to international Library student orientation sessions, library [email protected] materials to audio visual support. We’re also here if things get tough, and have Our Library has one of the most extensive dedicated staff you can talk to if you specialised collections of music and face financial hardship or need to see drama print and electronic resources a counsellor. in Europe, and will provide you with a comfortable, supportive and welcoming All Guildhall students have access to study environment. Our library staff all one of the country’s leading performing have a specialist knowledge of music arts libraries, excellent studio and IT or drama, while lending facilities resources, and a Students’ Union that include books on music, theatre, drama represents the interests of the student criticism, stagecraft, costume, and body. And you will be able to apply for music therapy. You can also borrow the School’s Hall of Residence, Sundial from a comprehensive collection of Court, just around the corner from the plays, poetry, scores, sets of chamber Silk Street building and Milton Court. music parts; CDs and DVDs; and a wide range of e-resources. In line with our Student Affairs pioneering ethos, Guildhall was the first [email protected] conservatoire in the UK to offer access to both Naxos and Classical Music Library Student Affairs is committed to student web-streaming services, via state-of-the- wellbeing, helping you to fulfil your art audio terminals in the Library. potential during your time at the School. The team will provide a supportive IT and studio resources environment to assist you in making the most of your student experience. As you’d expect, Guildhall has well- It offers a comprehensive range of equipped IT facilities, including PCs support services designed to meet your with access to Microsoft Office and academic and welfare needs. Services Sibelius, A3 colour printer-photocopiers, include health and welfare advice, Wi-Fi access points around the Silk physiotherapy, Alexander Technique, Street and Milton Court buildings, and remote access to email and files via a secure web portal. This means you can work flexibly and securely wherever you are on campus – in Halls, study areas or on the move. And the School’s Audio Visual department provides audio and video production facilities, as well as an industry-standard recording studio (see page 35).

Students’ Union [email protected]

The Guildhall Students’ Union actively represents the student body. Led by a full-time President (elected annually), the Union acts as the communication channel between the student and staff bodies. From its office on the campus, the Union offers advice on all manner of topics, and can provide useful information on Guildhall School, its surrounding area and student life. Alongside its representative function, the

14 15 16 Union is responsible for extra-curricular Security is provided 24 hours a day, activities throughout the year and is at 7 days a week. In addition, a team the centre of Guildhall’s social scene. It of Residential Wardens lives in the organises clubs and societies and a variety building to provide pastoral support and of social events, many of which take place respond to any emergency situations around the well-established Basement outside of office hours. A key part Bar, located nearby in Sundial Court. of their role is to encourage a sense of community among residents, and Accommodation throughout the year they organise social [email protected] activities such as market trips, museum visits, film nights and exercise clubs. Once you have been offered a place at Guildhall, you will be given details of If you are accepted onto a full-time accommodation options. Whether it is course at Guildhall School, you are private lodgings, rooms to rent in shared entitled to apply for a place at Sundial houses or local letting agencies, you will Court. Although we can’t offer a find something to suit your needs. room to every student, we do try to provide accommodation for first year We will also give you information about undergraduates. Sundial Court, the School’s Hall of Residence, which is located in Chiswell Street just around the corner from our two main buildings. Sundial Court has 39 flats, each with between three and six bedrooms, with 176 rooms in total. And for music students, there is the added advantage of being able to practise in your bedroom during agreed hours. Local amenities, including supermarkets, bars, restaurants and sports facilities, are all within walking distance. Two underground stations are close by, and down below is the Basement, which houses the School bar, a self-service laundry, practice rooms and a communal television room. Sundial Court has wired internet access in all study bedrooms, with additional Wi-Fi access points in the reception and basement areas.

17 18 19 Marathon ‘33 (November 2013)

20 ACTING

21 The Guildhall School is a lively, friendly community of actors, theatre technicians and musicians. The Acting Department itself is intimate and supportive. Our students form close-knit groups, developing personal and professional relationships that last for years.

Our programmes are highly regarded in the acting profession

ACTING for the thoroughness of their audition processes and the passion, quality and rigour of the teaching. We are also renowned for our integration of craft training, the care and attention we give to individual student development and the strong ensemble ethic shared by our staff and students.

The main programmes are the BA Honours in Acting and the MA in Acting. Each has a distinguished list of graduates, especially from recent years. Both programmes are three years, full-time. The MA is specifically designed for students who already hold an undergraduate degree and want a full, professional training in acting. They work alongside students

Henry V (February 2014)

22 on the BA Acting programme, with additional assignments Key staff appropriate to a Masters programme.

Christian Burgess AGSM FGS Vice-Principal & Director of Drama In addition, an MA in Training Actors (Voice) or (Movement)

Wyn Jones FGS is available. This is a two-year, full-time programme designed Director of Acting to train a small cohort of voice and movement teachers to work in the acting profession. Martin Connor FGS Head of Acting Studies Guildhall School has excellent performance facilities. Productions Patsy Rodenburg OBE FGS take place in our three distinctive theatres: Silk Street, a large Head of Voice versatile space; Milton Court, a proscenium arch theatre; and Wendy Allnutt Dip CSSD FGS the intimate Studio Theatre. An exciting mix of modern and Head of Movement traditional performance spaces for our students to explore.

Eliot Shrimpton BA MA (Cantab) Head of Academic Studies (Drama) The Department also runs two Drama Summer Schools: ‘Acting in Shakespeare and Contemporary Theatre’ and ‘Acting Core teaching staff in Musical Theatre’ (see page 121).

Kate Godfrey Voice & Speech In keeping with our collaborative ethos, Guildhall School is a partner in École des Écoles, a confederation of major European Charmian Hoare drama schools. As part of our commitment to this partnership, Voice & Speech over the years we have co-organised a number of international Danny McGrath workshops throughout Europe. Movement

Kenneth Rea Our approach also involves breaking down traditional Acting & Improvisation boundaries and challenging convention, giving you the chance

Annemette Verspeak to collaborate with students from other art forms. If you join Voice & Speech us as an undergraduate, you will work with students on the Music and Technical Theatre programmes during the first-year For a full list of teaching staff and visiting directors, please workshop project. And each year, our facilities are handed over visit the Guildhall School to students for an entire day of informal showcases as part of website: gsmd.ac.uk/acting the annual Guildhall Festival. On this day, students from all disciplines come together to display their creative talents.

23 The Guildhall School acting programmes are for students who BA Honours in Acting want to become professional actors. Innovative and unique in MA in Acting their structure and approach, they offer intensive vocational training in the practical craft of acting. Three years full-time We aim to produce actors who are Biographies of some of our teachers are 2,750 applications/26 places flexible and versatile, able to move available on the School’s website: with confidence between classical and gsmd.ac.uk/acting gsmd.ac.uk/acting modern theatre, film, television and radio. There is a generous staff-student Our acting programmes are constantly ratio and an enormous number of evolving. They merge the traditions Applicants are advised to apply as contact hours, plus an extremely low of classical training with the demands early as possible drop-out rate. of the profession in the 21st century. Good actors must have the means, the During your training, you will work intelligence and the need to communicate with many different teachers and their understanding of life to an audience. directors. Our staff are chosen to And our training reflects this. In all areas complement and contrast with each we’ll encourage you to be an enquiring other. Their approaches may vary but artist who can develop your own ideas they share a common purpose. Together and communicate them through they help each actor and each group to whatever material you are offered. define, develop and use the processes which are most useful to them. We believe strongly in the ensemble approach, with individual actors All Guildhall School teaching working together in a coordinated and and directing staff have extensive complementary way, each contributing professional experience. They work to a single powerful end result. We as a strongly committed team, while work in a collaborative atmosphere and maintaining regular contact with the encourage actors to connect emotion, industry. Some work in the theatre, intellect, spirituality and physicality – including the National Theatre, and above all to connect with each other the Royal Shakespeare Company, – in everything they do. Shakespeare’s Globe and the West End. Some work in film, television and Years 1 and 2 radio. Many work internationally, and we sometimes invite guest teachers The first two years are training years. from abroad to work with us here. During this period students will concentrate on acquiring the skills they need as professional actors. The time is divided between classwork and rehearsal projects. During the first two terms you will spend most of your time in classes, with more time on projects as the course progresses. Both classwork and rehearsal projects focus on developing and integrating four main areas of study: acting, voice, movement and playtexts.

Acting studies include stagecraft, improvisation, games and storytelling, mime, circus and physical theatre. Classes in radio and television work are added later in the training, using the School’s own equipment and radio studio.

Voice studies cover voice and speech classes, poetry and prose, singing, phonetics, dialects and a great deal of work on language, including Shakespeare.

24 Hamlet (February 2014)

Movement studies cover pure movement, regularly attended by agents, and movement improvisation, including theatre and casting directors. animal studies and mask work, period dance and 20th-century dance, MA in Acting showdance, acrobatics and stage combat. The MA in Acting is a three-year Acting research investigates plays and full-time programme for students theatre forms representative of the with a university degree who want major periods of Western theatre, as full professional training in acting. well as examples from world drama. The MA students work in the same These are explored within their cultural classes, rehearsals and performances as contexts. the students on the three-year BA in Acting, but with additional tutorials Year 3 to help them achieve the Masters level outcomes. Entrance is by audition. At By the third year, you will be technically the point of audition, no distinction is proficient vocally and physically. You made between applicants to the BA and will have developed your own working the MA. MA students have the same processes. Most of your time will be practical training as the BA students. spent rehearsing and performing to the If you study on this programme, you public and to potential employers. You will take additional modules to develop will work on around six productions, your critical and reflective skills. You playing a wide variety of roles in plays will also be required to achieve more of varying styles, working with several demanding learning outcomes and a different directors. There are also higher standard overall. sessions to prepare you for the acting profession, as well as audition showcases

25 “As stunning as the studios and facilities are to work in, and as reassuring as it is to be training somewhere with such an influential reputation, it is the teachers that make the School what it is. They are experienced, passionate, supportive and down to the very core committed to your growth as an actor and your journey as a member of your ensemble. It has also been remarkable and thrilling to be a part of a year of actors you respect and admire. I have never found myself a part of anything as inspiring as the acting programme at Guildhall.”

Nicholas Richardson MA Acting

26 Preparing for the profession After training

In their final year all Guildhall acting Former Guildhall School acting students are given clear guidance on students can be seen in a wide variety of starting out in the profession. There work, including film, TV and theatre are regular talks, workshops and visits (including the West End, the Royal by theatre directors, agents, casting Shakespeare Company and the National directors, tax advisers and Equity Theatre). The department maintains representatives. Actors and actresses very strong links with its alumni. See currently working in the profession are pages 28–29 for profiles of some of our involved as tutors and advisers in the established and recent graduates. final year. The department also provides a specialist career consultant to assist Find out more you in the transition from training to professional life. Students from a wide range of ages and backgrounds are selected on merit by Audition showcases audition. It is not necessary to have any previous acting experience. During the final year you will prepare showcases of modern and classical You should normally be at least 18 years speeches and scenes. These are attended old when you begin your training. Most by a large number of agents, directors students are a few years older. There is and casting directors, giving you the no upper age limit. chance to perform in front of key professional representatives. Visit gsmd.ac.uk/acting for further information on teaching staff, audition Equity membership requirements, open days and how to apply. You are advised to apply as Students who have the right to work early as possible. in the UK are eligible to become student members of British Actors’ Equity, the actors’ trade union. They will automatically be granted full membership when they complete their training.

Napoli Milionaria (May 2014)

27 This programme is aimed at graduates who are committed to MA in Training training a new generation of professional actors. The course Actors (Voice) or is led by Eliot Shrimpton (Head of Academic Studies) with (Movement) specialist leading practitioners Patsy Rodenburg (Head of Voice) and Wendy Allnutt (Head of Movement). Students Two years full-time specialise in either Voice or Movement and follow an 14 applications/4 places integrated programme with emphasis on a chosen discipline. (two Voice, two Movement) working alongside a director within gsmd.ac.uk/acting an acting company. At the discretion of the director, you will undertake supervised teaching and coaching and will start leading warm-ups and exercises. You will also work on a practice-based Research Project in the form of a dissertation. The programme culminates in a Professional Placement, where students are attached to a professional theatre company or drama school, monitoring and coaching as The programme content draws on a long required. Recent placements have tradition of actor training in the UK and included work at the Royal Opera abroad. It involves a very small cohort of House with Wayne McGregor, Mercury students, which means you can develop Theatre Colchester, Watford Palace your knowledge and skills under close Theatre, Shakespeare’s Globe and the guidance. Students enjoy close links National Theatre, to name but a few. with the BA Honours and MA in Acting programme and with the professional Career opportunities theatre. At the core of the programme is the intensive observation of actors Graduates from this programme have in training, supported by seminars and gone on to work in major British and tutorials; practice-based research; international drama schools such as knowledge and skills development and RADA, LAMDA, the Drama Centre, a placement in a major theatre company the National Theatre School of Canada, and/or drama school. NYU’s Tisch School of the Arts and Columbia College Chicago. They also Year 1 find employment with leading theatre companies throughout the world In the first year, you will concentrate including Cheek by Jowl, Stratford on developing your knowledge and Shakespeare Festival Theatre, the RSC understanding of actor training. You and the Young Vic. will also begin to focus on the acquisition of teaching skills. These skills are further Find out more developed in a series of workshops for trained actors, culminating in a practical Visit gsmd.ac.uk/acting for further teaching exercise. information on teaching staff, audition requirements, open days and how to Other modules are designed to develop apply. Preliminary selection is made your knowledge, understanding and on the basis of qualifications and communicative skills in specific subject experience, with final selection by areas, including anatomy and physiology interview/workshop. of voice and movement, voice or movement analysis and play study.

Year 2

In Year 2 you will engage in correctional work and develop your expertise in diagnosis and assessment. At this stage students also negotiate

28 “The standard of the productions is excellent, from every department. You’re in an environment where you’re getting to see really good work, and really good directors coming in to work with people. You see the movement work and training in action, and that’s so important – so you’re more confident when you go out into the industry, you’ve been around it already.”

Leah Muller MA Training Actors (Movement)

29 Some of our Acting alumni

Hayley Atwell (2005) Orlando Bloom (1999) Stephen Campbell Moore (1999)

Daniel Craig (1991) Michelle Dockery (2004) Daniel Evans (1994) Shirley Henderson (1986)

Sarah Lancashire (1986) Damian Lewis OBE Ewan McGregor OBE (1992) Alfred Molina (1975) (1993)

Simon Russell Beale CBE Lesley Sharp (1982) Dominic West (1995) Jodie Whittaker (2005) (1983)

30 Recent graduates George Blagden (2011) Paapa Essiedu (2012) George left Guildhall School early to Paapa was nominated for the Ian take up a role in the feature film The Charleson Award for his role as Fenton Philosophers, before winning parts in in the RSC production of The Merry Wrath of the Titans and the feature film Wives of Windsor. He has also appeared of Les Misérables, in which he played in the National Theatre’s production Grantaire. He was most recently cast as of King Lear, directed by Sam Mendes, Athelstan in The Vikings series for the and in productions at the Finborough History Channel, and has been named Theatre and the Orange Tree Theatre. one of ‘Ten Brits to Watch’ by Variety. He is a co-founder of Invertigo Theatre Company. Kurt Egyiawan (2011) Kurt won the Spotlight Prize after Rob Callender (2013) graduating and has since appeared in Rob’s first major role after leaving prestigious productions at Shakespeare’s Guildhall School was as Guy Bennett Globe, the Donmar Warehouse, the in Another Country, Chichester Festival Freddie Fox (2010) Young Vic and the National Theatre, Theatre’s hit production which went Freddie has a string of credits to his working with directors including on to transfer to Trafalgar Studios to name, including major television roles Dominic Dromgoole, Josie Rourke and critical acclaim. in Worried About the Boy (BBC), Parade’s Rupert Goold. He has also played roles End (HBO/BBC), The Shadow Line in a number of feature films, not least Ben Schnetzer (2013) (BBC), Any Human Heart (Channel 4) the James Bond blockbuster Skyfall, During his final year at Guildhall, Ben and The Mystery of Edwin Drood (BBC) directed by Sam Mendes. was cast as Max Vandenburg in the Fox where he played the title role. On stage movie adaptation of The Book Thief. He he has appeared opposite Rupert Everett Emily Berrington (2012) then went on to parts in feature films in The Judas Kiss (Hampstead Theatre), After appearing in Michael The Riot Club alongside Douglas Booth and in Hay Fever (Noel Coward Theatre), Winterbottom’s film The Look of Love and Freddie Fox, and Pride, alongside Cause Célèbre and A Flea in her Ear (both and the play Children’s Children at the Bill Nighy. Old Vic). Film credits include The Three Almeida Theatre, Emily was cast in Musketeers, and most recently The Riot the final series of the BBC comedy Jacob Fortune-Lloyd (2014) Club, Pride, and Frankenstein. Outnumbered. She has since appeared in Jacob left Guildhall School last year the feature film The Inbetweeners 2 and to play Francis Weston in the BBC Lily James (2010) the television series 24: Live Another adaption of Wolf Hall, alongside After television roles in Just William Day, as well as playing Edward IV’s Damian Lewis and Mark Rylance. He (BBC) and Secret Diary of a Call Girl (ITV), mistress in the BBC’s historical drama was Guildhall’s nominee for the 2014 Lily went on to appear in the feature The White Queen. Spotlight Prize. films Wrath of the Titans and Fast Girls as well as a series of stage roles in The Seagull Michaela Coel (2012) Kate Phillips (2014) (Southwark Playhouse), Othello (Sheffield Michaela’s one-woman show Chewing Kate left Guildhall School last year for Crucible) and Vernon God Little (Young Gum Dreams was staged at the National her first role as Jane Seymour in the Vic). She is now best known as Lady Theatre’s Shed venue in 2014, where BBC adaptation of Wolf Hall, opposite Rose in ITV’s hit series Downton Abbey, she has also appeared in productions of Damian Lewis. She was recently named where she has appeared for the last two Home and Blurred Lines. Most recently, ‘One to Watch’ by The Independent series. She was most recently cast as the she appeared in the NT’s main theatre, and a ‘Star of Tomorrow’ by Screen title role in Walt Disney’s reimagining of the Olivier, for a part in Medea, and has International, and also starred in The Cinderella, directed by Kenneth Branagh. also appeared in Channel 4’s Top Boy. Crucible at West Yorkshire Playhouse.

Ashley Zhangazha (2010) Steffan Donnelly (2012) After Guildhall, Ashley was directed by After leaving Guildhall School, Michael Grandage in roles in Danton’s Steffan formed a theatre company and Death (NT) and King Lear (Donmar production house with three of his Warehouse), where he was awarded a classmates called Invertigo. Winner of Commendation at the Ian Charleson a Deutsche Bank Award for Creative Awards for his portrayal of the King Enterprises, they have produced a of France. Two years later he went on number of plays staged at various to win First Prize in the same awards venues including the Arcola Theatre, for his performance as Ross in Macbeth the Pleasance in Edinburgh, and the (Sheffield Crucible). He has since taken Finborough Theatre. Steffan also on a number of stage roles at the Royal recently appeared in Titus Andronicus at Court, Royal Exchange Manchester, Shakespeare’s Globe and in The Winslow Theatre Royal Bath and with the Boy at Clwyd Theater Cymru. Michael Grandage Company.

31

MUSIC Guildhall School is one of the world’s leading conservatoires. Studying music at Guildhall involves intensive, dedicated teaching, mostly at a one-to-one level, in the instrument or course of your choice. Surrounded by actors, stage managers and theatre technicians, you will be part of a thriving arts community next door to one

MUSIC of Europe’s leading arts centres. And you will learn from some of our renowned international teaching staff while collaborating in world-class music making.

Our partnerships with five key organisations – the Barbican Centre, the London Symphony Orchestra, the BBC Symphony Orchestra, the Royal Opera House and the Academy of Ancient Music – ensure students benefit from links with the profession before they graduate. If you are a performer, there are opportunities to perform in some of London’s most prestigious venues. Whatever you study, we will encourage you to work with artists from other art forms, as well as those specialising in your area.

At Guildhall School we offer a lively, friendly and collaborative community – a community in which we expect you to be a professional from day one. We ask for dedication and commitment, and in return we give you as many opportunities as we can. Our music programmes are highly regarded for the quality and rigour of their teaching. They are also renowned for the opportunities they provide for innovation and experimentation and for their unwavering commitment to pushing boundaries in all areas.

34 At undergraduate level we offer a four-year BMus programme, Key staff with a one-to-one Principal Study area in a variety of Jonathan Vaughan instruments and disciplines. These range from instrumental DipRCM(Perf) Dip RCM(Teach) and singing training to jazz, electronic music and composition. Vice-Principal & Director of Music

Professor Ronan O’Hora FGS FRNCM If you are considering postgraduate study, you can choose Head of Advanced Performance from various programmes and levels of study, with specialisms Studies and Head of Keyboard tailored for specific careers in the industry. These include the Louise Hopkins FGS AGSM Guildhall Artist Masters programme with pathways in Head of Strings Performance, Composition or Leadership, MA programmes

Richard Benjafield in Music Therapy or Opera Making and Writing, and an FGS GRNCM PPRNCM Artist Diploma. Opportunities to work with our professional Head of Wind, Brass & Percussion partner organisations are a key feature of many of these Armin Zanner programmes, not least the Orchestral Artistry specialism MA MPhil (Cantab) MMus in association with the London Symphony Orchestra. In Head of Vocal Studies addition, the Music Department works closely with Research to Dominic Wheeler deliver our doctoral programmes. BA (Cantab) ARCM(PG) ARCO Hon ARAM Head of Opera Whatever programme you choose, you will be able to Gabby Vautier BA perform, record, compose and collaborate with a range of Head of Creative & Professional Practice ensembles. You can also take part in competitions, public showcases and masterclasses with high-profile visiting artists. Alasdair Tait BMus PPRNCM Our performance facilities, meanwhile, are second to none Head of Chamber Music and include the stunning new Milton Court Concert Hall. Dr Alessandro Timossi DPhil FGS Opened in 2013, Milton Court is the largest of the London Head of Music Programmes conservatoire concert halls, complete with state-of-the-art

Jane Booth BMus LRAM acoustics and technical facilities. Head of Historical Performance Throughout your studies at Guildhall School, we will Martin Hathaway GGSM LGSM Head of Jazz encourage you to use your craft to benefit others, not just yourself. Believing strongly in the power of music and Professor Julian Philips MA (Cantab) PhD FGS art to transform people’s lives, we offer training for all Head of Composition undergraduate music students in participatory, community settings, with opportunities to specialise further in this work Ann Sloboda BMus (Hons) (Oxon) PGDipMT at postgraduate level. Indeed, in order to be a 21st-century Head of Music Therapy musician, you will need a broad portfolio of skills. We will provide as much support as we can to prepare you for this Mike Roberts MA Head of Electronic Music & Music exciting, enriching profession. Technology

For a full list of teaching staff, please visit the Guildhall School website: gsmd.ac.uk/music

35 Studying music at an internationally-renowned conservatoire means you can become immersed in a world of performance from day one. Whatever your instrument or specialism, Guildhall School provides a host of opportunities for you to perform, record and collaborate (and if you’re a composer, to hear your own works performed).

Public performances

Guildhall presents a full public programme of student concerts, opera and recitals, numbering over 100 every term. These are marketed to London audiences and feature Guildhall musicians from undergraduate level all the way through to Artist Diploma students. Some concerts are streamed online, PERFORMANCE and many are reviewed by critics from the national press. Visit gsmd.ac.uk/events for an overview of these exciting performance opportunities.

Ensembles

There is a vast array of Guildhall ensembles, from the Guildhall Symphony Orchestra, Symphony Chorus and Chamber Orchestra through to wind ensembles, brass bands and chamber groups. You will also find dedicated ensembles for jazz, historical performance and new music, or you can form your own ensemble. Read more about recent ensemble activities in our Principal Study pages (54–81).

Competitions

Guildhall School offers music students the chance to enter numerous competitions, culminating in the Gold Medal, the School’s most prestigious prize. Previous Gold Medal winners include Jacqueline du Pré, Tasmin Little, and Bryn Terfel. You will also be encouraged to enter external competitions whenever possible and appropriate. See our Principal Study pages (54–81) for news of recent prize winners.

Masterclasses

In keeping with our global credentials, we play host to masterclasses from international visiting artists. These are free to attend and often open to public audiences. We are a collaborative institution, and our partnerships with the Barbican and the London Symphony Orchestra also lead

36 to regular masterclasses and artist conversations with leading orchestral players, conductors and solo artists. See our Principal Study pages (54–81) for news of recent masterclasses.

Our facilities and venues

Guildhall School performance spaces are designed to accommodate every kind of performance. The new Milton Court Concert Hall, which opened in 2013, is the largest conservatoire concert hall in London, with state-of-the-art acoustics and technical facilities. A regular venue for Guildhall musicians, it is also used by the Barbican’s two new Associate Ensembles, the Academy of Ancient Music and Britten Sinfonia, whose concerts are often broadcast on BBC Radio 3. Solo recitals, chamber music and medium-sized orchestral performances all take place here.

Opera productions are staged in the Silk Street Theatre, a large, flexible theatre space with orchestra pit, and fine lighting and sound facilities. Other venues include a smaller Music Hall, a Lecture Recital Room and a performance space in the basement of the nearby Sundial Court, particularly suitable for jazz.

As a Guildhall musician, you will have access to over 80 solo practice studios, several medium-sized ensemble rooms, electronic music studios and recording facilities. The recording studio can accommodate small-to-medium-sized chamber, jazz and contemporary ensembles. It is used for workshops,

37 “The best thing about studying here is the environment. The role of classical musicians and conservatoires around the world is changing and Guildhall is pioneering the way forward with bold initiatives, student programmes and partnerships across the arts. The students, faculty, and administration are very forward thinking and not afraid to take risks.”

Hunter Noack MPerf Piano

38 portfolio recordings and CD production to fully professional standards. Students can also produce demo DVDs, both in the recording studio and in the performance spaces.

Cross-arts collaborations Collaboration is a major part of our approach to teaching and learning. We break down traditional boundaries and challenge convention, giving you the chance to collaborate with students from other art forms. If you join us as an undergraduate, you will work with students on the Acting and Technical Theatre programmes during the first-year workshop project. And each year, our facilities are handed over to students for an entire day of informal showcases as part of the annual Guildhall Festival. On this day, students from all disciplines come together to display their creative talents.

Performing in London, the UK and beyond

Our location in the heart of the City’s cultural quarter, and our partnerships with the Barbican and London Symphony Orchestra, mean we offer exciting performance opportunities in some of the capital’s finest venues. The Guildhall Symphony Orchestra and Chorus perform regularly in the 2,000-seat Barbican Hall, while chamber musicians give recitals there as part of the acclaimed LSO Platforms: Guildhall Artists series. The Barbican’s Church of St Giles Cripplegate and LSO St Luke’s are also regularly used for performances.

We are also involved in performances in prestigious venues across London, including Kings Place, Wigmore Hall and the Southbank Centre. Further afield, recent performances have taken place at Aldeburgh Festival, New York’s Carnegie Hall, and the Banff Centre in Canada.

Additionally, students get involved in Guildhall School’s extensive programme of Outside Engagements. At these paid events, students perform background music at company and corporate functions, music for wedding services, receptions and family occasions, as well as full recitals and concerto performances for music clubs and societies.

39 The BMus programme is centred around world-class one- BMus to-one tuition for performers, composers and electronic musicians. Its principal aim is to develop your ability as a Strings, Wind, Brass, Percussion, practical musician. Keyboard, Vocal Studies, Composition, Electronic Music, Jazz, At least two-thirds of the programme specific tuition and performance Early Instruments is focused on students’ Principal Study opportunities. A Joint Principal Study areas, which promote personal and pathway is available if you want to Four years full-time artistic development by providing at combine two areas of Principal Study. least 30 individual lessons a year with 659 applications/120 places our renowned professorial staff. They Years 1 and 2 also involve over 100 hours of additional gsmd.ac.uk/music lessons, including practical classes, In addition to Principal Study and workshops and projects with high-profile tutorial groups, students follow a small conductors and artists, and opportunities number of Academic Studies and to perform in some of the country’s Creative Learning electives. These will finest venues. give you the essential building blocks you need as a musician, including From the start of the programme, analysis, aural and collaborative skills, you will be treated like a professional harmony, history, jazz workshop and musician. Our students are given all the keyboard musicianship. In Year 1, you support and encouragement they need will also take a module in Professional to prepare for life in the industry. They Studies, which explores broader topics also get the chance to establish contacts such as performance psychology, health and gain exposure via our partnerships and wellbeing, as well as improvisation with organisations such as the Barbican, and communication skills. And in London Symphony Orchestra, BBC Year 2, you will follow a module in Symphony Orchestra and Academy of conducting. Ancient Music. Years 3 and 4 As you learn to work effectively and creatively with others, you will also In years 3 and 4, Principal Study and be given plenty of time for individual tutorial group continue to be the main study and reflection. focus. But now students can choose from over 20 electives from Academic See our Principal Study pages (54–81) Studies and Creative Learning (see box) for further information on instrument- to complete your studies. Those who achieve high-level results in Principal Study can take Advanced Principal Elective modules Historical Performance: principles Study and Advanced Ensemble to (some available in Year 4 only) and research pursue their performance practice to an Interpretation through improvisation even greater degree. Advanced aural Introduction to fugue Advanced ensemble Find out more Introduction to music therapy Advanced keyboard musicianship Jazz arranging Advanced Kodaly musicianship Visit gsmd.ac.uk/music for further Jazz performance information on teaching staff, audition Advanced Principal Study Music administration requirements, open days and how Adventures in neglected repertoire to apply. Music, philosophy and the arts Analysis Opera and theatre Body matters Orchestration Brass and wind arranging Personal research project Composition for media PianoWorks Conducting Second study Counterpoint Stylistic composition Dramatised song and poetry Workshop skills Electronic studio techniques

40 “Guildhall has a unique buzz and vibe to it. I remember walking into the foyer on my audition day and feeling a great sense of community and friendliness. It immediately struck me that this was the environment where I wanted to spend the next step of my musical journey. The best thing is the attitude. There is no snobbery at all, which is so refreshing, especially in the classical music world. It encourages you to get out of your shell and recognise what you can do.”

Rebecca Carson BMus Flute

41 Studying for a Guildhall Artist Masters in music performance MMus/MPerf in prepares you for entry to the profession at the highest level. Performance It gives you technical facility and musical flexibility, allowing (Guildhall Artist you to explore and refine your individual artistic voice. Masters) This programme is all about developing as an intelligent musician and practitioner; about challenging yourself and Strings, Wind, Brass, Percussion, Keyboard, Vocal Studies, Opera taking risks within your field of expertise. The School will Studies*, Repetiteur, Piano provide you with a learning environment that enables you to Accompaniment, Chamber Music, recognise and nurture your strengths. Jazz, Historical Performance Practice, Orchestral Artistry We respect creativity and a desire to partner organisations, particularly the *Opera Studies is full-time only, and Part One learn, and want you to recognise and Orchestral Artistry specialism delivered takes two academic years surpass your limits. As part of this in association with the London development process, you will receive Symphony Orchestra (see page 43). Part One (MMus/PGDip): feedback from a variety of sources. One year full-time/two years part-time To ensure you gain self-reliance and Professional specialisms the confidence to further your career Part Two (MPerf): independently, we prioritise individual Within the Performance pathway, One year full-time study and reflective practice. See our students study one of our professional Progression to Part Two is conditional on Principal Study pages (54–81) for further specialisms according to instrument and results from Part One information on instrument-specific area of interest: tuition and performance opportunities. 580 applications/126 places Advanced Instrumental Studies At Guildhall Artist Masters level, (Strings, Wind, Brass, Percussion, gsmd.ac.uk/music the opportunities for professional Keyboard) exposure are even greater. You will Intensive study for soloists and study with at least one of our world- ensemble players class professors. Your final recitals will be assessed by leading experts. You will Chamber Music work with internationally-renowned (Strings, Wind, Brass, Percussion, conductors and artists. And you will Keyboard) perform in some of the country’s finest For pre-existing groups and individuals venues. Many specialisms within this who wish to hone their skills in programme work closely with our chamber music

Elective modules Historical performance: principles and research Additional Principal Study Interpretation through improvisation Aesthetics and the philosophy of art Introduction to Fugue Analysis Jazz composition and arranging Baroque studies Jazz improvisation Body matters Medieval and renaissance studies Chamber music Music for media Classical studies Opera and theatre Collaborative practice: PianoWorks cross-arts contexts Research in performance, composition Collaborative practice: or leadership education contexts Song accompaniment Conducting Song interpretation (for singers) Counterpoint Voiceworks Dramatised song and poetry Electronic-acoustic music

42 Piano Accompaniment Intensive study in collaborative pianism

Repetiteur Specific repetiteur study for pianists within the Opera Department

Vocal Studies Advanced study for singers who can specialise in areas of particular interest

Further information on our professional specialisms can be found in the Principal Study pages (54–81).

Part One (MMus/PGDip)

In Part One most of your time is spent on your one-to-one Principal Study. But you will also take modules on topics relevant to your professional life such as research, self-reflection, and professional artistic development. You can also choose from a variety Historical Performance Practice of Academic Studies and Creative Embracing music from the middle ages Learning electives to broaden and to the early romantic period deepen your musical expertise (see Elective Module box opposite). Jazz Intensive specialism for instrumentalists Part Two (MPerf) and singers In Part Two, even more of your time Opera Studies is focused on Principal Study, with the Our award-winning specialism offering remainder of the programme allowing advanced operatic training time for a critique of your personal development. Orchestral Artistry in association with the LSO Extended Guildhall Artist programme (Strings, Wind, Brass, Percussion) (Graduate Certificate) Ground-breaking specialism placing students seeking a career in orchestral An extended programme is available to playing alongside LSO players and postgraduate applicants with potential international artists – see page 43 whose Principal Study is not yet at BMus (Hons) level. This course includes an introductory year of Principal Study, and awards a Graduate Certificate to successful candidates who don’t progress on to the full programme. Further information is available on request from the Music Department.

Find out more

Visit gsmd.ac.uk/music for further information on teaching staff, audition requirements, open days and how to apply.

43 “The best thing about studying here is being situated right next to the Barbican Hall and Milton Court where world-class musicians work. It is a great environment for students to be in, and being able to regularly perform in those venues gives us great perspectives.”

Ricky Gore MMus Violin (Orchestral Artistry)

44 MMus/MPerf in Performance (Guildhall Artist Masters): Orchestral Artistry

In association with the London Symphony Orchestra

Strings, Wind, Brass, Percussion

Part One (MMus/PGDip): One year full-time

Part Two (MPerf): One year full-time Orchestral Artistry is an exciting new professional specialism Progression to Part Two is conditional on for instrumentalists seeking a career in orchestral playing. Part results from Part One of the Guildhall Artist Masters programme, it offers a course of New from entry 2013 study which is both highly distinctive and ground-breaking in scope, in a context akin to a professional environment.

The London Symphony Orchestra (LSO), • Masterclasses and chamber coachings, Resident Orchestra at the Barbican, either as an observer or a performer, attracts outstanding players from all with a variety of LSO players over the world. It has an enviable roster • Q&A sessions, masterclasses and of soloists, conductors and regular chamber coachings, either as an artists who feature in its fifty London observer or a performer, with concerts every year. international artists working with the LSO Pierre Boulez famously described the orchestra as ‘an ensemble of possibilities’ In addition, the Barbican International – and Orchestral Artistry embodies Associates (Concertgebouw Orchestra, this challenge. The course focuses on Leipzig Gewandhaus Orchestra and orchestral training, education and Los Angeles Philharmonic, among outreach and early career support for others) undertake biennial residencies the orchestral players of the future. on our campus. Their musicians deliver We value an entrepreneurial attitude a number of masterclasses throughout to the arts – not only will you master the year, enhancing the international your craft, you will acquire the skills, flavour of the School and providing knowledge and capabilities you need to insight into the playing styles and sound- become a high-achieving 21st century- worlds of these renowned ensembles. performing artist. Part One (MMus/PGDip) As part of the course, students receive individual tuition from the Guildhall Orchestral Artistry focuses on School’s professors or an LSO player excellence in performance, core who is also a Guildhall professor. They musicianship skills and leadership and can also participate in: communication. In the first year of the course students receive coaching from • Orchestral training, sectionals and LSO players and Guildhall professors audition training from Guildhall in orchestral sectionals, audition professors and a variety of LSO players experience, and instrumental classes.

45 There will also be masterclasses from department (see page 65). There is a LSO players and international soloists. full programme of chamber music, You will have sit-in opportunities, new music, historically-informed either listening or playing alongside performance and interdisciplinary LSO players in orchestral rehearsals, practice. plus access to a wide variety of educational concerts and workshops. A diverse programme of core modules, and elective modules in Part One (see Part Two (MPerf) page 40) from the Guildhall Artist Masters programme will enable you to If you progress to Year 2, you will be further develop your skills in practical given more autonomy in arranging subjects and research. your own assessed projects, as well as continuing activities from the first year. Find out more The second year is strongly focused on further development of technical and Visit gsmd.ac.uk/music for further artistic abilities. Breadth of repertoire, information on teaching staff, audition individual creative output and requirements, open days and how professional experience are also to apply. key features.

Students in both years can take part in the LSO’s education and community programmes such as the LSO On Track and Early Years Outreach, as well as Creative Learning projects. This will enable you to learn how community- based programmes are delivered, and meet the professional animateurs, performers and administration teams involved in these projects.

Performance opportunities on this course embrace a variety of orchestral contexts, including Symphony Orchestra concerts in the Barbican, and the Opera orchestra for productions by the School’s acclaimed Opera

46 Guildhall School offers some of the most stimulating MMus/MComp and creative training for composers in the UK. Studying in Composition composition at Guildhall Artist Masters level prepares you for (Guildhall Artist professional life as a composer. It allows you to explore and Masters) refine your individual artistic voice within the atmosphere of a busy, modern conservatoire, while also giving you space for Part One (MMus/PGDip): self-reflection. One year full-time/two years part-time The course is primarily practical and The School’s New Music Society, New Part Two (MComp): project-based, but you will also be Music Ensemble and annual projects One year full-time supported by weekly analytical and with the BBC Symphony Orchestra, Progression to Part Two is conditional on theoretical seminars. All students are London Symphony Orchestra or City results from Part One expected to meet a series of deadlines Chamber Choir provide excellent as the year progresses – essential platforms for public performance. 23 applications/5 places preparation for a professional career. See the Composition Principal Study page 72 for further information on gsmd.ac.uk/music Part One (MMus/PGDip) departmental opportunities.

During the year, students produce a Part Two (MComp) portfolio of five compositions supported by a written commentary on the year’s Exceptional students on Part One will work. These five core projects include be given the opportunity to continue extensive workshopping opportunities their studies into Part Two. During the and performances. year, you will independently undertake a portfolio of three substantial While compositional activity will take compositional projects alongside your up most of your study time, you can one-to-one tuition, strengthening your also elect to take modules in electronic artistic and professional development. music and writing for film and television. You can pursue these areas further Extended Guildhall Artist programme within the elective programme, which (Graduate Certificate) also offers second studies such as performance, jazz and improvisation Students who are enrolled on the and analytical or historical research (see Extended Guildhall Artist programme box on page 40). will need to pass an introductory year before progressing to Part One. See page The programme is built around a central 41 for further details. strand of weekly seminars, in which both staff and visiting composers lead Find out more discussion and score analysis of recent contemporary music. An eclectic mix of Visit gsmd.ac.uk/music for further composers, musicologists, performers information on teaching staff, entry and music administrators cover a range requirements, open days and how of practical and theoretical topics. Recent to apply. visiting composers include John Adams, Steve Reich, James MacMillan, Rozalie Hirs, Jennifer Walshe and Alwynne Pritchard. Prominent publishers, copyists and administrators also offer practical insights into the music business.

In addition to coursework, we encourage students to take advantage of the many creative and collaborative opportunities Guildhall School has to offer. These might include working on one of the drama department’s many productions, collaborating with the jazz students or developing new work with postgraduate performers and singers.

47 The Leadership Pathway of the Guildhall Artist Masters MMus/MLead programme is designed to help professional arts practitioners in Leadership meet the challenges of the future. The course provides a unique (Guildhall Artist opportunity to extend the boundaries of your performance Masters) practice and explore different creative processes in a practical and reflective research environment. You will be encouraged to Part One (MMus/PGDip): identify a personal pathway for your development in a variety Two years full-time of artistic, cultural, community and educational contexts.

Part Two (MLead): Supported by a diverse team of world- One year full-time renowned practitioners, researchers, Progression to Part Two is conditional on guest speakers and project leaders, you results from Part One will develop skills in a range of areas. These include improvisation, group 20 applications/9 places composition, cross-arts collaboration, performance, and creative workshop- gsmd.ac.uk/music leading for different contexts. With a strong focus on reflective practice, you will develop an informed awareness of the wider context of your work. The course is taught through group practical classes, discussions, critiques and seminars. Part One: Years 1 and 2 You will also receive individual tutoring, instrumental lessons and mentoring, and In addition to the core programme, take part in individually led and/or group you can choose two or three electives creative projects. to develop specific skills, attitudes and understanding in relation to your Led by Creative Learning, the course areas of specialism. These electives are has close links with the Barbican and taught in small groups and involve offers opportunities for you to work in a combination of academic and collaboration with established artists. experiential learning approaches. See You can also take advantage of creative the box on page 40 for further details. research laboratories, professional placement opportunities and local, Part Two: Year 3 national and international residencies and exchanges. Exceptional students completing Part One of the Leadership Pathway will have the opportunity to continue their studies into Part Two (Leadership Portfolio). They undertake three substantial performance events as a Leader, Performer and Creator/Collaborator that are designed to strengthen artistic development in these areas.

Recent guest speakers and tutors include: Brian Eno, David Toop, Oren Marshall, Pascal Wyse, Alex Murdoch, Eugene Skeef, Kinsi Abdullah, Julia Woolfe, Matthew Peacock, Angela Impey, Ansuman Biswas, Orlando Gough, Ana Sanchez-Coberg.

48 Recent Leadership projects Curious Festival Curated by Creative Learning, Curious MAP/Making Festival 2013 took place in Chats Palace, Launched in 2000, the MAP/Making Hackney. It featured new and original project (MAP = Music, Art and works by Guildhall School Leadership Performance) enables visual artists musicians, associated artists and local from the Royal College of Art and community partners. Performances musicians from the Guildhall School included live music, visuals and dance to collaborate on a wide variety of as well as installations, discussions and innovative projects. These range from open workshops. interpretations of the classical repertoire to contemporary sound ‘sculpture’; For updates on our most recent from acoustic to electronic; from pieces Leadership activities, projects, developed for formal concert-hall performances, residencies and settings to site-specific installations; discoveries, please visit: and from composed music to open mmusleadership.tumblr.com improvisation.

Dialogue Festival Curated by the Creative Learning department, Dialogue Festival 2014 took Compass Rose as its theme. Several musical groups led by the Leadership students were asked to create compositions in response to this theme.

49 Recent residencies Their company, ‘a pioneering collective creating original music through Iceland community-engaged collaboration’, This week-long residency took students runs creative family music projects in to the South of Iceland (Vik in Myrdal) Greenwich and Tower Hamlets, funded where they collaborated with visual arts by the Arts Council and Youth Music: students from the Icelandic Academy soundcastle.co.uk of Arts. The collaboration involved responding to Iceland’s spectacular Kadialy Kouyate (Leadership 2012) landscape and mythology and Kadialy is a kora player and singer from connecting with local people. Senegal. Currently based in the UK, Kadialy performs with his band at major Palestine venues across the UK and Europe. His Guildhall School takes part in an music has also been broadcast on radio, annual exchange with Beit al Musica, including BBC World Service, BBC3 a Palestinian music organisation based World Roots and live from WOMAD in the West Bank, Israel. Each autumn festival. In 2012 Kadialy had a central the Leadership course hosts annual role in creating and performing the visits from Palestinian music students music for Gregory Doran’s Royal and tutors to London. Each spring our Shakespeare Company production of Leadership students travel to Palestine Julius Caesar, which toured England where they learn about Palestinian and Europe. Kadialy has taught at Dakar music traditions. The joint group then University and at the West African collaboratively creates new music for Research Centre. He currently teaches performances and delivers work in the at SOAS University of London. community. Olivia Bradbury (Leadership 2011) Argentina In 2012, Olivia and her group, The Students were recently given the Unhidden Collective, developed a opportunity to travel to La Plata, piece called The Fish Tales of Alaska. Argentina, to take part in a two-week Following two developmental residency working closely with La laboratories at the Barbican Pit Theatre, Sonora community of artists. Activities they were awarded a three-week run included Candombe workshops, Tango at the Yard Theatre, Hackney. Olivia workshops, Tango dance lessons, has also received funding from the Argentinian folk workshops, projects Arts Council of England to produce her in local orphanages and community solo show Finding Frank, based on her performances. experience of working in mental health institutions. Recent alumni include Find out more Marlies Van Gangelen (Leadership 2014) Visit gsmd.ac.uk/music for further Marlies has recently collaborated with information on teaching staff, audition Matthew Herbert and Villagers. She requirements, open days and how has also been commissioned by The to apply. Performing Arts Fund NL to perform Chiel Meijering’s oboe concerto Andiamo!, including a performance at the Canal Music Festival. In 2014, she premiered Ümit Armag˘an’s Flee From, To Move Towards at Wigmore Hall and has worked on community projects for Palestinian and Syrian refugees in Jordan.

SoundCastle (Leadership 2011) In 2011, Leadership graduates Hannah Dunster, Gail MacLeod, Jennifer Parkinson and Rachel Perrin were awarded the prestigious Deutsche Bank Award for their music social enterprise.

50 “Before coming to the Leadership course I felt like my interests in social change, community development and developing young people’s creativity were limiting me as a musician. The tutors on this course showed me how my wider interests are strengths to build on. I now more than ever feel like I’ve found an artistic purpose. I have witnessed how bringing people together and unlocking their potential breaks the stereotypes of what works and what is possible. I am now a musician that believes we can make a difference in our communities and societies. There are so many needs in the world that need responding to. I have been trained and equipped how to do that.”

Elena Gramatikovska MMus Leadership

51 “Guildhall has prepared me for a career in music therapy in all ways, from searching for jobs and applying, through to having brilliant work experience from the placements they chose for me. The tutors on the course are fantastic, and also the instrumental teachers have been welcoming – I was able to participate in flute workshops in my first year, and I’ve taken part in the Barbican Silent Film Project this year, between the Jazz and Music Therapy departments.”

Emma Barber MA Music Therapy

52 The Music Therapy Masters programme aims to realise MA in Music Therapy students’ full musicianship potential and equip them with the knowledge and skills to work as a registered music therapist. Two years full-time On this course, students gain clinical You will be prepared for employment 33 applications/11 places experience with adults and children in a in health, education, social and variety of settings, including: community service and the voluntary gsmd.ac.uk/music sector. Graduates are eligible to register • Psychiatry as Arts Therapists with the HCPC • Special education (Health and Care Professions Council) • Learning disability and as professional members of the • Communication disorders British Association for Music Therapy.

The programme is influenced by psycho- Year 1 dynamic approaches to therapy, which means that all music therapy students Clinical practice is central to the undertake their own personal therapy training. Students gain clinical during training. Gaining experience of experience in at least two different personal psychotherapy prior to training placement settings in Year 1 supervised is highly recommended. by HCPC-registered music therapists at hospitals, special schools and Studying Music Therapy at the Guildhall units in and around London. This is School is a unique experience. You supplemented by clinical seminars, will join one of the world’s leading theoretical studies, and musicianship conservatoires, receiving one-to-one skills to support and integrate the conservatoire-level tuition on both clinical work. your Principal Study and Second Study instruments with the School’s professors. Year 2 This tuition will be complemented by keyboard musicianship and voice classes Placements in Year 2 provide a balance to ensure you acquire highly-developed to Year 1, offering extended and in- skills in musical communication. The depth experiences supported by further programme provides access to leading clinical seminars and professional specialists in improvisation and an active practice classes. The core module in research community, with the possibility Applied Theoretical and Research of participating in research events. Studies introduces students to the meaning, purpose and value of research applied in a music therapy context and leads to the submission of a research proposal and research project report.

Find out more

Visit gsmd.ac.uk/music for further information on teaching staff, entrance requirements, open days and how to apply.

53 This new Masters programme allows composers and writers to MA in Opera Making focus on how new opera is created, developed and performed. and Writing Part of an exciting new partnership between Guildhall School and the Royal Opera House, the programme is led by Julian In association with Royal Opera House, Covent Garden Philips, Head of Composition.

The programme is coordinated in Court Studio Theatre. Additional close collaboration with the School’s projects allow writers to focus more award-winning Opera department, its specifically on their own creative Technical Theatre department and the practice – whether poetry, prose or Associate Director of Opera at the Royal dramatic script – and composers to Opera House. It enables you to acquire develop their craft in writing for the One year full-time first-hand experience of the day-to-day operatic voice. For both writers and workings of the Royal Opera House composers, this programme offers New from entry 2014 while receiving individually-tailored valuable performance opportunities for one-to-one tuition from the School’s new work across the Guildhall School’s gsmd.ac.uk/music Writer-in-Residence or from a member Music, Acting and Technical Theatre of the School’s world-class composition departments. All students will become department. Through mentoring and equipped with appropriate expertise in observation, you will gain valuable the professional context of new opera. insight into how to work successfully in opera with conductors and directors, Additional programme features singers and instrumentalists, designers include: and stage managers. • One-to-one Principal Study tuition The programme for both writers and composers • Observation of contemporary opera in Specifically focusing on operatic rehearsal and production at the Royal composition and the theatre, the core Opera House programme activity supports writers • Performance opportunities for and composers to work collaboratively smaller-scale project work through on the creation of a new chamber the School’s Vocal Studies and Drama operatic work (20-25 minutes in departments duration). This piece will be rehearsed, • A new professorial post of Writer- produced and premiered by the Opera in-Residence appointed to support, course in Guildhall School’s new Milton supervise and mentor writing students on the programme • Weekly production seminars • Regular mentoring sessions for the composer-writer creative teams • Electives including Electro-Acoustic Music, Aesthetics, Research and Writing for Performance

Find out more

Visit gsmd.ac.uk/music for further information on teaching staff, entry requirements, open days and how to apply.

54 This programme is for advanced students with exceptional Artist Diploma individual aptitude in their specialism and represents academic progression post-Masters degree. It provides specialist, Strings, Wind, Brass, Percussion, Keyboard, Vocal Studies, Opera professional training for students looking to embark on an Studies international career.

Two years full-time At the end of the two-year programme, Entry is limited to applicants who you will be assessed on your performance have gained a distinction following 90 applications/17 places in a fully-staged opera production or completion of a two-year Masters of full-length ticketed evening recital in Music degree (eg MPerf) or international gsmd.ac.uk/music Milton Court. However, you will be equivalent. involved in performances throughout the year, from platforms to formal and Find out more informal recitals and productions. You will also be expected and encouraged to Visit gsmd.ac.uk/music for further be active outside the School if your visa information on teaching staff, audition allows, taking proactive steps to promote requirements, open days and how your freelance career. to apply.

Further information on departmental opportunities at this level is available on the Principal Study pages (54–81).

55 The Department of Stringed Orchestral Artistry in association with Principal Study: Instruments emphasises individual the London Symphony Orchestra tuition underpinned by chamber and See page 43 for details of this exciting orchestral coaching. Led by Louise new specialism. Strings, Harp & Hopkins, the Department is supported by a staff of pre-eminent performers Advanced Instrumental Studies Guitar and teachers, including Imogen Barford This specialism is for players wishing as Head of Harp and Robert Brightmore to focus intensively on instrumental Violin, Viola, Cello, Double Bass, as Head of Guitar. Recent visitors and musical progression. It involves Harp, Guitar include Midori, DaXun Zhang, Anne- a high number of contact hours in Sophie Mutter, Thomas Riebl, Janine terms of individual lessons with your Jansen, Leonidas Kavakos and David Principal Study professor. In addition Alberman. to the optional chamber elective there are a range of chamber music performance opportunities as this is a Undergraduate primary focus within the School. You can also participate in a number of BMus orchestral projects where a wide variety (see page 38 for programme structure) of ensembles can be explored.

Performance is a core component of Chamber Music the Strings programme and students This specialism focuses on the receive at least 30 individual lessons a development of core chamber music year. Intensive chamber music coaching skills. Regular coaching is provided by is also central to the department’s ethos a mixture of departmental staff and and, as such, is made available to all visiting artists. The specialism is designed string players. for individuals and existing groups with considerable chamber music experience, The Harp Department combines with the aim of developing students’ individual teaching of the highest skills to a professional level. calibre with a stimulating and extensive harp course. Work in weekly classes covers every aspect of harp playing, Activities and ensembles including orchestral, chamber music, practising and teaching skills, jazz • Principal Study lessons and improvisation, contemporary • Intensive chamber music coaching musicianship, light music and (inter- and cross-departmental) contextual studies. • Participation in new music ensemble (by audition) The Guitar Department offers • Second Study (by audition) comprehensive training at the highest • Repertoire orchestra level in both solo and chamber music • Chamber and symphony orchestra performance. The central part of the projects course is the solo repertoire of the last • Workshops designed to enhance four centuries. During the second year performance and boost confidence students take theorbo lessons which lead • Masterclasses to continuo work. And in Year 3 and 4 • Jazz, Early and Contemporary Harp chamber music and concerto playing are • Harp Teaching Skills essential parts of the syllabus.

Recent Department highlights Postgraduate • String masterclasses with Erich MMus/MPerf in Performance Hobarth, Gary Hoffman, Midori, (page 40) – choose from the specialisms Alban Gerhardt, Nobuko Imai, listed DaXun Zhang, Bret Simner, Tim Cobb, Anne-Sophie Mutter, Thomas Artist Diploma Riebl, Andras Keller, Janine Jansen, (page 53) Nicolaj Znaider, Leonidas Kavakos and Extended String Techniques for MPhil/DMus, MPhil/PhD contemporary music with David (page 108) Alberman

56 “I was very fortunate to get a job earlier this year – I will be the Co-Principal Bass of the Netherlands Philharmonic Orchestra. It couldn’t be better, I’ve just finished my degree and got a job. Guildhall had a crucial role in my success. The intense and very high-quality orchestral projects that the School provides to students and the masterclasses in orchestral playing prepared me for what professional life is about. I don’t think it could have been better.”

João Seara BMus Double Bass

57 • Harp masterclasses with Nancy Allen, Recent student successes In addition, one student was selected Marisa Robles, Isabelle Perrin, Helga for the prestigious Echo Rising Stars Storck, Erika Waardenburg and Students in the Department have 2014/15 concert series, held in various Letizia Belmondo recently been prize winners in the European venues, and two students • Masterclasses with the Barbican’s following competitions: were selected as 2013 YCAT Artists. International Associate Orchestra leaders: leaders of Royal Concertgebouw • Royal Philharmonic Society Young Find out more and Leipzig Gewandhaus orchestras, Artist Award and New York Philharmonic • Royal Overseas League Chamber Orchestra Music Prize Visit gsmd.ac.uk/music for further • Performances by senior student string • ChamberStudio Mentorship information on teaching staff, audition quartets in pre-London Symphony • Orchestre Symphonique de Montreal requirements, open days and how Orchestra concerts on the Barbican stage Standard Life Competition to apply. • Joint projects with the Composition • Melbourne International Chamber Department, where string and piano Music Competition students work with composers • Sylva Gelber Award resulting in the performance of newly • The Gwenolyn Mason Cup at the created works Bromley Festival • A dedicated and recently refurbished • Giovani Musicisti International double bass room and harp room, Music Competition as well as storage lockers for basses • Ivor Mairants Guitar Competition • American Protégé International Strings and Piano Competition

58 Principal Study: Wind, Brass & Percussion Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, Trombone, Tuba, Timpani & Percussion, Saxophones, Recorders

The Wind, Brass and Percussion and externally. There are frequent Department provides exciting masterclasses given by visiting musicians opportunities for learning and on solo, chamber and orchestral performing, with a world-class team repertoire. These include a regular series of instrumental professors who are of masterclasses given by players from leaders in solo, chamber and orchestral the Barbican’s International Associate performance. Led by Richard Benjafield Orchestras – another benefit of our (Head of Department) and Jo Hensel partnership with the Barbican Centre. (Deputy Head), the Department’s And there are annual instrumental programmes will enable you to achieve competitions, a weekly WBP choir and the very highest levels of musical projects open to all students. performance. You will also be supported to develop your musicianship, technique As you progress through the course, and professional skills, and nurture the you will be able to develop your creativity and enterprise required of own individualised study pathway today’s musicians. in consultation with the Head of Department and your professors. The shaping of this pathway will depend Undergraduate on your skills, needs and ambitions. You can also pursue further study in BMus contemporary, jazz and early music (see page 38 for programme structure) through Second Study, specialist classes and performances. Collaboration is a key Each student’s journey is an individual element, and you can work with both one. We respect the desire to learn. the Drama Department and Creative And we provide the opportunities that Learning during the programme. will enable you to become the very best musician that you can be. As you Saxophone progress, you will have lessons with a Focusing on the versatility and range of Principal Study professors as musical diversity of the contemporary well as with your main professor. You saxophonist, saxophone students study will also study ‘instrument doubling’ to classical and contemporary music, jazz, help improve your flexibility as a player. improvisation and musical theatre, Chamber music and several orchestral clarinet and flute. repertoire classes are timetabled every week and all students take part in these. The Department runs ensembles and classes for all instruments, with regular performances both in the School itself

59 Recorder Chamber Music pre-London Symphony Orchestra Recorder students study Medieval This is a specialised route where the concerts in the Barbican Centre, to contemporary music, perform main focus is on the development of Saxophone Ensemble’s UK cathedral with the School’s consort Woodwork core chamber music skills. Regular series, and performances in the BBC and collaborate with the Historical coaching is provided by a mixture Total Immersion contemporary series Performance Department. of departmental staff and visiting • Guildhall Double Reed Ensemble artists. The specialism is designed for toured France, directed by Alison Teale Throughout your time at Guildhall individuals and existing groups with • Guildhall Percussion Ensemble School, you will receive mentoring considerable chamber music experience, and Ubu Ensemble (Simon Wills, support and classes in professional with the aim of developing students’ conductor) performed at The Rest Is and practical skills to prepare you for skills to a professional level. Noise Festival at the Southbank Centre professional life. Former students have • The Geoffrey Gilbert Flute Room gone on to successful careers in music was opened in memory of former in the UK and internationally; see page Activities and ensembles professor Geoffrey Gilbert who taught 82-83 for recent examples. James Galway and William Bennett. • Weekly individual principal study The room houses Gilbert’s personal lessons collection of music and scores. Postgraduate • Weekly instrumental classes for all students MMus/MPerf in Performance • Masterclasses with visiting UK and Recent student success (page 40) – choose from the specialisms international musicians listed • Weekly orchestral repertoire sessions Students in the department have • Scheduled chamber music coaching been prize winners in the following Artist Diploma and rehearsals every week competitions: (page 53) • Platform performances • Audition classes • Lions UK and Ireland Musician of MPhil/DMus, MPhil/PhD • Symphony, Opera and Chamber the Year (page 108) Orchestras • RTE Lyric FM Award • Wind, Brass, Percussion and • Newark Brass Festival Competition Orchestral Artistry in association Saxophone Ensembles • Three Choirs Festival Competitive with the London Symphony • Recorder Consort Masterclass for Woodwind Orchestra • New Music Ensembles • Nestlé/Salzburg Conductors’ Prize See page 43 for details of this exciting • Classical and Baroque ensembles for • Los Angeles Philharmonic Dudamel new specialism. Wind and Brass Fellow in Conducting • Cross-school collaborative projects Advanced Instrumental Studies • Professional Studies (including In addition, the Kaleidoscope Advanced Instrumental Studies (AIS) teaching skills and business advice) Saxophone Quartet were named is for talented students who want • Individual mentoring support Tunnell Trust Artists 2014-15. Three to develop their individual artistic students were selected for the London voice. If you choose this specialism, Sinfonietta Academy 2013, three you are expected to have a high level Recent Department highlights for the LSO Timpani & Percussion of instrumental ability and musical Academy 2013 and nine for the LSO understanding, and a broad knowledge • Masterclasses with over 80 world- Brass Academy 2012. of repertoire for your instrument. leading artists, including: Walter Auer, AIS students take part in weekly Emily Beynon (flute); Jonathan Kelly, departmental classes, chamber music Alexei Ogrintchouk (oboe); Eli Eban, Find out more coaching sessions and masterclasses, and Mark Nuccio (clarinet); Joost Bosdijk, there are many ensemble and chamber Gustavo Nunes (bassoon); Graham Visit gsmd.ac.uk/music for further music performance projects throughout Fitkin, Nigel Hitchcock (saxophone); information on teaching staff, audition the year. The intended focus of study Sebastian Marq (recorder); Colin requirements, open days and how will be discussed at your audition and Currie, Chris Lamb (percussion); to apply. interview, whether it be solo playing, Andrew Bain, Jasper de Waal (horn); chamber music, historical performance Alison Balsom, Omar Tomasoni or contemporary music. Many AIS (trumpet); Joe Alessi, Jorgen van students find that in order to make the Rijen (trombone); Roger Bobo (tuba) most of the opportunities on offer at • Guildhall Brass Ensemble recording of the School, they will cover a variety of Gilson’s La Fanfare Wagnerienne in a repertoire and work with a number of new performance edition by Eric Crees, professors. released on Alto records, performed in Milton Court Concert Hall • Concert series of performances by department ensembles include

60 “Studying at the Guildhall School this year has been a life- changing and unforgettable adventure, from which I have grown in so many ways beyond what I had expected or imagined. The teaching has been fabulous and there have been many opportunities to perform in orchestra projects and chamber ensembles. All of the outreach projects I have participated in have deepened my commitment to sharing music with my community. I truly appreciate the phenomenal support of Guildhall’s faculty, and how the more I challenged myself the more opportunities they made available to me.”

Rebekah Carpio MMus Clarinet (Orchestral Artistry)

61 Offering a wide array of solo, ensemble All practical assessments take place Principal Study: and accompaniment training, the through performances, whether as Keyboard Department is headed by the mid-year and end-of-year recitals, or internationally acclaimed pianist Ronan as concerts of ensemble work with Keyboard O’Hora. Visiting artists include Leif Ove instrumentalists and singers. You will Andsnes, Emanuel Ax, Imogen Cooper, play a concerto with piano in your third Piano, Fortepiano, Harpsichord Richard Goode, Stephen Kovacevich, Paul year, with the opportunity to work on Lewis, Murray Perahia and András Schiff. chamber music, vocal accompaniment, contemporary repertoire and fortepiano with leading performers in these fields. Undergraduate

BMus Postgraduate (see page 38 for programme structure) MMus/MPerf in Performance The one-to-one lessons with our piano (page 40) – choose from the specialisms faculty are at the heart of the Keyboard listed Department’s work. Students receive 45 hours in the first two years of study, Artist Diploma increasing to 60 in the next two years. (page 53) In addition to studying with your own professor, you will have the opportunity MPhil/DMus, MPhil/PhD to work with most of the keyboard staff (page 108) in a variety of performance classes, as well as with a large number of distinguished visitors.

62 concerts. Pianists are encouraged to take Orchestras, and on the Barbican stage part in chamber music coaching and preceding LSO concerts as part of performances. All students have weekly Guildhall Artists at the Barbican, at piano lessons and a series of classes on Carnegie Hall in New York, and as various accompaniment skills. Recent visiting artists at Banff and Stuttgart. masterclasses have been taken by Martin Katz, Malcolm Martineau, Julius Drake and Ralf Gothoni. Recent student successes

There is a wide range of performance Students in the Department have won opportunities on the programme, prizes in the following competitions: particularly at the weekly vocal and instrumental platforms. Successful • Leeds International Piano students who progress to Part Two Competition may be eligible for scholarship support. • Chopin International Piano You may also be offered professional Competition accompaniment work to help you • Rio de Janeiro International Piano through your first year in the profession. Competition • James Mottram International Piano Chamber Music Competition Advanced Instrumental Studies This is a specialised route focusing on • Citta di Cantu International This specialism is for pianists intending the development of core chamber music Competition to focus intensely on performance and skills. Regular coaching is provided by • Enschede International Piano who can demonstrate career potential a mixture of departmental staff and Competition as a solo or chamber player. You will visiting artists. This route is designed • Esther Honens International Piano receive 60 hours of private one-to- for individual students and existing Competition one Principal Study tuition over the groups with considerable chamber music • Scottish International Piano year, as well as the opportunity to experience, with the aim of developing Competition play in masterclasses with a range of their skills to a professional level. See • Dublin International Piano distinguished visiting pianists. There page 70. Competition are many performance opportunities • British Contemporary Piano both within and outside the School: Repetiteur Training Competition competitions such as the Gold Medal See page 67. • Royal Overseas League, Young and the Guildhall Wigmore Recital Concert Artists Trust and Kathleen Prize for an annual debut Wigmore Historical Performance Studies Ferrier Competition Hall recital; and possibilities to See page 68. participate in the School’s international partnerships with other conservatoires Find out more and performances centres. Recent Department highlights Visit gsmd.ac.uk/music for further Accompaniment • Recent masterclasses by Lang Lang, information on teaching staff, audition This specialism is for students who Richard Goode, Imogen Cooper, requirements, open days and how want to develop a career in collaborative Simon Trpceski, Christian Blackshaw, to apply. pianism. It combines individual Jeremy Denk, Emanuel Ax, Paul technical work, class work on specific Lewis, Ronald Brautigam, Leon skills such as continuo playing, orchestral Fleischer, Aleksandar Madzar, Rolf reductions, coaching and languages, Hind, Martin Katz, Julius Drake and duo and ensemble work in a variety • Projects for accompanists with of situations. Graham Johnson, including The Song Guild, a small group of singers and Graham Johnson, Senior Professor pianists working with Johnson in of Accompaniment, takes regular song repertoire, and a celebration of public and private masterclasses Poulenc’s anniversary with a recital covering the literary and musical series of his melodies; and innovative background to various composers. projects with Iain Burnside combining In keeping with Guildhall School’s music and drama commitment to experimentation • Faculty Artist Series recitals by Ronan and innovation, Iain Burnside has O’Hora, Martin Roscoe, Noriko Ogawa, initiated several ground-breaking Charles Owen, Caroline Palmer and performance projects combining Graham Johnson music and drama while Gordon • Student pianists performing as soloists Back regularly directs instrumental with Chamber and Symphony

63 Guildhall School is renowned for Studies in Year 3 involve: Principal Study: our training of singers. At the heart of our Vocal Studies specialism lies • Individual singing lessons the development of each student’s • Individual coaching Vocal Studies individuality as a performer and artist. • Introduction to opera (operatic Through an intensive programme of repertoire, drama and movement) one-to-one lessons, coaching, small-group • Italian repertoire work, repertoire classes, performance • Spoken and sung German platforms and rehearsals, you will be • Song repertoire (including English helped to build the knowledge, skills and French song) and experience necessary to find your • Historical performance (Baroque own way as a professional singer. repertoire) Establishing and maintaining a healthy, • Dramatised poetry and song consistent vocal technique is the focus • Performance platform of your regular one-to-one lessons, while the innovative array of classes and Year 4 is almost exclusively practical performance projects is designed to hone and involves: your understanding of musical style, languages, stagecraft, communication, • Individual singing lessons musicianship and ensemble work. • Individual coaching • Opera and theatre • Song repertoire (including English, Undergraduate French and German song) • Italian repertoire BMus • Voiceworks – contemporary (see page 38 for programme structure) repertoire • Oratorio The four-year undergraduate • Classical specialism programme is carefully structured • Guildhall Consort to establish firm foundations in the • Dramatised poetry and song core disciplines necessary for a singer: • Teaching skills Vocal Technique, Repertoire and • Audition preparation Musicianship, Performance Craft and • Professional skills Languages. • Performance platform

Studies in Years 1 and 2 involve: Postgraduate • Individual singing lessons • Individual coaching MMus/MPerf in Performance • Song repertoire (page 40) – Vocal Studies specialism • Diction and recitative (English, Italian and German) Artist Diploma • Language study (Italian, German (page 53) and French) • Phonetics MPhil/DMus, MPhil/PhD • Performance craft (drama, movement (page 102) and stagecraft, including suitable light music and music theatre The breadth of studies available at repertoire) postgraduate level allows advanced • Sight-singing students to specialise in areas of interest • Vocal ensemble and importance to them. You will be • Keyboard skills encouraged to explore your existing • Performance platform abilities while expanding your range and depth of experience. The emphasis In Year 3 the various subjects are for each student at this stage is on integrated and greater focus is placed on consolidating vocal-technical abilities putting disciplines into practice through as necessary, deepening understanding rehearsal and showcase performance. of style and performance practice, and building rehearsal and performance expertise in the School and in professional contexts. By the end of postgraduate study each student will

64 “I have met some of the most inspiring people in this institution, from colleagues to teachers and visiting professors, all of whom have had a real impact on my life as a musician and as a person. In my first year I got to work with Tyondai Braxton and the BBC Symphony Orchestra as part of the Reverberations weekend of Steve Reich. This was truly amazing! Working with musicians of such talent only makes me want to improve and work harder.”

Lorena Paz Nieto BMus Vocal Studies

65 Recent student successes

Students in the department have been prize winners in the following:

• Kathleen Ferrier Awards and Junior Kathleen Ferrier Award • Patricia Routledge National English Song Competition • Handel Singing Competition • Gerald Moore Competition • Bampton Classical Opera Young Singers’ Competition • Concours Int’l d’Air d’Opéra et de Mélodie Française de Mâcon • Das Lied Competition • Association of English Singers and Speakers Courtney Kenny Award • Oxford Lieder Young Artist Platform • Maureen Lehane Vocal Awards • Royal Over Seas League • Dunraven Welsh Young Singer of the Year have been able to consolidate their Recent Department highlights • Musicians Benevolent Fund: Maggie understanding of the needs of the Teyte Prize and Miriam Licette professional singer, with intensive help • Masterclasses with renowned singers Scholarship and guidance from our internationally- including Sir Thomas Allen, • MOCSA Young Welsh Singer of renowned faculty and visiting artists. Ian Bostridge, Susan Bullock, Sarah the Year Connolly, Julius Drake, Gerald Finley, • Welsh Association of Male Choirs The Vocal Studies specialism offers: David Gowland, Graham Johnson, Voice competition Martin Katz, Dame Emma Kirkby, • John Warner Memorial Award • Individual singing lessons Dame Kiri Te Kanawa, Benjamin • Musique d’Ensemble Woodbrass Prize • Individual coaching Luxon, Malcolm Martineau, Ann • Eleanor McCollum Competition for • Opera and theatre Murray DBE, Amanda Roocroft, Young Singers • Language coaching Brinley Sherratt, Dawn Upshaw, • International Josep Mirabent I • Italian repertoire Anne Sofie von Otter, Edith Wiens Magrans competition • German Lied and Brian Zeger • Jackdaws Vocal Awards • French mélodie • Regular recitals in the Barbican • Finalist in BBC Cardiff Singer of the • English song Hall, LSO St. Luke’s, and new World competition • Russian repertoire music projects and performance • Spanish song opportunities at Wigmore Hall Students have also been selected as • Dramatised poetry and song • Projects in partnership with external Samling Scholars, as Scottish Opera • Voiceworks – contemporary organisations including Royal Opera Emerging Young Artists, and invited repertoire L’Orfeo at The Roundhouse, London to the Britten-Pears Young Artist • Oratorio Symphony Orchestra & Chorus, Programme and Salzburg Festival • Historical performance (Baroque and Aldeburgh Festival collaborations Young Artists Programmes. classical repertoire) (recently Peter Grimes on the Beach), • Guildhall Consort Southbank Centre The Rest is Noise Many recent graduates are singing roles • Audition preparation festival, and Oxford Lieder Festival with the Royal Opera, Glyndebourne • Auditions and Q&A visits from artist co-production Why Does the Queen Die Festival Opera, English National Opera, agents, casting directors, Young Artist • Regular small roles under conductors Garsington Opera, Opera Holland Park programme directors including Rattle, Gergiev and Elder and companies throughout Europe and • Professional skills (performances include Barbican Hall, North America. • Performance platform Paris, Luxemburg) • Performance projects (recitals, • Visiting artists and figures from orchestral concerts, oratorio) the music industry, including Find out more masterteachers, Young Artist programme directors, opera company Visit gsmd.ac.uk/music for further casting directors and artist agents information on teaching staff, audition requirements, open days and how to apply.

66 Opera Studies provides intensive Opera Studies Principal Study: postgraduate training for up to 24 The Opera Studies course provides singers and four student repetiteurs you with singing lessons, individual at any one time. It offers an advanced coaching in roles and repertoire, and Opera Studies level of vocal training and operates at acting and stage techniques such as a professional level, presenting a range movement, dance, make-up and drama. of productions, from opera scenes and As part of the course you will take part chamber opera to three full-scale operas in workshop productions of scenes and over the two years of study. fully-staged public productions. And you will receive dedicated language In 2007 the Opera Department won coaching and career guidance. the Queen’s Anniversary Prize for the quality of its work and its innovative You must have a developed vocal training programme. technique to enrol on this course. Vocal maturity and your potential for development will be taken into Postgraduate consideration.

MMus/MPerf in Performance Your training in stage techniques and (page 40) – choose from the specialisms musical coaching will be overseen by listed experienced visiting professionals. In addition to vocal and dramatic Artist Diploma training, the Department puts on three (page 53) full public productions each year and three programmes of operatic excerpts in workshop settings, developed in

67 “Guildhall has the best opera course in the UK, and I didn’t hesitate for one second to accept the offer. It has a very friendly and relaxing study environment. It also has the best singing teachers, music coaches and directors. In all the opera productions I have participated in this year, the strong collaboration between departments has created a very special and supportive atmosphere. I believe these two years on the opera course are vital for my professional career.”

Meili Li Artist Diploma, Opera Studies

68 full partnership with the Technical Theatre Department. In the summer term, these collaborations include new work by composers and librettists on the MA in Opera Making and Writing, in association with the Royal Opera House (see page 52).

Repetiteur Training This specialism is for highly accomplished pianists and sight-readers who have experience of accompanying singers and knowledge of the operatic repertoire.

Run from within the Opera Department, this is a one or two-year course offering a number of study components. These include accompanying opera production rehearsals and coaching singers on the Opera course. You will also undertake individual coaching and training in repetiteur techniques, as well as harpsichord tuition and continuo playing, piano lessons and language • Nicolai Die lustigen Weiber von Windsor House, among others. Other graduates coaching. Accompanying coaching • Britten A Midsummer Night’s Dream have secured roles with Opera Holland sessions and introductory training in • Rorem Our Town Park, Nuremberg Opera Studio, Clonter opera conducting are available for those Opera, Garsington, Grange Park, who are interested. Glyndebourne Festival and Touring Recent student successes Opera and Welsh National Opera.

Recent Department productions Students in the Department have won prizes in the following competitions: Find out more • Debussy L’enfant prodigue and Donizetti Francesca di Foix • Royal Over-Seas League Visit gsmd.ac.uk/music for further • Dove The Adventures of Pinocchio • Kathleen Ferrier Awards information on teaching staff, audition • Arne The Cooper and Stradella San • MOCSA Young Welsh Singer of requirements, open days and how Giovanni Battista the Year to apply. • Massenet La navarraise, Massenet • Handel Singing Competition Le portrait de Manon and Martinu • Musicians Benevolent Fund: Maggie Comedy on the Bridge Teyte Prize and Miriam Licette • Mozart Le nozze di Figaro Scholarship • Britten Owen Wingrave • International Singing Competition of Lograno, Spain • International Josep Mirabent I Magrans competition • Jackdaws Vocal Awards • Oxford Lieder Young Artist Platform • Clonter Opera Prize and Audience Prize • Patricia Routledge National English Song Competition • Eleanor McCollum Competition for Young Singers

Recent graduates have won places on a number of highly-acclaimed programmes, including the Opera Studio Young Artist Programme at the Berlin Staatsoper, English National Opera Young Artist Programme, the Bavarian State Opera Young Artist Programme, and the Jette Parker Young Artists Programme at the Royal Opera

69 Exploring a broad range of historical will explore a broad range of repertoire Principal Study: repertoire, the Historical Performance from medieval times to the present day Department is headed by Jane Booth. through detailed investigation of the It provides a variety of performance ever-changing aesthetics and contexts Historical opportunities, ensembles and specific of the performance of western classical performance craft sessions, often in music. This includes sacred, secular and Performance collaboration with other departments. some popular genres. It also explores the An exciting new partnership with the distinct approaches to improvisation Academy of Ancient Music, providing that inhabit all periods and styles. All historical wind, string, keyboard masterclasses and side-by-side sessions, The performer-as-creator dimension instruments and voice ranging from and the existing partnership with is applied thoughtfully, drawing on medieval to post-classical periods The Sixteen through the Guildhall texts and source material from each (c.1830) Vocal Consort, are also features of this successive period of musical history. Principal Study area. As you progress through the four years, the focus of the programme changes to Undergraduate embrace and build on the knowledge and skills acquired through your study. BMus You can choose to specialise exclusively (see page 38 for programme structure) in period instruments or to mix period and modern. Collaboration is also At BMus level the Early Instruments encouraged and you can work with specialism is for students wishing other departments to push boundaries to approach their studies from a and explore new possibilities. You will historically-informed perspective. If receive specialist individual and group you choose this Principal Study, you tuition on historical playing and/or

70 singing styles and develop bespoke research skills (for example, accessing and using specialist archival sources and organological approaches). Provision for second study and ensemble experience is also available.

Postgraduate

MMus/MPerf in Performance (page 40) – Historical Performance specialism

MPhil/DMus, MPhil/PhD (page 108)

Study at this level is aimed at graduates (both university and conservatoire) with an interest in exploring the creative potential of specialised performing techniques. Students focus on the music, instruments and documentary sources of the Middle Ages, Renaissance, • Guildhall Renaissance Band • New keyboard instruments, including Baroque, Classical and Early Romantic • Guildhall Medieval Ensemble one by Malcolm Rose, and new bows periods. The postgraduate programmes • Masterclasses with international artists in collaboration with luthier Tim are also suitable for those modern • Specialist source classes in Medieval, Richards instrumentalists with an interest in Renaissance, Baroque and Classical diversifying their command of period period performance practice and playing styles. historical techniques Recent student success • Research skills, repertoire exploration, The combination of specialist tuition notational principles, tunings and Three ensembles of current and former and detailed guidance in research temperaments, performance skills, Guildhall School musicians were techniques enables you to approach baroque gesture and movement selected for Early Music Live!, part of period music in a historically-informed the Brighton Early Music Festival. One way. It also means you can underpin of our students also recently won the your high-level performance skills with Recent Department highlights Audience Prize at the York Early Music in-depth academic knowledge. You Competition. will be given unique opportunities to • Masterclasses with Richard Tognetti explore the contrasting sound worlds of (Australian Chamber Orchestra and Recent department graduates have different musical periods and develop guest director of AAM), Richard joined leading ensembles including the expertise in diverse playing styles and Egarr on Mastering Auditions and Academy of Ancient Music, Gabrieli apply them creatively. Emma Kirkby Consort, Tenebrae, Armonico Consort, • Residency with Aisslinn Nosky Orchestra of the Age of Enlightenment (Handel & Haydn Society, Boston (chorus), La Serenissima, Shakespeare’s Activities and ensembles and Tafelmusik, Toronto) including Globe Theatre and the Dufay Collective. masterclasses and chamber music Others have progressed to Doctoral study. • Guildhall Consort – Eamonn Dougan performance side-by-side project • Guildhall Baroque Orchestra – • Faculty Artist Recital by Mhairi Lawson Pavlo Beznosiuk • Joint research event in conjunction Find out more • Guildhall Cantata Project – with ResearchWorks, ‘Performing James Johnstone Topics in Mozart’s Chamber Music’ Visit gsmd.ac.uk/music for further • Guildhall Cornett & Sackbutt • Guildhall Baroque Orchestra information on teaching staff, audition Ensemble – Jeremy West performed side-by-side with members requirements, open days and how • Guildhall Classical Winds – Jane Booth of the Academy of Ancient Music and to apply. • Guildhall Double Reeds – directed by Pavlo Beznosiuk Gail Hennessy • ‘Gamba plus’ project with Masters- • Guildhall Recorder Consort – level composition students Ian Wilson • Combattimento and The Masque • Guildhall Viol Consort – Liam Byrne of Time – music and drama • Guildhall Lutes & Voices – entertainments devised by Andrew Andrew Lawrence-King Lawrence-King

71 Chamber Music is a postgraduate Principal Study: specialism for students who wish to hone their listening and interpretative skills in small chamber group combinations. Chamber Groups can consist of any combination of three players or more, with weekly Music coaching from Principal Study staff and first preference for coaching with visiting ensembles and artists. Open to all standard chamber group combinations Chamber music also forms a core strand in other Principal Study instrumental courses. Regular coaching is provided by international teaching staff and visiting chamber musicians. Though each school of study may have slightly different requirements, the core ethos is on fostering individual engagement and responsibility within a small chamber group, challenging and developing core – but non-compulsory – skill and interpersonal skills and musical dialogue. regular engagement is strongly encouraged. There are advanced ensemble electives you can take which provide Postgraduate substantial training in chamber music MMus/MPerf in Performance skills. Cross-departmental chamber work is considered as important as more (page 40) – Chamber Music specialism traditional and school-specific The main focus of the Chamber Music combinations. specialism is the development of core chamber music skills. The pathway is designed for individuals and existing Activities and ensembles groups with considerable chamber music experience, with the aim of developing • Regular coaching and lessons from students’ skills to a professional level. core chamber music staff • Regular coaching opportunities from In other postgraduate specialisms, visiting artists and groups chamber music is still considered a • Masterclasses with international visiting artists and chairs of chamber music • Active chamber music exchange programmes with Mozarteum, Salzburg and New England Conservatory, Boston • Chamber music residency opportunities at Banff Centre for the Arts, Canada • Chamber music prizes offering external performance opportunities

Visiting ensembles and artists

Takács Quartet International Visiting Artists

Belcea Quartet Quartet in Residence

Endellion Quartet Visiting Quartet-in-Association

72 Recent Department highlights • Major lunchtime series of chamber and solo recitals at City of London Festival • Ground-breaking DaCoda project, • Masterclasses with Takács, Endellion training groups in delivery of and Belcea Quartets workshop skills • Masterclasses by Andras Keller, Ralf Golthoni, Vivien Weilerstien, Thomas Reibl, and Erich Hobarth Recent student and graduate successes • Series of public recitals involving staff/student collaborations Ensembles from the Department have • Pre-London Symphony Orchestra been recognised in the following: recitals at the Barbican, streamed live • Exchange performances at • Selected as YCAT Artists Mozarteum, Salzburg, and the • Martin Musical Scholarship Award Austrian Cultural Forum, London winners • Melbourne International Chamber Music Competition • Tunnel Trust winners • Chamber Studio mentorship

Find out more

Visit gsmd.ac.uk/music for further information on teaching staff, audition requirements, open days and how to apply.

73 Guildhall offers some of the most Undergraduate Principal Study: stimulating and creative training for composers available in the UK. Our BMus guiding principle is that composers (see page 38 for programme structure) Composition should develop in collaboration with technically-proficient, sympathetic Guildhall School’s undergraduate instrumentalists under the expert programme in composition is intended guidance of experienced practitioners. to support the creative development of composers, whatever your interests or We make a commitment to workshop sources of inspiration. There is no ‘house- every composition that you write. And style’. We are not looking for one kind of by studying at a conservatoire you composer. Consequently, our community will benefit from a range of unique of student composers is very diverse but opportunities. These include access to with a shared sense of commitment, performers, a creatively-active team of purpose and mutual respect. staff composers, and a host of external partners. There is also the chance to The BMus composition programme study inside a lively arts complex and is built on complementary strands take advantage of Guildhall School’s of academic activity: Original multi-disciplinary environment. Every Composition and Techniques. Guildhall student is encouraged to Original Composition activity follows take an innovative and collaborative a four-year trajectory that builds approach, and you will be part of a from small-scale chamber projects constant, cross-departmental flow of in Year 1 (monody, duo, voice and ideas, skills and creativity encompassing instrument, percussion ensemble), Music, Drama and Technical Theatre. through the more ambitious demands

74 “The teaching staff encourage the diversity that Guildhall is known for – there is something for everyone, regardless of style and influence. Tutors allow you to reflect on your own artistic endeavours and challenge your own ideas without prejudice. The variety of style means that lively discussion occurs between Guildhall composers and professors at regular workshops, inspiring new ideas and broadening your compositional outlook. It is a genuinely inspiring place to work; the department serves as a vibrant community in which making new music comes naturally.”

Oliver Leith MMus Composition

75 of working with wind quintet, string for one or two instruments, to full composers with a broad range of quartet and 14-piece ensemble. The ensemble and orchestral pieces in your feedback and response and a richer journey culminates in Year 4 with the third and fourth year. This programme perception of their creative ideas in composition of a work for full orchestra, thrives on close partnerships with other real time vocal ensemble and live sounds and Guildhall School departments, and all • Departmental classes and seminars electronics. All Original Composition undergraduate composers are encouraged – the undergraduate programme projects are workshopped and performed to develop their skills and experience by includes a substantial series of with in-depth and expert feedback working collaboratively as creative artists. departmental classes, while from both staff professors and visiting postgraduate and doctoral students practitioners. take part in seminars Postgraduate • Creative Ensemble – made up of The Techniques strand is intended to BMus 1 and 2 student composers equip you with a high level of skill and MMus/MComp in Composition who are encouraged and supported to expertise in the craft and technique of (see page 45 for further details) work experimentally using their own musical composition. In the first two cohort of composers as a performing years, topics range from Harmony, MA in Opera Making and Writing ensemble Counterpoint and Pastiche Composition. (see page 52 for further details) • Guildhall New Music Ensemble, They also include a 20th Century which presents a concert each term Materials course informed by the core MPhil/DMus, MPhil/PhD • Work placements for undergraduate concepts of post-tonal theory, and a (see page 108 for further details) composers via the Professional Rhythm course that will equip you with Studies module in-depth knowledge and experience of • City Chamber Choir, Composer-in- working with percussion. In addition, Activities and ensembles Association – each year, one Guildhall there is a Creative Ensemble course School composer is appointed as which challenges student composers to • Individual lessons – 30 hours a year Composer-in-Association to the City form their own performing ensemble. for BMus and MMus students; 20 Chamber Choir, an association which hours a year for MA in Opera Making offers creative development and a Topics in Years 3 and 4 range more and Writing students (plus production London premiere of an a cappella widely and include Aesthetics, classes and mentoring) choral work Workshop Skills and Orchestration. • Open Sessions – a series of weekly • London Symphony Orchestra/ In all four years of Techniques work, presentations given by both staff and London Philharmonic Orchestras – student composers also take classes in distinguished visiting composers, the Department has good connections Electronic Music and Analysis. to discuss current concerns, ideas with both institutions and supports its and aesthetic questions relating to student composers to apply for either At the heart of the programme is contemporary music the London Symphony Orchestra’s the workshop process. We make a • Workshops – all student compositions Panufnik Young Composers Scheme commitment to workshop every piece are performed and rehearsed in or the London Philharmonic that you write, from your first exercises formal workshops, providing Orchestras’s Young Composer programme.

Recent Department highlights

• Workshops with Exaudi, Chroma, and Plus Minus ensembles • Q&As with visiting composers including Sir Harrison Birtwistle, John Adams, Steve Reich, Helmut Lachenmann and Tristan Murail • BBC Symphony Orchestra - an annual creative project open to three postgraduate Guildhall composers who write a work for an ensemble of half BBCSO players and half postgraduate Guildhall performers • Wigmore Hall Voiceworks - each year the Department works with poets from Birkbeck College on this poet-composer collaborative project. This project culminates with concerts of new vocal works at both Wigmore Hall and the Guildhall School

76 • London Contemporary Dance School – each year MMus students collaborate with choreographers from London Contemporary Dance School developing new works which are staged at both The Place and at the Guildhall School • Getting it Right: two international conferences focusing on the challenges and culture of contemporary music performance, convened by Professor Julian Anderson • New Opera Days: two one-day conferences held in the Barbican’s Pit Theatre, focusing on the development of contemporary opera

Recent alumni

Edmund Finnis (Composition 2013) Edmund Finnis is Composer-in- Association with the London Contemporary Orchestra and is one of work Mosaic commissioned for the of the Proms and premiered by the BBC English National Opera’s inaugural Philharmonia Orchestra and premiered Symphony Orchestra in 2012. His music House Composers. Recent performances at the Royal Festival Hall in May 2014. is published by Boosey & Hawkes. include: In Situ (Birmingham Contemporary Music Group, October Raymond Yiu (Composition 2014) Francisco Coll (Composition 2011) 2014); Between Rain (London Raymond Yiu’s work Northwest Wind, Francisco Coll’s new opera Café Kafka Contemporary Orchestra, Roundhouse, written for and premiered by Lontano, received its London premiere at the Royal August 2013); Four Duets (broadcast on won a British Composer Award in 2010. Opera House in March 2014. Other recent BBC Radio Three); Seeing is Flux His piece The London Citizen Exceedingly performances include the UK premiere (London Sinfonietta, Queen Elizabeth Injured was premiered by the BBC of No seré yo quien diga nada by Nicolas Hall, December 2013). He was awarded Symphony Orchestra in the Barbican Hodges and the CBSO, and the French first prize in the 2011 International Hall in January 2013. premiere of Hidd’n Blue at the Aix en Composer Pyramid and received a Paul Provence Festival, both in 2014. His Hamlyn Foundation Award for Artists Bushra El Turk (Composition 2006) music is published by Faber Music. in 2012. He was also composer-in- Bushra El Turk was selected for Residence at the 2013 Chelsea Music the London Symphony Orchestra’s Festival in New York City. Panufnik scheme in 2012. The Find out more silent film The Adventures of Prince Alastair Putt (Composition 2011) Achmed, for which she wrote the Visit gsmd.ac.uk/music for further Alastair Putt was selected for the score, was screened at the British Film information on teaching staff, entry London Symphony Orchestra’s Panufnik Institute and the Barbican Centre. requirements, open days and how scheme in 2011 and is now one of She is currently Artistic Director and to apply. English National Opera’s inaugural Leader of Ensemble Zar, a cross-genre House Composers. His work Spiral was ensemble. premiered by the London Symphony Orchestra, conducted by Guildhall Christina Athinodorou alumnus Ben Gernon, in June 2014. (Composition 2005) Christina Athinodorou won the Prix de Matthew Kaner (Composition 2010) Jury and the Coup de Coeur du Publique Matthew Kaner’s work The Calligrapher’s in the composition competition Île de Manuscript was premiered by the London Créations in France in 2013, for her Symphony Orchestra, conducted by orchestral work Interméde pour une Robin Ticciati, in September 2013, and mer jamais vue, which is published by his work Chants was commissioned and Éditions Durand. premiered by the London Sinfonietta at the Purcell Room in December 2013. He Mark Simpson (Composition 2012) won the Royal Philharmonic Orchestra Mark Simpson’s orchestral work Sparks prize in 2013, which resulted in a new was commissioned for the Last Night

77 Electronic Music is offered as an technology, from experimental electro- Principal Study: undergraduate Principal Study. It acoustic composition and installation follows a broad curriculum that work to more commercially-orientated explores the full spectrum of styles and media applications and production Electronic genres inherent in the field. While you specialisms. Electronic Music represents and your year group work to a common one of the largest growth areas in the Music core syllabus, the actual content of music industry today, and suitably the course is tailored to the individual skilled electronic musicians can enjoy student. Assessment is progressively a wealth of vocational opportunities. weighted according to your particular focus in the following areas: Uniquely for a conservatoire, Guildhall School offers Electronic Music as a • Electro-acoustic Composition one-to-one Principal Study discipline. • Commercial/Media Composition This means you will receive a weekly, • Production one-hour lesson with one of the • Live Electronic Performance Department’s professors, allowing for • Or a balance of the above a totally individualised approach to developing skill and artistic excellence.

Undergraduate Electronic Music is studied on a par with more conventional instrumental BMus disciplines at Guildhall. Therefore (see page 38 for programme structure) it is the musical output that forms the backbone of assessment and not The Electronic Music Principal Study the technological process – although course embraces all areas of music you will progress through a series

78 “The main thing that stood out to me immediately at Guildhall was its open-minded view of music. I come from a less formal musical background to a lot of the other students that I have met here, but that has not halted my studies in any way; each person here has their own expertise. The Electronic Music department have been very supportive of outside opportunities, and I have been able to submit some of this work in my portfolio. This is great because it has allowed me to take part in professional work and further my career in music, whilst studying and gaining a degree at such a highly-esteemed conservatoire.”

Jordan Riley BMus Electronic Music

79 but Electronic Music students can book the live room outside office hours. This live room provides space for medium- sized ensembles and houses a Steinway B grand piano. Given that course intake is restricted to 20 students across the four years, access to facilities is excellent and represents one of the UK’s best student-equipment ratios for courses in Electronic Music.

Recent alumni

We have a 100 per cent graduate employment rate, based on recent graduates’ careers two years after leaving. The alumni profiles and links below provide further insight into the breadth and scope of this dynamic course:

Jo Wills wwmusic.co.uk of projects which demand ever- Recent Department highlights Raisa Khan & Marc Pell increasing technical competence and roughtraderecords.com/micachu understanding. • Projects on The Lodger and The Lost World with Barbican Film Major projects undertaken by the Christopher Branch • Masterclasses with Harry Gregson- Department reflect real-world scenarios brainsandhunch.com Williams, Kevin Kerrigan and Mikey as closely as possible. In fact many J (Michael Asante) of the projects are real commissions Ben Laver • Performance of A Scream and an that form an important part of early benlavermusic.co.uk and Outrage – curated by Nico Muhly at career development. In the past, CEO of boxoftoysaudio.com the Barbican the Department has had regular • Collaboration with Central St Martins involvement with the BBC Symphony David Kemp animation students Orchestra’s Total Immersion events, and news.bbc.co.uk/1/hi/england/ every year we provide music as part of 8570683.stm Barbican Film’s Silent Film and Live Department facilities Music series. Jon Daou jondaou.com Cross-departmental collaboration Guildhall School offers a dedicated and experimentation are actively studio set aside exclusively for encouraged. All Electronic Music Electronic Music students. The studio is Find out more students work regularly across year specifically for the front and back end groups through a series of smaller of the production process (recording Visit gsmd.ac.uk/music for further projects contained within the and mixing/mastering) and can be information on teaching staff, entry weekly workshops. Regular visiting booked online. We run Quested, requirements, open days and how professionals also augment the richness Genelec and PMC monitors and have a to apply. of the curriculum with vital insights collection of high-quality microphones into the realities of working as a full- and mic preamps. A multi-use studio time musician. is also available providing eight individual editing workstations that are compatible with the main studio. Activities and ensembles We use Macintosh computers with • Weekly one-to-one tuition the following common software: Pro • Weekly cross-year group workshops Tools, Logic, MaxMSP, Sibelius, and focussing on artistic projects IRCAM Forum Software. Our main • Weekly streamed techniques seminars studio also has Cubase, Ableton and a • Termly collaborative projects growing collection of other software to • Annual Barbican Film ‘Silent Film aid compatibility. A Recording Studio, and Live Music’ projects run by staff, serves the entire School,

80 The Jazz Department at Guildhall • Principal Study one-to-one jazz tuition Principal Study: School offers some of the most • Jazz musical awareness/improvisation established and renowned jazz training workshops in the UK, with the chance to study • Jazz small bands Jazz broader musicianship skills alongside • Jazz repertoire class those essential to a career in jazz. The • Jazz aural class School’s partnership with the Barbican • Big Band Saxophone, Trumpet, Trombone, Tuba, Centre ensures regular collaborations • Jazz Singers Piano, Guitar, Bass Guitar, Double Bass, with Jazz at Lincoln Center and • Jazz keyboard skills Drums, Voice, Flute, Clarinet, Violin Barbican Cinema. The Department also • Jazz arranging class (other instruments by negotiation) has a regular presence in the annual • Jazz history class London Jazz Festival, as well as an • Jazz performance platforms unrivalled showcase opportunity in the • Rhythm class week-long Guildhall Jazz Festival. • Vintage jazz workshops • Contemporary jazz workshops • Jazz masterclasses with international Undergraduate visiting artists

BMus Performance and communication skills (see page 38 for programme structure) are an essential part of the Jazz option. Individual artistic development is as Principal Study Jazz students benefit important as the learning of the skills from a broad range of music study with taught within the course. a specialist focus on jazz.

The balance of study is determined by Postgraduate your individual needs with support and advice from the Head of Jazz, MMus/MPerf in Performance Martin Hathaway, and other designated (page 40) – Jazz Studies specialism professors. In Years 1 and 2 your (see below) individual lessons will be split 50/50 between jazz and classical (supporting MPhil/DMus, MPhil/PhD studies) skills. Years 3 and 4 of the (see page 108 for further details) course allow you to follow a more specialised programme of study. This is an intensive Jazz specialism for a group of 15–20 instrumentalists and Within the BMus syllabus, you will singers who have already reached a high receive the following specialist training: level of performance and are preparing to begin their professional career.

The programme is designed to train the whole musician. It takes an aural approach and includes a broad curriculum to give you a solid foundation in performance, harmony, rhythm, improvisation, composition, arranging and studio recording.

Course components include:

• Guildhall Jazz Band – a large ensemble which performs regularly, tours and leads workshops. Five- times winner of the BBC Radio 2 Big Band Competition with four albums recorded • Guildhall Jazz Singers – a close- harmony vocal group with accompanying band • Small jazz groups – regular mixed groups led by course tutors and visiting performers

81 “Being surrounded by such incredible musicians and inspiring teachers as well as the opportunity to hear from world-class visiting artists has been invaluable to my development. I have had the chance to play at great venues such as the Vortex Jazz Club and Milton Court as well as in masterclasses with inspirational jazz musicians. I have also been able to form bands with the incredible musicians on my course and have had my compositions performed in public concerts.”

Vijay Prakash MMus Jazz Trombone

82 • Improvisation – a comprehensive Recent Department highlights course emphasising fundamental techniques for improvisation and • Annual performances in the London creative development Jazz Festival, including performances • Harmony/ear training – a course by Guildhall jazz ensembles with Mike in recognising, understanding and Gibb, Pete Hurt, Phil Minton, Maggie responding to harmony Nicholls, Jason Rebello, David Friesen, • Composition/arranging – a practical Geoff Gascoyne, Barry Green, Marcus course in composition, arranging and Roberts and Liane Carroll orchestration for jazz ensembles • The annual Guildhall Jazz Festival • Jazz history and listening – a takes place each spring, featuring a comprehensive study of the jazz week of public jazz performances tradition • Improvised accompaniment to silent showcasing Guildhall musicians and films at the Barbican Cinema with • Rhythm classes – a practical course visiting artists, including Julian Siegel, developing time and rhythm skills colleagues from the Music Therapy Claire Martin and Zoe Rahman department • Studio and recording workshops • Guildhall Jazz Band performed at – courses in recording/production • Annual performances with Southbank Milton Court with the Dankworth Sinfonia and City of London Festival techniques, sequencing and using Family (Dame Cleo Laine, Jacqui computers Dankworth and Emily Dankworth) • Masterclasses with John Scofield, Find out more The course often hosts and performs Mark Turner, Lincoln Center Jazz with visiting artists – see below for Orchestra and Wynton Marsalis further details. Visit gsmd.ac.uk/music for further • Regular small band performances at information on teaching staff, audition the Vortex Jazz Club requirements, open days and how • Annual collaboration with the Duke to apply. Ellington Society UK

83 Some of our Music alumni

Thomas Adès (1989) Alison Balsom (2001) Joby Burgess (2001) Composition Trumpet Percussion

Sir James Galway OBE Stacey Kent (1991) Paul Lewis (1994) Tasmin Little OBE (1986) (1960) Jazz Voice Piano Violin Flute

Sir George Martin CBE Anthony Marwood (1987) Sally Matthews (2000) Anne Sofie von Otter (1982) (1948) Violin Opera Opera Composition and Piano

Kate Royal (2003) Maxim Rysanov (2005) Toby Spence (1995) Bryn Terfel CBE (1989) Opera Viola Opera Opera

84 Recent graduates also released a number of acclaimed Ben Gernon (Tuba 2012) recordings on the Chandos label. In 2013, Ben won the internationally acclaimed Nestlé and Salzburg Festival Nicky Spence (Opera 2009) Young Conductors Award, and Nicky is currently a Harewood Artist since then has conducted a string of at English National Opera, where international engagements including he appeared as Brian in the World the London Symphony Orchestra and Premiere of Nico Muhly’s Two Boys and the Ulster Orchestra amongst others. Novice in Billy Budd. He has also sung In 2014 he made his BBC Proms debut at Grange Park Opera, New Zealand with the Scottish Chamber Orchestra, Opera, Scottish Opera, Opera North, and he was recently appointed and Opera Holland Park. In 2014 he a Dudamel Fellow with the LA released his debut solo recital disc with Philharmonic Orchestra. Malcolm Martineau. Recent highlights included his Metropolitan Opera debut Emily Dankworth (Jazz Voice 2013) and an appearance at the BBC Proms Emily, along with former classmates Benedict Nelson (Opera 2008) with the BBCSSO. Ben Cox, Lewis Daniel and Martynas A protégé of Sir Thomas Allen and a Vilpisauskas, is part of six-piece a Samling Foundation scholar, Benedict Hannah Stone (Harp 2010) cappella vocals group Vive, who won made his debut with the BBC Symphony A year after completing her studies, the Voice Festival UK 2013 competition Orchestra under Jiˇrí Bˇelohlávek in 2010 Hannah was appointed Royal Harpist and went on to a sell-out run of shows singing Brahms’s Requiem. He was one to HRH the Prince of Wales. She also at the Edinburgh Fringe. She is also of the inaugural English National Opera appeared on Catrin Finch’s new album, a solo jazz artist, performing across Harewood Artists, and has sung several and has premiered a new work by London and the UK. roles there including the title role in Paul Mealor to celebrate the Prince of Billy Budd in a new production by David Wales’s 65th birthday. Alex McCartney (Theorbo & Lute 2013) Alden. He made his Wigmore Hall Alex is continually in demand as an debut in 2013 with Malcolm Martineau Alexandra Dariescu (Piano 2011) accompanist and soloist, regularly and made his debut as the Count in Selected as one of Forbes Magazine’s ‘30 performing with The English Concert, Le nozze di Figaro in 2014. under 30’, Alexandra gave her debut at the Academy of Ancient Music, the Royal Albert Hall with the Royal Orchestra of the Age of Enlightenment, Philip Cobb (Trumpet 2009) Philharmonic Orchestra in 2013. She as well as with his own ensemble, After graduating from his undergraduate also won the Women of the Future Poeticall Musicke. He also consults degree aged 21, Philip accepted the Award in the Arts and Culture category for historical film and television position of Co-Principal Trumpet of in 2013 and has released two CDs to productions, including the BBC adaption the London Symphony Orchestra. He critical acclaim. Recent performances of Wolf Hall, where he taught the actors is also a member of Barbican Brass, an include the Hallé Orchestra, Damian Lewis and Max Fowler to play ensemble he co-formed while studying Bournemouth Symphony Orchestra and the lute to a professional standard. at Guildhall. the Royal Northern Sinfonia. Heath Quartet (Chamber Music 2013) Mica Levi (Composition 2009) Belle Ehresmann Since their fellowship in Chamber Music Mica formed her band Micachu and (Jazz Double Bass 2011) at Guildhall School, the Heath Quartet The Shapes after leaving Guildhall, Belle, aka Bellatrix, is the Female World have quickly built an international and went on to release a critically- Champion beatboxer, as well as a double performing schedule, including a recent acclaimed album and perform with the bass player and bass guitarist. She US tour and Carnegie Hall debut, and London Sinfonietta. She was Artist- performs regularly with her ensemble regular performances at Wigmore Hall. in-Residence at the Southbank Centre The Boxettes, an all-female vocal group They received the Royal Philharmonic in 2010. Most recently, she wrote the who formed at Guildhall School and Society Young Artist Award 2012 soundtrack for the Scarlett Johansson now regularly sell out London’s Jazz and the 2012 Festspiele Mecklenburg- movie Under The Skin, released in 2014. Café and other venues. Vorpommern Ensemble Prize.

Jennifer Pike (Violin 2009) Pedro Segundo (Percussion 2011) The youngest ever winner of BBC During his time at Guildhall studying Young Musician of the Year, Jennifer classical percussion and timpani, Pedro followed postgraduate training at was invited to join the Ronnie Scott’s Guildhall School with study at Oxford All Stars, where he is now house University where she is currently drummer. He also plays with the Dennis Artist-in-Residence. She performs Rollins Velocity Trio and freelances extensively as soloist with major with other great artists. orchestras worldwide, most recently with a televised performance at the BBC Proms in the Park in Glasgow. She has

85

TECHNICAL THEATRE THEATRE TECHNICAL

The Technical Theatre Department at Guildhall School has long been recognised as providing some of the most innovative vocational theatre training in the UK and elsewhere.

With the opening of Milton Court, the School boasts technical and performance facilities which are among the best in the world. The teaching, meanwhile, is practical and production- based; students work on public productions with professional directors, designers and conductors participating in the creation of acclaimed dramas, musicals and operas.

Guildhall School has five professional-standard performance venues with state-of-the-art equipment. These allow our programmes to keep in line with current practice and new theatre technology. Students use the School’s on-site theatres, rehearsal rooms, workshops and costume department to collaborate on major productions and a range of smaller projects and events.

Course programmes have been designed to involve you completely in the complex art of theatre and live performance. They bring together writers, designers, actors, musicians, composers, choreographers, technicians and administrators to achieve fully professional production values. Your training will provide you with a firm practical knowledge of theatre crafts and managerial skills and prepare you for professional life in the theatre and live performance industry.

88 In Technical Theatre, as in our other departments, we break Key staff down traditional boundaries and challenge convention, giving

Christian Burgess AGSM FGS you the chance to work with students from other art forms. If Vice-Principal & Director of you join us as an undergraduate, you will work with students Drama on the Acting and Music programmes during the first-year

Ben Sumner Dip SM MBA workshop project. And each year, our facilities are handed over Director of Technical Theatre to students for an entire day of informal showcases as part of

Vanessa Cass BA(Hons) PGCert the annual Guildhall Festival. On this day, students from all Head of Design Realisation disciplines come together to display their creative talents.

Gill Allen BA(Hons) Head of Stage & Costume Programme facilities and teaching support Management Whatever Technical Theatre programme you choose, you Steve Huttly FGS BA(Hons) PGCert Head of Theatre Technology will receive expert training in our well-equipped, flexible performance spaces: Stuart Calder CSMGSM Head of Production Milton Court Theatre – a proscenium arch theatre seating For a full list of teaching staff, 223, with a fully-automated flying system which is unique in please visit the Guildhall School website: theatre schools around the world. gsmd.ac.uk/technical_theatre Silk Street Theatre – a flexible theatre seating up to 308 in various formats, including proscenium, promenade, thrust and in-the-round. It has counterweight flying and with its large orchestra pit is the venue for our major operas and musicals.

Milton Court Studio Theatre – a flexible studio theatre seating up to 128. This space has a tension wire grid, allowing easy and safe positioning and focusing of lighting equipment and rigging of scenic elements.

Milton Court Concert Hall – this impressive performance hall has world-class acoustics and can seat up to 608. The concert platform is composed of a series of automated lifts, allowing for a wide variety of formats from solo performances to rehearsals for a full symphony orchestra.

All of our venues are particularly well equipped for lighting and sound and provide dramatic and adaptable environments. They are stimulating and exciting at the same time as being practical, safe and ideal for learning. As of 2014, Guildhall School offers more performance venues than any other drama school in the UK. We also regularly stage productions in the Barbican Centre’s theatres.

89 Other Guildhall facilities you will use include the scenic workshop, paintshop, prop-making department and sound and video editing studio. You will also have access to the lighting and theatre technology lab, stage electrics workshop, production and stage management offices. Additionally, Milton Court includes new rehearsal rooms, a TV studio, costume department and teaching rooms, and a well-equipped computer room.

Core teaching staff

There are 31 full-time members of staff in the Technical Theatre Department. All have had long and varied careers in professional theatre. The Department maintains constant industry contacts via incoming directors and designers. It also has strong links with professional colleagues and ex-students working with all major UK theatre and opera companies, productions and suppliers.

Designers and lighting designers who have worked at the School include: Peter Mumford, Isabella Bywater, Susannah Henry, Mark Jonathan, John Owens, Tom Rogers, Dora Schweitzer, Johanna Town, Hugh Vanstone and John Leonard. Visit our website for a full list of recent visiting staff.

90 “I’ve had such fantastic opportunities here, I’ve been to lots of theatres which were amazing and I’ve worked alongside very talented people who are at the top of their field. I plan to find employment in this industry and Guildhall has prepared me very well for this. The course lets us work on real shows in real time just like a real job, so no hidden surprises later!”

Hellen Bassett BA Technical Theatre Arts

91 The Technical Theatre Arts programme equips you with BA Honours Degree the skills you need to enter the theatre industry. We strongly in Technical Theatre believe that your training should be tailored to your individual Arts career aims. For this reason, you will select one of extraordinary productions, working Three years full-time four pathways, each with a different alongside professional directors and emphasis: designers on a full-time basis. 129 applications/38 places • Stage Management Year 3 gsmd.ac.uk/technical_theatre • Costume Supervision • Theatre Technology (Sound, Lighting, The final year provides you with true Video, Automation and Stage exposure to professional theatre and the Technology) opportunity to make essential future • Design Realisation (Scenic Art, Scenic contacts. All students undertake leading Construction and Prop Making) roles in their chosen fields and some go on to lead a whole team in a Production Within each pathway it is possible to Management role. You will also complete study elements of the other three. For a Graduation Project presented either as example, if you want to learn about a portfolio or a written paper, plus work props and scenery construction, but experience with a professional company retain an interest in lighting, you can or practitioner. choose accordingly. Similarly you can gain experience in sound while focusing Throughout the programme you are primarily on stage management. The encouraged to engage with actors, course is flexible enough to allow for singers and musicians from other a wide range of interests or a more programmes to generate your own specialised approach. projects. Key development areas which are essential for employment include: Year 1 • Learning to be part of the team The first year of the programme brings of technicians, actors, singers and all students to the same threshold of musicians working alongside knowledge. In addition to your chosen professional directors, designers pathway classes, you will study a broad and conductors; participating in the range of core subjects including Theatre creation and public performance History, Period Style, Contemporary of acclaimed dramas, musicals and Theatre, Health and Safety and operas Stagecraft and Production Process. Classes • Using Information Technology in are usually project based and students planning, managing and achieving are encouraged to enhance and inform productions. You will develop their own work by engaging with the transferable skills in the latest office profession externally. For example, when software as well as using specialist studying trends in contemporary theatre packages in many departments. you will see a wide range of shows, • Detailed knowledge of current many of them leading international developments in the theatre industry productions at the Barbican Centre. Similarly when studying period styles A particularly high staff-student ratio is you will visit galleries and museums to one of the strengths of the programme. look at examples and gather ideas. As you progress, staff shift from formal teaching roles to empowering and In this first year you will also take a core supporting your production work. This module called Associated Studies, which allows you freedom to demonstrate and allows you to take three short courses in develop your professional standards areas of technical theatre from one of the and skills. other three pathways. A member of the teaching staff will Year 2 also be your personal tutor and will follow your progress and act as a mentor From the second year onwards students for your personal and professional are immersed in Guildhall School’s development.

92 Regardless of their year, all students to bear on full-scale productions, taking work together on all productions. In fact lead roles in managing shows from peer learning is an essential element of rehearsal room to final performance. the programme; senior students often fulfil organisational roles while more Costume Supervision junior students observe how skills and knowledge are acquired and used. Costume supervisors need to have a creative eye and exceptional Stage Management organisational skills. They also need good people skills to ensure things run Stage managers are often gregarious, smoothly. outgoing yet thoroughly organised individuals. Stage managers require In this pathway you will learn how all manner of skills and competencies, to assemble the costumes required but chief among these are ‘people for complex dramas and operas. This skills’. Only through good interaction, involves sourcing costume items from communication and negotiation with a variety of suppliers, whether that people will stage managers be able means buying from high street shops, to understand and work with actors, rummaging through charity shops, directors, designers and all the technical hiring from professional hire-houses departments in the theatre. or drawing from our own very large stock. You will take care of alterations This pathway is all about developing and work such as dyeing and ‘breaking your craft to professional standards in a down’ to help achieve the overall design fully professional context. By the end of concept of the production. You will also the course you will bring all your skills undertake some costume making.

The Adventures of Pinocchio (March 2014)

93 “The best thing about studying at Guildhall is not only the amazing central location, but also the people you have the opportunity to meet. Your training comes from tutors who have worked on some of the greatest productions in the world. It also allows you to mix and work with a wealth of talent and experience on the other pathways.”

Tommy Keatley BA Technical Theatre Arts

94 Design Realisation (Scenic Art/Scenic Construction/ Prop Making)

Design Realisation is about making and painting the scenery and props that have been designed by the set designer. Students following this pathway need good creative and practical skills with strong problem solving abilities. Each year you will develop your skills across prop making, scenery construction and scenic art, arriving at a clear idea of how much you want to specialise in your final year.

Theatre Technology (Lighting/Sound/Video/Automation)

In Theatre Technology you will • Time management learn about design and production in • Cash handling lighting, sound, projection and stage • Practical application of IT technology, with opportunities to • Research skills specialise in your final year. • People management Transferable skills Preparing for work As well as equipping you with the skills On successful completion of the and knowledge to enter the theatre and entertainment industries, the Technical programme you will be equipped Theatre Arts programme provides with the standards, skills, knowledge, you with a range of transferable skills experience and contacts to enter the which are valuable to any employer. professional theatre. You will receive These include: lectures and advice on what being freelance means and how to go about • Team working getting work. Our graduates have had • Verbal & written communication skills a near 100 per cent employment rate. • Problem solving Additionally, students who have a right to work in the UK will automatically gain full membership to British Actors’ Equity once they finish the programme. This can be as a permanent employee of a theatre or company, or initially on a freelance basis.

Professional secondment

Students from the programme have recently taken work placements with a number of renowned theatres and companies, including:

• Almeida Theatre • Autograph Sound • Barbican Centre • BBC • Birmingham Royal Ballet • Bush Theatre • D3 Technologies Ltd • Donmar Warehouse • English National Opera

95 • Globe Theatre Guildhall School is also currently • Glyndebourne developing an exchange and work • Imagination Events programme within the Erasmus • IOGIG Ltd scheme. This will further enhance the • Lyric Theatre, Belfast professional secondment offering to • Mamma Mia! Technical Theatre students. • National Theatre • Old Vic Theatre Find out more • Paule Constable – lighting designer • Rick Fisher – lighting designer Visit gsmd.ac.uk/technical_theatre for • Robert Allsopp; Associates further information on teaching staff, • Royal Albert Hall entry requirements, open days and how • Royal Court Theatre to apply. • Royal Opera House • Royal Shakespeare Company If you want to find out more about • Sadler’s Wells possible careers backstage there are a • Set-up Scenery Ltd number of good websites to explore: • Shakespeare’s Globe • Stage Technologies • Get Into Theatre: getintotheatre.org • The Halo Group • Drama UK: drama.ac.uk • The London Dungeon • RSC (search for ‘think theatre’ • Theatre Royal Stratford East section): rsc.org.uk • Tonto Film Studios • Welsh National Opera • White Light • Wicked UK tour

96 “The best opportunity I have had as a student at Guildhall is when I was given the chance to be a Costume Daily on Downton Abbey at Ealing Studios. This was great experience as I got to work first hand in the industry and gain new skills. I would like to go on tour once I’ve completed the course. Working with professionals at Guildhall provides you with contacts who are well respected in the industry.”

Shannon Martin BA Technical Theatre Arts

97 BA Honours Degree in Video for Live Performance

Three years full-time

New from entry 2015 gsmd.ac.uk/technical_theatre

This is a dynamic and innovative new programme for students interested in the fast-changing and exciting world of digital video design and production. It has been shaped by and upholds the practical, hands-on ethos of Guildhall School’s Technical Theatre Department.

The programme will provide you contributing to Guildhall School’s with specialist training in the rapidly- programme of acclaimed productions, expanding field of projection and video- taking part in festivals and arts based arts forms. It uses state-of-the-art commissions around the country, and equipment and facilities commensurate commercial activity, for example with with the latest industry developments. the Barbican Centre. The teaching is practical and project- based. You will work on a range of Guildhall productions projects with professional designers, programmers and animators, such Visit gsmd.ac.uk for details of recent as gallery installations, projection work Guildhall productions. And see pages for Guildhall productions and VJing 86–89 for more information on how at festivals and club nights. Guildhall theatre technicians are involved in bringing operas and dramas The programme shares some of the to the stage. professional theatre skills and theory modules of the BA in Technical Festivals and arts commissions Theatre Arts (see page 90). But these are complemented with a more specialised We have established links into a range series of modules related to video of festivals and events, including: design and content creation, technical management, system design and live • Glastonbury Festival, the world’s operation/programming. Throughout largest multi-arts and popular music the programme you will be able to festival. In 2014 and 2015 staff and attend cross-year seminars and lectures students provided video design for given by visiting guest artists. one of the festival venues. • Lux Festival, an annual international This programme provides students ‘light art’ festival in Helsinki where with a unique range of opportunities to Guildhall School staff and students practise and apply the skills they have have presented work. acquired. Such opportunities include

98 Some other recent work carried out and at parties. Guildhall School’s close by the Technical Theatre department working relationship with professional includes: organisations, for example the Barbican Centre, allows us to collaborate in • Inside Out Festival – UK providing high-quality services • BIPAF – South Korea for companies holding events and • Beatbreak (Ministry of Sound) – UK conferences. Through these opportunities • Barbican Weekender – UK students will experience working in a variety of commercial settings, from In 2014/15, staff and students also small to large-scale projects. presented work at: As a student on this programme you will • Walthamstow Garden Party gain invaluable skills, knowledge and • Gravity Field Festival experience from working on a range of • Barbican Centre (with Boy Blue these real-world projects. It is a hands-on Entertainment Ltd.) opportunity to test and develop the skills • Sadlers Wells (and UK tour) Jasmin that you will acquire in the classroom Vardimon Company and studios. • The Tower of London (large-format projection mapping project) Year 1

Commercial market The core focus in Year 1 is on familiarisation with the software and Projection mapping techniques are used hardware, while nurturing your design by commercial brands in advertising, skills and building confidence in a product launches, VIP events, AGMs professional setting. There is a range of

99 a portfolio, which will be invaluable when seeking employment at the end of your studies. And you will undertake a self-directed graduation project that will allow you to focus on a chosen area of specialism.

Transferable skills

As well as equipping you with the skills and knowledge to enter the video, theatre and entertainment industries, the programme provides you with a range of transferable skills which are valuable to any employer. These include:

• Team working • Verbal and written communication skills • Problem solving • Time management • Cash handling • Practical application of IT • Research skills opportunities to make the most of our • People management extensive resources as you learn your trade, becoming directly involved in a Graduate destinations supportive role as a member of the crew. A Guildhall School graduate may expect Year 2 to pursue a career as a:

In Year 2 you will continue to take • Video designer a series of classes to help develop • Animator your creative skills and hardware • Video engineer/technician competency. But there is also a switch • VJ in emphasis regarding your role on • Video operator/programmer practical projects. You will gain more • 3D designer responsibility as you progress, moving from a supportive ‘crew’ member to Our graduates have an excellent track a more distinct role within the team. record of achieving employment at You will have responsibility for things industry-leading organisations. Former such as system checks and maintenance students work in roles at 59 Productions, and content production (working D3 Technologies and XL Video, to name with third-year designers or visiting a few, as well as several successful West professionals). You will also have more End shows. The development of this of a say in the selection of equipment specialised programme is expected to and how projects are planned. enhance further our relationship with these employers. Year 3 Find out more In Year 3 you will take a final series of classes to refine your video design Visit gsmd.ac.uk/technical_theatre for skillset. You will have opportunities further information on teaching staff, to make content and design materials audition requirements, open days and that may then be used on real-world how to apply. projects. You will lead a team of second and first-year students who help you to realise your artistic and technical objectives, while still receiving guidance and support from your tutors and visiting professionals. Alongside your production work you will also complete

100 This new one-year Masters programme aims to bring together MA in Collaborative early-career theatre practitioners, including: designers, sound Theatre Production designers, lighting designers, production managers, stage and Design managers and video designers.

These practitioners work together year there are four projects, some of One year full-time in creative teams on an exciting which are generated from within the and varied array of theatre projects. creative teams, while others involve New from entry 2014 The programme is not intended collaborating with students from to deliver core technical skills, but one of the other Guildhall School gsmd.ac.uk/technical_theatre rather develop your ‘theatre making’ Masters programmes. Options include abilities, exploring your potential as producing a chamber operatic work a creative artist and enabling you to (20-25 minutes in duration) which will work with other students on a series of be rehearsed, produced and premiered collaborative projects. at the Milton Court Studio Theatre; or devising works as part of the Curious The programme Festival in venues around East London.

The Masters programme is a long The timing and emphasis of these academic year (180 credits) with different projects will reflect the timing Principal Study for designers, and emphasis of the various roles in the production managers and other creative creative team. Over the year, the teams artists and practitioners. At the start on your course will form and re-form, of the year, you will be immersed in a developing a creative vocabulary on a four-week creative project that inducts broad variety of projects and forging new students into the Guildhall School connections with other artists. environment. You will also be allocated a Principal Study mentor from a pool of The programme also includes a three- professional designers and production to-four-week residential project, managers with whom the Department intended to take you into an unfamiliar has strong working relationships. area of work. The idea is to offer an opportunity for creative collaboration At the heart of this programme is unconstrained by preconceptions or Collaborative Practice, which aims prejudices. You will also choose an to develop your ability to apply elective, either Associated Studies or and integrate your specialist skills Research in Production, Design or within a project. Throughout the Leadership.

Find out more

Visit gsmd.ac.uk/technical_theatre for further information on teaching staff, entry requirements, open days and how to apply.

101 Some of our Technical Theatre alumni

Neil Austin (1992) Simon Baker (1992) Ros Brooke-Taylor (1992) Award-winning lighting designer Award-winning sound designer Deputy Managing Director, National Theatre Productions

Dani Charleson-Gallacher Neil Constable (1985) Judy Craymer MBE (1978) Eric Fellner CBE (1980) (1985) Chief Executive, Producer, Mamma Mia! Co-Chairman, Head of Projects: Hotels, Merlin Shakespeare’s Globe Working Title Films

Rebecca Quigley (1990) Mike Robertson (1994) James Shirley (2005) Jon Stevens (1988) Managing Director, Award-winning lighting designer Head of Production, Founding Partner, Charcoalblue Stage Entertainment UK Imagination

102 Recent graduates Laura Depla (2010) After graduating, Laura became a Production Assistant at George P Johnson, a global event and experience marketing agency. She was promoted to Associate Producer in January 2014. Highlights so far include working on an award- winning multi-million pound project for one of the sponsors of the 2012 Olympic and Paralympic Games, creating an interactive experience located directly adjacent to the Olympic Park showcasing future technologies. Laura has also had the opportunity to work on events in Las Vegas, Boston, Dubai and Singapore, as well as across Europe. Tim Lutkin (2008) Tim is an acclaimed lighting designer, Jack Stookes (2012) most recently winning Best Lighting Jack is currently an Assistant Stage Design in the 2014 Laurence Olivier Manager at the Royal Opera House, Awards for Chimerica at the Harold Covent Garden. Recent productions with Pinter Theatre. Other recent designs the Royal Opera include a tour to China include The Crucible (Old Vic), Strangers with Carmen. Jack is also the director of On A Train (Gielgud), Candide and All’s award-winning music agency, STAG Well That Ends Well (RSC), Once A Catholic Music, which works with some of the (Tricycle & Royal Court Liverpool), The UK’s best upcoming musicians on events Full Monty (Noel Coward and UK Tour), with clients including Google, Natwest Calendar Girls (UK Tours), Ghost - The and the NHS. Musical (UK Tour – co-design with Hugh Vanstone) and Philadelphia, Here James Adkins (2013) I Come! (Donmar). James is a catalyst and LED technician, most recently working on Sarah Jonathon Lyle (2008) Brightman’s world tour, Katharine After graduating, Jonathon worked at 59 Jenkins in Concert, Elton John Productions; roles included Programmer, Sports Aid Live, and festivals such as Technical Manager and Video Designer. Creamfields and T in The Park. As a freelancer he has worked on projects in theatre, museum, exhibition Alex Durrell (2013) and television, while continuing his Alex works as a sound and video educational work at the National Youth technician, most recently in the roles of Theatre. Credits include The Curious Video Engineer/Cameraman on Derren Incident of the Dog in the Night Time Brown’s 2014 UK tour Infamous. He has (Broadway, NTP), War Horse (West End, also been the Venue Install & Venue UK & US tours, NTP), Les Misérables Technician for Shoreditch Town Hall, (Broadway, Korean, Spanish, Japanese, and video technician for a number US & UK Tours, CML), American Psycho of events including the Barbican’s (Almeida) and the London 2012 Olympic Garden Room and Conservatory Grand Opening Ceremony (LOCOG). Re-Opening, and the Lux Festival in Helsinki, Finland. Letitia Stewart (2008) Letitia specialised in scenic painting Charlie Smith (2013) and prop making at Guildhall, and Since winning the Technical Theatre since graduating has worked as a Gold Medal at Guildhall, Charlie has freelance scenic artist on over 50 gone on to a number of sound roles on productions, including La Corsaire various musicals, including the West (English National Ballet), Eugene Onegin End production of Thriller, Billy Elliot (Royal Opera House), Der Rosenkavalier the Musical (Victoria Palace), Oh! What a (Glyndebourne), and One Man, Two Lovely War and Fings Ain’t Wot They Used Guvnors (National Theatre). She has T’Be (both Theatre Royal Stratford East). also worked on a range of other projects including window displays for Ralph Lauren and various corporate events.

103 104 CREATIVE LEARNING

105 The Performance and Creative Enterprise degree is aimed BA Honours Degree at artists from a range of music and theatre backgrounds - in Performance & including musicians, composers, theatre makers, devisors, Creative Enterprise spoken word artists, beatboxers and poets - who want to develop their performance, production, collaboration and In association with the Barbican Centre leadership skills for employment in the arts industry.

Through cross-artform projects, you Year 1: Experiments and Explorations will collaborate, communicate and Three years full-time lead in a range of cultural and socially- The first year gives you space to engaged contexts. The programme will experiment and create new work, while New from entry 2015 develop your curiosity, stimulate your learning fundamental skills such as being imagination and help you to generate part of a company and helping to deliver gsmd.ac.uk/pace original work, while preparing you for socially-engaged work. Modules include: life in the professional arts industry, with a strong focus on entrepreneurship • Starting Out, The Identity and employability. Project: personal story telling and autobiography, creating work The programme focuses on the together as a company which leads to following areas: short performance pieces. Workshops include stage presence, group • Developing your own individual formation, devising and improvising artistic craft through bespoke training techniques. (one-to-one lessons and mentoring) • Collaborative Performance Project: • Working as part of a cross-arts working as a company, deepening company, creating new work which is your collaborative skills, and devising live, recorded and digital new work. Visiting guest artists will • Collaborating with people in a range share a range of working practices of community settings (e.g. schools, with you, and you will link with hospitals and healthcare, criminal Creative Learning’s Dialogue festival. justice), creating participatory and • Outside In: this introduces you to the socially-engaged artistic work notions of participatory and socially- • Cultivating employability through engaged practice. Through a series developing creative enterprise skills, of lectures and seminars, practical including project management, workshops and off-site observations, fundraising and budgeting, pitching you will gain an understanding of proposals, marketing and online both theory and practice. You will resources participate and co-lead in a range of community contexts including The programme is taught through on- hospitals, schools, the criminal justice site specialist training and mentoring, system, and working with the elderly. and through real world off-site projects • PREP (Practice, Reflection, and placements. Delivered in association Enterprise, Portfolio): 30 hours of with the Barbican Centre through one-to-one lessons developing your Creative Learning, a joint department individual craft; 10 hours of one-to- with the Guildhall School (see page 9), one mentoring sessions developing the programme features guest artists your ideas and ambitions; workshops and tutors from across the Barbican and on developing a reflective practice Guildhall School’s roster such as poets and giving/receiving useful feedback; Jacob Sam-La Rose and Rick Holland, seminars on project management director and playwright Matthew skills and pitching proposals; keeping Dunster, digital artists and Just Jam an artist’s sketchbook as a journal organisers Tim & Barry, MOBO of your learning and experiences; award-winning singer Zara McFarlane, starting a multi-media portfolio (to and internationally renowned music be developed over the three years). educationalist Paul Griffiths. Other examples might include beatboxer Year 2: Developments and Discoveries Shlomo, and the Barbican’s Associate companies Complicite, Boy Blue In the second year, you will use your new Entertainment and Told by an Idiot. knowledge and skills to deliver more

106 advanced projects, including deepens the work from the first year. off-site participatory work, site-specific You will further develop your artistic performance, and working to a technique and creative mastery, and commission. Modules include: will learn how to deal with multiple stakeholders, fundraising, managing • Inside Out: two off-site projects, where budgets, marketing and contracts. you collaborate in smaller groups and lead the planning, devising and Year 3: Placements and the Profession delivery of the projects, mentored by experienced professionals. These By your final year, you will be expected projects will range from work in to lead and curate artistic collaborations, healthcare, with the elderly, in schools, both as an individual and as part of in housing estates and community a company. You will also benefit groups, with young people and within from a work placement in a relevant the criminal justice system. organisation, and take specific career • Pop Up Performance: a short preparation sessions. Modules include: performance project where students lead on devising a piece of creative • The Residency: students take part work which is then toured and in a residency, off-site and out of performed off-site in a range of London, which takes the shape of a different contexts. You will be asked to lab for experimentation. Examples of create work which is technically and residencies might include working artistically appropriate for unusual with participants from Culture Tech spaces, blending collaborative and (digital), Verbal Arts and Wall2Wall socially-engaged practice skills. Music in Derry, Ireland or an • Commission: This module further ecologically focused residency with Schumacher College in Dartington. extends the notion of the creative You will be expected to drive the entrepreneur, providing a real- artistic collaboration with support world scenario and contact with the from professional artists as mentors industry. An industry professional and co-participants. or organisation sets a brief to work • Final Project: this module runs towards a ‘professional’ commission: over two terms and is split into three for example, a piece of work which components: responds to an exhibition in the Placement: you will spend 150 Barbican Art Gallery and develops a hours in an organisation relevant to wider audience for the exhibition at your skills, interests and ambitions. the same time. Enquiry: an opportunity for you to • PREP: this module continues and delve more deeply into a particular area of your artistic practice, which can be presented in a range of forms e.g. presentation, exhibition, written, digital. Performance: you develop a project, using collaborators of your choosing, leading to a performance at a final student-curated showcase festival. • PREP: here you culminate your learning from across the programme into a cohesive ‘calling card’ to the industry. You will identify your own individual voice and artistic vision. There is a strong focus on career preparation, including refining your online/digital resources and career plan.

Find out more

Visit gsmd.ac.uk/pace for further information on teaching staff, audition requirements, open days and how to apply.

107 108 TEACHING

RESEARCH AND 109 The Research Degree programme focuses on practice-based Research Degrees research in the creative and performing arts. Within this course composition is a key strength, while music therapy is offered Three years full-time (plus writing-up) as a new research degree area. Your research studies will be Part-time study is available for supported by a strong research environment, a personalised PhD and DMus Performance development plan and opportunities to draw on the full artistic (six years plus writing-up) resources of Guildhall School. Part-time study is not available for DMus Composition Each doctoral candidate’s supervisory Guildhall School of Music & Drama team combines artistic and academic and Royal Opera House Doctoral Validated by City University London expertise selected according to the Composer-in-Residence chosen research topic. Supervisors at gsmd.ac.uk/research the School currently include Professor Every two years, this unique collaboration Julian Anderson, Professor Helena offers one composer the opportunity Gaunt, Professor Ronan O’Hora, to be Composer-in-Residence at the Professor Julian Philips, Professor Patsy Royal Opera House. The period of study Rodenburg and Professor Barry Ife. is three years full-time, culminating Doctoral students are also supported by in the completion of a new chamber a thorough and comprehensive research opera which is staged at the Royal Opera training programme. House’s Linbury Studio Theatre.

Current areas of research focus include: Exclusive to this studentship, funding is jointly provided by the Guildhall • The Creative Stage (including School and the Royal Opera House. The new opera) collaboration offers an enriching model • Words Becoming Music of opera development that allows a • Understanding Audiences composer substantial creative research • Contemporary and Historical experience in the development of Performance Practices operatic practice. Applications for the • The Art and Science of Artistry next studentship in 2017 will open in July 2016. Research at Guildhall School is inter- disciplinary and collaborative. Led Research environment and by eminent figures from the music knowledge exchange and drama professions, all research is used to inform the School’s teaching Guildhall School provides a dynamic and programmes of study, from environment to explore the undergraduate to doctoral level. fundamental questions that inform Doctoral researchers at the School are artistic practice – the big questions that currently investigating the following affect all artists. There is therefore a research questions: unique opportunity for you to engage in enquiry, experiment and reflection • Many Shades of Blue: writing the in the context of an arts institution at blues in a contemporary classical the cutting edge of performance, artistic setting production and innovation. Doctoral • Leading to Engage: a study of researchers have the opportunity to the interplay between musicians’ present their work alongside Guildhall leadership and elderly people’s School staff and guests of international motivation to participate in standing as part of the ResearchWorks collaborative music activities events series, and as part of the • Beautiful Idiots: the birth of the Reflective Conservatoire Conference. protagonist, the birth of the fool Find out more Your doctoral research will be assessed via a combination of performance/ Visit gsmd.ac.uk/research for further creative outputs and written work. In information on teaching staff, funding, a few cases, where research may best entrance requirements and how be expressed through the written word to apply. alone, the output is a single thesis.

110 “The DMus programme is flexible, giving me the opportunity to tailor my final submissions to the specificities of my subject. During my time here, I organised an international conference based around my subject involving delegates from 4 continents which I was able to host at the Guildhall School. It was a very useful experience to lead the planning of this from the initial stages right up until the event and the staff were hugely helpful. I feel much more prepared to organise events such as this in the future, bringing together researchers and practical musicians to search for new mutual inspiration.”

Emily Baines DMus, ‘Mechanical Musical Instruments as a Source for Historical Performance’

111 112 Performance Teaching is a new programme, designed to PGCert in support professional musicians, actors, theatre technicians and Performance Teaching dancers who teach as part of their practice as performers or in undertaking a portfolio career. The programme provides a One year part-time or two years unique opportunity to develop creative and reflective practice part-time in performance teaching. New from entry 2016, subject to validation You will be encouraged to identify a This programme attracts applicants who personal pathway for your development, are interested in creative, innovative gsmd.ac.uk/perfteaching focusing on the pedagogy of performance and evidence-based performance and creative practice in the performing teaching, and offers: arts, in specific contexts that are most relevant to your career aspirations. • A strong focus on critically reflective practice, framed by professional The PGCert in Performance Teaching guidelines such as the Higher will prepare you for employment as a Education Academy Professional professional artist-teacher in a range Standards Framework of contexts, including Higher Education, • Interdisciplinary perspectives specialist performing arts schools and • Feedback on practical work in junior conservatoires, state and Higher Education or Inclusive independent schools, community and Learning settings lifelong learning environments, and • Teaching and mentoring delivered by inclusive learning programmes such as an experienced team who individually Sistema-inspired initiatives. Participants have strong professional reputations as have the option of completing an educators, performers and researchers elective, Reflective Practice in Higher • An educational philosophy that Education, which will lead to celebrates professionalism, professional recognition from the UK international perspectives, creativity, Higher Education Academy (subject to and innovative practices in accreditation). performance teaching

How you’ll learn Programme outline

The programme combines intensive The programme is one or two years workshops with online learning and part-time, delivered in intensive bursts practical experience in facilitating at specified weekends and in school learning in a variety of performing arts holidays. Students take the following contexts. Supported by a team of world- modules: renowned practitioners, researchers and guest speakers, you will develop skills and • Core Module 1: Fundamental knowledge in the fundamental principles Principles in Performance Pedagogy of pedagogy, professional frameworks, and teaching and facilitator approaches. Where appropriate, the programme • Elective A: Reflective Practice team will support you in accessing in Higher Education opportunities for practical experience or of facilitating learning in a range of contexts, drawing on the Guildhall • Elective B: Inclusive Learning School’s extensive network of partners (for example, the East London Creative A student taking the programme over and Cultural Partnership, Centre for two years will undertake Core Module Young Musicians, and Music Hubs). 1 in year one, and a choice of elective in year two. With a strong emphasis on reflective practice, you will develop an informed Find out more awareness of the national and international landscape of performance Visit gsmd.ac.uk/perfteaching for teaching. You will be supported by a further information on teaching staff, personal Pedagogy Mentor, and will entry requirements, open days and how participate in guided peer support groups. to apply.

113 114 115 Training at Guildhall School aims to They also undertake a four-to-six After Guildhall equip you for the career of your choice. week professional secondment (see It combines academic rigour and artistic page 93). skill with a strong professional focus. • Undergraduate musicians take modules which include advice on All of our programmes are closely teaching, business and marketing and engaged with the professions, through professional portfolios. Other electives talks and workshops from visiting include music administration and industry figures, work placements, workshop skills in hospitals and mentoring, masterclasses and schools. Postgraduate musicians performance collaborations. Many of are required to plan external events our teaching staff continue to work on and there are also opportunities for or offstage in their industry, and are placements and artistic programming. well placed to provide insight, advice The Integration and Professional and contacts within their profession. Development module provides seminars on freelance work as well As you move through your programme, as opportunities to consider students’ your links with the relevant industry longer term artistic development. All will grow. You will receive careers musicians can attend masterclasses, advice within dedicated modules in while relevant programmes offer many programmes, as well as one-to- mock auditions, side-by-side schemes one advice from teaching staff and and mentoring from professional mentors. Career preparation differs orchestral players. depending on your chosen discipline: To complement the careers support • Actors take a career preparation offered as part of the curriculum, all module which includes advice on students also have the opportunity to auditions and casting sessions, agents, engage in the cross-School Employability unions, tax and accounting, CVs and Programme. The highlight of this setting up a professional company. We scheme is Employability Week – a series have an in-house career consultant of sessions at the end of each academic and professional actors mentor each year consisting of panel discussions, guest final-year student. speakers and workshops on a range of • Technical Theatre students take a professional and personal development professional development module topics. Recent graduates are also invited which includes help with IT skills, to attend. CVs and job applications, interview technique, taxation and unions. After you graduate

As a Guildhall School graduate, you will automatically become part of the Guildhall Alumni community. The Development & Alumni Relations Office promotes networking, social opportunities, and active involvement in the future development of Guildhall School. We offer a range of benefits (free of charge), including regular magazines, events and information about career opportunities. There is also a secure directory on our website where alumni can update their contact details and search for other alumni, as well as a Guildhall Alumni LinkedIn group and Facebook page.

You will also be eligible to apply to the Guildhall Creative Entrepreneurs scheme. This 12-month programme supports alumni to set up their own businesses/social enterprises and develop entrepreneurship skills.

116 Recognising the current needs of arts stay connected to the School and share practitioners to be self-starting and their knowledge and experience with entrepreneurial, the scheme supports current students. recent alumni to create, launch and make a success of their businesses – as See pages 28-29, 82-83 and 100-101 for well as to raise vital seed funding. details of some of our former students, and visit gsmd.ac.uk/alumni to read In the course of the year, our alumni on their biographies. this scheme have access to mentoring and coaching plus training in customer development, digital development, sales, marketing, fundraising, finance and pitching. Entrepreneurs also have access to dedicated office space and City-wide networks.

Visit gsmd.ac.uk/alumni for further information.

Alumni

Guildhall School has an impressive record of alumni success and achievement. Many of our former students return to give talks and masterclasses or to take part in performances. This enables them to

117 • Application deadlines Applications, • Application fees and how to pay them • Application guidance notes auditions, interviews • Audition and interview arrangements • Audition repertoire and what to and open days expect at your audition/interview • International auditions (New York, Hong Kong, Beijing, Tokyo) • Entry criteria

If you have a question about your application, you can also email the Admissions team at [email protected]

International students

We are proud of our large international student community. A third of our students come from outside the UK – from over 40 different countries in At Guildhall School we value our diverse total. International students should visit culture and welcome applications from gsmd.ac.uk/international for information all over the world. Applications and on visas, accommodation, English enquiries about attending Guildhall are language requirements and support, and made directly to the School and not via details of our buddy programme. any outside intermediary or agency. This means you benefit from dealing with Disability support our friendly Admissions team directly. You can also use our bespoke online Guildhall School is completely application process which is aimed at committed to promoting equality of making your application journey with us opportunity. We promote an inclusive as straightforward as possible. and enabling learning environment On the website and encourage applications from students with disabilities or specific As well as our online application form, learning difficulties. Nearly 10 per cent you will also find all of our detailed of our student population fall into this application information on our website category. If you would like to find out at gsmd.ac.uk/apply. This includes: if the School’s support and environment are appropriate for you, you can contact our dedicated Disability Coordinator. Please visit gsmd.ac.uk/disabilitysupport for more details of what we can offer and who to contact.

Open days

Each department holds Open Days at various points in the year when you can visit the School, meet staff and students and experience what life is like at Guildhall. Bookings for Open Days are available on the website: gsmd.ac.uk/opendays

If you are not able to attend an Open Day, you can still use the interactive video tour on our website to explore the School. You are also welcome to attend a performance at Guildhall, many of which are free, to see our work in action. View our calendar of upcoming events at gsmd.ac.uk/events

118 Tuition fees for each programme are • Guildhall School offers a wide range Fees, funding and listed on our website: gsmd.ac.uk/funding of scholarships to all students through our Scholarships Fund. scholarships The amount you will pay depends on which programme you are applying for, Home/EU undergraduate students and whether you are a student from the UK, the EU or outside the EU. A tuition fee loan is available to undergraduate students from the UK Studying at Guildhall School is affordable and countries classified as part of the and the School is committed to ensuring EU for fee purposes (subject to residency that the cost of tuition does not deter requirements). Visit our website at students from applying. There are lots gsmd.ac.uk/funding to view the full list of measures in place to help you meet of EU-classified countries. the cost: You will only have to repay the loan • If you are a Home/EU undergraduate once you have left Guildhall School and student eligible for a UK Government are earning over £21,000 per year. tuition fee loan, there are no upfront tuition fees. You will only have to If you are a home student (from repay the loan once you have left England, Scotland, Wales or Northern Guildhall and are earning over Ireland) other support is available in £21,000 per year. the form of a maintenance loan and/ • For all other students, tuition fees for or grant (actual amounts depend upon a given academic year are advertised your household income). well in advance to help you plan your finances. You can pay your fees in three instalments plus deposit.

119 need. These elements are assessed at audition and interview, and on the basis of a comprehensive application form available to applicants who accept a place at the School.

Additional funding support

If you experience an unforeseen change of circumstances while you are enrolled at Guildhall School, you may qualify for an award from the School’s Hardship Fund to help you overcome your immediate financial difficulties.

Fee-status assessment

All successful applicants will be asked to complete a Fee Assessment Form before commencing their studies at Guildhall School so we can establish if your tuition fees will be at the ‘home/EU’, ‘ELQ’ (see below) or ‘overseas’ rate. Funding guidance and scholarship If you already have a degree or diploma support at or above the level of the programme you wish to study at Guildhall School Guildhall School has a dedicated Student and would usually pay home/EU fees, Funding Officer who can help you you will be classified as an ELQ student identify sources of funding to support and will be liable to pay the equivalent your studies. These sources might include of the overseas fee. government and non-government loans and organisations that offer Student visa requirements grants. We also offer a wide range of scholarships to all students each year For students requiring a visa to study in through our own Scholarships Fund. the UK, the UK Visas and Immigration These awards are supported by a variety (UKVI) requires, as part of the visa of external donors including City Livery application process, that students Companies, grant-making trusts and demonstrate they have the means to foundations, businesses and individuals. pay for their tuition for their first Tuition fee and maintenance awards year of study and the means to support are offered to applicants on the basis of themselves. For further details see talent, potential and personal financial gov.uk/tier-4-general-visa

For a full list of our tuition fees, and further guidance on funding, please see our website: gsmd.ac.uk/funding Non-UK applicants may additionally find the UKCISA website of interest: ukcisa.org.uk

120 121 122 If you are not yet ready to apply for the South Bank, and also has branches Youth and adult higher education, or if you are looking in Norwich, Taunton and Saffron for a shorter or more flexible course, Walden. CYM teaching staff are learning there are still plenty of opportunities experienced and respected performers for you to study as part of the Guildhall and teachers working in many areas School community. Here are some of of the music profession. Many CYM the other courses we provide: students go on to careers in music but all benefit from the skills gained in Junior Guildhall the vibrant, inclusive and stimulating gsmd.ac.uk/juniors environment that CYM provides.

Junior Guildhall is a specialist Saturday Summer schools School offering advanced training to gsmd.ac.uk/youthandadultlearning young people between the ages of 4 and 18. Junior Guildhall students are able to Guildhall offers a host of inspiring combine their Guildhall training with summer schools for a variety of their general education in local schools. ages, disciplines and skill levels. In They come together to experience and Music these range from Jazz to Music learn about music and drama under the Theory, A Cappella Choral Training guidance of staff drawn from London’s to Electronic Music. In Drama they orchestras and freelance professionals. encompass Acting in Shakespeare & Most Junior Guildhall students go on Contemporary Theatre, and Acting to study their chosen discipline full- in Musical Theatre. And in Technical time at undergraduate level, eventually Theatre there are courses focused on making careers in the profession, Prop Making, Stage Lighting and Scenic though others can, and do, move into Art, to name a few. Visit the website to totally different fields. download our Short Course prospectus and apply online. Centre for Young Musicians cym.org.uk Continuing Professional Development gsmd.ac.uk/cpd Centre for Young Musicians (CYM) is a division of the Guildhall School and Continuing Professional Development provides high quality progressive music (CPD) at Guildhall School enables training for thousands of talented students, teachers and practitioners to children from all of London’s boroughs meet their professional needs within a and beyond. The Centre is based at personal time frame. CPD courses have Morley College, close to Waterloo and recently included Creative Learning, Music Therapy, Teaching and Learning in Higher Education, and Automation for the Entertainment Industry. Visit the website to find out more.

Mindfulness gsmd.ac.uk/mindfulness

Mindfulness meditation is a well- researched, non-religious and very effective means of alleviating stress, anxiety and depression and promoting well-being. This practical evening course was developed at Guildhall School to support musicians and actors in their creative work and in their lives. Skills for practice, performance and general good mental health are taught in eight weekly classes.

123 Patron Director of Acting Senior staff at The Right Hon. the Lord Mayor of the Wyn Jones FGS City of London Guildhall School Director of Technical Theatre Chairman of the Board of Governors Ben Sumner Dip SM MBA Deputy John Bennett Director of Creative Learning Principal Sean Gregory Professor Barry Ife MPhil BA(Hons) FGS LGSM(PCS) CBE FKC FBbk HonFRAM FRCM Academic Registrar & Director Vice-Principal & Director of Music of Student Experience Jonathan Vaughan Katharine Lewis BA(Hons) MA DipRCM (Perf) DipRCM (Teach) Chief Operating & Financial Officer Vice-Principal & Director of Drama Sandeep Dwesar BA(Hons) FCA Christian Burgess AGSM FGS

Vice-Principal & Director of Academic Affairs Professor Helena Gaunt PhD LGSM(PCS) FGS

Acting Department Accommodation Getting in touch Telephone +44(0)20 7382 2323 Telephone +44 (0)20 7382 6132 [email protected] [email protected]

Music Department Applications Telephone +44(0)20 7382 7144 Telephone +44(0)20 7382 7183 [email protected] [email protected]

Technical Theatre Department Finance Telephone +44(0)20 7382 2323 Telephone +44(0)20 7382 7208 [email protected] [email protected]

Research Department Student Affairs Telephone +44 (0)20 7628 2571 ext. 5104 Telephone +44 (0)20 7382 7219 [email protected] [email protected]

@guildhallschool guildhallschool

youtube.com/guildhallschool

124 The Laramie Project (March 2013)

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BLACKFRIARS BRIDGE

Julian Anderson, Clive Barda, Damian Lewis: Frank Ockenfels 3/ Credits Paul Cochrane, Greg Funnell, SHOWTIME LONDON BRIDGE Hugo Glendinning,SOUTHWARK Katie BRIDGE Henfrey, Anthony Marwood: Sussie Ahlburg Sarah Hickson, Matt Holliday, Nina Sally Matthews: Johan Persson Large, Kevin Leighton, Andrew Lim, Ewan McGregor: Courtesy of Lionsgate Lee Mawdsley, Alexander Newton, UK Ltd Richard Olivier, Timothy Soar, Alfred Molina: Kerry Brown, courtesy of Clive Totman, Morley Von Sternberg, Wildgaze Films Ltd

Simon Way Anne Sofie von Otter: Ewa-Marie TOWER BRIDGE Rundquist Alumni profiles Toby Spence: Mitch Jenkins Simon Russell Beale: Mark Douet Thomas Adès: Brian Voice Lesley Sharp: REX/ITV/Rex Features Hayley Atwell: Courtesy of Marvel Studios Dominic West, Jodie Whittaker: Alison Balsom: Mat Hennek/EMI Classics ©Kudos 2013 Orlando Bloom: 2014 Warner Bros. Entertainment Inc. All Rights Reserved Stephen Campbell-Moore: Johan Persson/ Disclaimer ArenaPAL This prospectus was published in July 2015 and is intended to provide general information only concerning the Guildhall Judy Craymer: Lorenzo Agius School of Music & Drama. Full and up-to-date details on James Galway: Paul Cox all programmes and services are available on the School’s website gsmd.ac.uk Shirley Henderson: Dean Rogers ©Southcliffe Limited 2013 © Guildhall School of Music & Drama 2015

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Guildhall School is provided by the City of London as part of its contribution to the cultural life of London and the nation.