BA Programme Specification New - Music Conservatoire€¦ · PROGRAMME SPECIFICATION: ... B.6 Evaluate ways in which audience perception of a musician is formed and how ... with a

PROGRAMME SPECIFICATION: BA Hons Popular Music Performance Exit awards Cert HE and Dip HE 1. GENERAL INFORMATION

CUKAS Codes

Award Programme Title Duration Mode of study

201F BA (Hons) BA (Hons) Popular Music Performance

3 years FT

Awarding Institution RNCM

Teaching Institution Access to Music

Programme Accreditation NA

Relevant QAA benchmark(s) QAA Descriptor for a higher education qualification at level 6: Bachelor's degree with honours (2011) Subject benchmark statement: Music (2008)

Date of Writing April 2013

Course Leader Andy Stott MA

Minimum / Maximum Periods of Registration Award Years of Full Time Study Cert HE Min – 1 year, Max – 2 years Dip HE Min – 2 years, Max – 3 years BA Min – 3 years, Max – 4 years

Proposed Start Date September 2013

2. AIMS OF THE PROGRAMME(S) The programme aims to:

1. Develop a high standard of technical and interpretative skill within performance, supported by composition, nurturing originality and the development of a musical identity.

2. Stimulate analytical and critical awareness of the synthesis between music theory and its practical application within performance and composition.

3. Cultivate entrepreneurial skills and deepen understanding of the mechanics of the music industry.

4. Gain a critical understanding of ways in which social and cultural conditions shape significant developments within popular music and the relevance of cultural theory to this analysis.

5. Develop the practical skills practical skills required for proficient use of specialist IT formats and music technology.

6. Support the acquisition strong interpersonal, communication and leadership skills.

2

3. INTENDED LEARNING OUTCOMES OF THE PROGRAMME A. ACADEMIC SKILLS. Students will show knowledge and understanding of: A.1 Specialist musical interpretation and performance skills, across a range of contexts and popular music styles. A.2 Industry standard musical notation and audio software. A.3 Advanced rhythmic, melodic and harmonic musical components and their inter-relationship in a range of contexts and musical styles. A.4. Ways in which social and cultural conditions shape significant developments within popular music styles. A.5 The principles and practical application of musical direction. A.6 Idiomatic composition and arrangement across popular music styles. A.7 The musician’s relationship with key music industry societies and organisations. A.8 Business structures, revenue opportunities and self promotion within the sector. A.9 Behaviours of musicians in live and recorded contexts. A.10 The professional role and responsibilities of a teacher and musical director. Learning and Teaching Processes: Individual Lessons (A1, A3) Performance Classes (A1, A3, A6) Directed Ensembles (A1, A3, A5) Lecture/Seminars (A2, A3, A4, A6, A7, A8, A9, A10) Practical Workshops (A3, A5, A6, A10) Individual Tutorials (A7, A8, A9) Small Group Tutorials (A7, A10) Work Related Learning (A7, A8) E Learning (A7, A8, A9, A10) Assessment Individual Practical Exam (A1) Ensemble Live Performance/Studio Recording (A1, A3) Directing a Live Ensemble/Teaching Delivery (A10) Verbal Presentation (A4) Written Exam (A3) Critical Commentary (A6) Essay (A4, A9) Research/Practical Portfolio (A2, A3, A6, A7, A8) Diagram/Map and Report (A7)

3

B. INTELLECTUAL SKILLS. Students will be able to: B.1 Self-devise and employ efficient and effective practice strategies. B.2 Synthesise music theory and practice for identification, analysis and problem solving. B.3 Demonstrate stylistic understanding of diverse musical styles within a historical narrative. B.4 Research the interrelationship between key music industry societies and organisations in order to undertake individual planning and promotion. B.5 Relate own musical practice to the changing relationship between performers and their audience. B.6 Evaluate ways in which audience perception of a musician is formed and how this develops broader perceptions. B.7 Reflect on the contribution made by cultural theory to popular music and the relevance to musicians/audiences. B.8 Evaluate progress in order to inform ongoing strategies for personal professional development and self-promotion. B.9 Comment critically on the principles of planning, preparation, delivery, feedback, assessment, and evaluation strategies. Learning and Teaching Processes: Individual Lessons (B1, B2) Performance Classes (B1, B2, B3) Directed Ensembles (B2, B3) Lecture/Seminars (B4, B5, B6, B7, B8, B9) Practical Workshops (B1, B2, B3) Individual Tutorials (B4, B5, B6, B7, B8) Small Group Tutorials (B5, B7, B8, B9) Work Related Learning (B5, B8) E Learning (B5, B6, B7, B8, B9) Assessment Individual Practical Exam (B1) Ensemble Live Performance/Studio Recording (B1, B2) Directing a Live Ensemble (B6, B8) Verbal Presentation (B3) Written Exam (B2) Critical Commentary (B2, B8, B9) Essay (B5, B6, B7) Research/Practical Portfolio (B5, B6, B8, B9) Diagram/Map and Report (B4)

4

C. PRACTICAL SKILLS. Students will be able to: C.1 Perform convincingly and with musical identity across a variety of styles, as a soloist and as a member of an ensemble, live and in the studio and through the use of music technology. C.2 Demonstrate the principles of idiomatic improvisation with a sophisticated level of ability, within an ensemble context. C.3 Construct and reproduce rhythmic, melodic and harmonic patterns on paper and on voice/instrument. C.4 Develop original compositional ideas and arrangements with reference to idiomatic use of melody, harmony, rhythm, form and structure in a range of musical styles. C.5 Produce professional level notated and recorded repertoire, arrangements and original compositions using industry standard software. C.6 Deliver a detailed analytical account of ways in which social and cultural conditions shape significant developments within popular music styles. C.7 Direct and prepare for a musical ensemble (as both MD and a member of the ensemble) demonstrating flexibility, interpersonal skills and confidence. C.8 Analyse and plan for business structure and revenue opportunities within the sector. C.9 Demonstrate a critical understanding of the theory and practice of popular music pedagogy across varying educational contexts. Learning and Teaching Processes: Individual Lessons (C1, C2) Performance Classes (C1, C2, C3) Directed Ensembles (C1, C2, C3, C4, C5) Lecture/Seminars (C5, C6, C7, C8) Practical Workshops (C1, C2, C5, C7) Individual Tutorials (C8) Small Group Tutorials (C8, C9) Work Related Learning (C8) E Learning (C8, C9) Assessment Individual Practical Exam (C1) Ensemble Live Performance/Studio Recording (C1, C2, C3) Directing a Live Ensemble (C7) Verbal Presentation (C6) Written Exam (C3) Critical Commentary (C4) Essay (C6) Research/Practical Portfolio (C5, C8, C9) Diagram/Map and Report (C8)

5

D. TRANSFERABLE SKILLS AND PERSONAL QUALITIES. Students will be able to: D.1 Demonstrate communication and presentation skills as a soloist and as a member of an ensemble within a professional environment. D.2 Identify strategies for mental preparation for performance in a variety of contexts. D.3 Employ self-devised strategies for study, practice and learning. D.4 Present both verbal and musical material effectively to an audience. D.5 Communicate ideas to other musicians/an audience via specialist IT multimedia formats. D.6 Communicate effectively through the execution of primary research. D.7 Analyse the skills required to work in the sector. D.8 Demonstrate leadership skills in the implementation of a project. D.9 Reflect analytically upon their own learning experiences and those of others. Learning and Teaching Processes: Individual Lessons (D1, D2, D3, D4) Performance Classes (D1, D2, D3) Directed Ensembles (D1, D2, D3, D4) Lecture/Seminars (D6, D7, D8, D9) Practical Workshops (D1, D2, D3, D4) Individual Tutorials (D6, D7, D8) Small Group Tutorials (D6, D7, D8, D9) Work Related Learning (D6, D7, D8) E Learning (D6, D7, D8, D9) Assessment Individual Practical Exam (D1, D2, D3, D4) Ensemble Live Performance/Studio Recording (D1, D2, D3, D4) Directing a Live Ensemble (D2, D4, D8) Verbal Presentation (D4, D6) Written Exam (D6) Critical Commentary (D4, D8) Essay (D6) Research/Practical Portfolio (D5, D6, D7, D8, D9) Diagram/Map and Report (D7)

6

4. THE STRUCTURE OF THE PROGRAMME The credit weighting of the BA (Hons) Degree focuses on the Principal Study units with this component making up half the programme. This is in line with the RNCM BMus, and other conservatoire models. The remaining credits are divided between the Musicianship and Professional Development units. There are optional units available in year 3 through the BMus Elective list. Full details of each unit are contained in the Validation Document. FHEQ Level 4 Principal Study 1 Principal Study 1 30 credits Ensemble Performance 1 30 credits Musicianship 1 Theory and Aural 1

20 credits

Musicianship 2 Preparation for Performance 1 20 credits

Professional Development 1 Anatomy of the Music Industry

10 credits

Professional Development 2 The Working Musician

10 credits

Total 120 credits Total study time 1200 hours FHEQ Level 5 Principal Study 2 Principal Study 2 30 credits Ensemble Performance 2 30 credits Musicianship 3 Theory and Aural 2

20 credits

Musicianship 4 Preparation for Performance 2 20 credits

Professional Development 3 Artist and Audience Relationships

10 credits

Professional Development 4 Promoting the Musician

10 credits

Total 120 credits Total study time 1200 hours FHEQ Level 6 Principal Study 3 Principal Study 3 - Final Major Performance 30 credits Ensemble Performance 3 - Final Major Project 30 credits Musicianship 5 Composing

20 credits

Musicianship 6 Arranging

20 credits

Professional Development 5 Optional – OR

The Music Educator

20 credits

Professional Development 6 Optional

Electives 20 credits

Total 120 credits Total study time 1200 hours

7

CUKAS Code Award Programme Title Duration Mode of Study

201F BA (Hons) BA (Hons) Popular Music Performance

3 years (min) 4 years (max)

Full time

Awarding Institution Royal Northern College of Music (RNCM)


Programme Accreditation NA Relevant QAA benchmarks QAA Descriptor for a higher education qualification at level 6:

Bachelor's degree with honours (2011)

Subject benchmark statement: Music (2008) Date of writing January 2013


TBC Diploma in Higher Education

Dip HE Popular Music Performance 2 years (min) 3 years (max)

Full time







TBC Certificate in Higher Education

Cert HE in Popular Music Performance

1 year (min) 2 years (max)

Full time






8

OUTLINE OF PROGRAMME CONTENT Principal Study (180 credits) Principal Study is at the core of the programme and focuses on technical instrumental/vocal development through individual and group tuition. Students will gain skills in effective practice strategies leading to solo performance recitals, and ensemble rehearsal techniques leading to live and studio performances. Students will also learn how to integrate music technology into performance, in both live and studio situations. In the 3rd year students will have the opportunity to create, produce and realise a final major project and perform a final recital. Musicianship (120 credits) Musicianship underpins technical and practical skill development through the study of supporting musical skills, with a focus on music theory and aural perception. These skills will be applied practically through sight-reading, improvisation, computer based DAW, lead sheet writing and musical direction units. Students will be required to explore interpretative and theoretical skills, contextualized through an understanding of the relevant historical and stylistic frameworks. Original work will be produced in the final year, supported by the composing and arranging units, and the material created will be integrated into the final major project. Professional Development (60 credits) Professional Development will provide the knowledge and skills to establish and sustain a career as a self-employed freelance musician. Students will study music business, finance, self-promotion, marketing and networking, ensuring they are equipped to find suitable employment opportunities during and by the end of the programme. This strand of the programme will focus on entrepreneurship, the development of business acumen, self-reliance, and the ability to adapt to changing working environments within the music industry. The study of pedagogy will form part of the work completed within this strand, helping to prepare students for music workshop leading and instrumental / vocal teaching. Students will also develop advanced academic skills via research and analysis of the historical, psychological, sociological and political elements of the popular music industry and the relationship between the musician and the audience. In the final year students will have the opportunity to select an elective unit tailored to their area of professional interest or specialism. Full details of the unit content can be found in the Validation Document and in Appendix 2.

9

Development of Employment Skills Central to the ethos of this degree is the notion that the mode of employment for the artist within this (and the broader, creative arts) sector, is more accurately termed self-employment – the artist is therefore both employer and employee, responsible for generating their own workplace. Employment in the traditional sense of being attached to a company or organisation tends in this sector to occur within the peripheral, support industries, for example in artist promotion or management, music publishing or education and training. It is rare then that the artist themselves is employed as the artist. Individuals may be contracted by an organisation, but this will usually be as a result of their ability to provide a specific service. Authentic and innovative work-related learning and the development of employment and employability skills is an integral part of this degree. It will enable students to take on appropriate role(s) within the workplace, giving them the opportunity to learn and apply the skills and knowledge they have acquired as an integrated element of the programme. This ethos has been fully integrated into the proposed programme of study, which has been developed to ensure that all activity undertaken contributes directly or indirectly to the development of each individual as a professional, relevant to his or her operation as a sole trader. This can be evidenced thus: • In the Principal Study units, the preparation for and assessment of performance skills takes place

within a variety of professional environments, for example professional rehearsal studios, professional recording studios and live performance venues. The student’s day-to-day interaction with these environments and those functioning within them facilitates an innate understanding of the operation of these professional situations and supports the acquisition of skills appropriate to effective operation within them, both musically and contextually.

• The Professional Development units offer many opportunities for developing skills within real work

environments relevant to self employment, for example:

Research portfolio demonstrating networking and industry contacts Case studies into different music businesses Production of a promotional web presence Live performance production and promotion The development of a popular music teaching portfolio

All students will be encouraged to begin working as professionals during the programme in keeping with the vocational learning dimension of the degree. They are working musicians who perform, record, compose and teach throughout their studies, laying the foundations for a sustainable professional career. This is vital to the development of relevant and up to date skills within the constantly changing music industry.

10

5. STUDENT INDUCTION, SUPPORT AND DEVELOPMENT Induction and Tutorial Support Students will receive an induction programme to include the following:

• Initial assessment to identify areas that may require learning support. • Induction to Library, IT and practical facilities. • Guidance on Health and Safety (including an introduction to Alexander Technique). • Registration. • International student meetings. • Introduction to the mechanisms by which performance opportunities are accessed. • Student mentoring scheme. • Bespoke induction to the BA (Hons) Degree programme.

The following support network will be available to BA (Hons) Degree students:

• Course Director: responsible for the education of students on the programme. • Deputy Course Director: responsible for academic and pastoral support. • Unit Co-ordinators: responsible for the maintenance of the course units. • Learning Support tutor: responsible for providing additional academic support and guidance to

students where deemed necessary. • Language tutor: responsible for providing support to students for whom English is not the first

language. • Pastoral/Health care: the RNCM has a counselling service and a student services administrator

devoted to the welfare and well being of students. The College employs a team of Alexander Technique teachers.

Personal Tutors The role of the personal tutor will be to monitor the overall welfare and progress of students. Personal tutorials will provide an opportunity for students to discuss their progress and any other issues arising on a one to one basis. Individual tutorials with all students will be conducted at the end of each semester to review progress and agree SMART targets. The minimum number of tutorials with the personal tutor will be one per semester, although students may request a tutorial at a mutually convenient time during the programme. A written record of these meetings will be kept, which will be signed by both the student and the Personal Tutor. These will be kept on file as a record of issues discussed at the meetings.

11

Student Support The nature of learning and teaching within the setting of a conservatoire is a focus on the individual. Support for students, both at an academic and pastoral level will be provided through the close contact the student has with their Principal Study tutor, the Course Director and Deputy Director, individual tutors and Academic Registry staff. Comprehensive information of a non-programme nature and general regulations are contained within the Student Information Handbook. Students will be advised of the services available to support them before they start at the College, during induction and throughout their studies. All students who have declared a disability or learning difficulty will be contacted at the start of term in regards to setting up a Personal Learning Plan. The College employs a Learning Support Tutor who provides bespoke support for individual students and works in partnership with the British Association for Performing Arts Medicine, which provides access to specialist medical support relevant to musicians. Students will also have access to Student Services – an integral part of Academic Registry; a student-facing department which offers a range of services that contribute to the retention and continuation of students including advice about student funding, counselling; dyslexia and disability, accommodation and provision of classes in the Alexander Technique to assist students with the rigors of performance. The College has a dedicated student support and welfare administrator within Academic Registry. International students will be supported through the International Office which provides a wide range of advice and support to students throughout their time at the College including that on living and working in the UK, cultural differences, methods of study and expectations on students. Dedicated orientation and induction is designed to support students in their early transition both academically and socially. The College also has an English Language Support Tutor who provides specialist support. All new students will be required to attend a comprehensive induction week prior to the first week of the academic year. New students will also supported by a student ‘parenting’ scheme, which is overseen by the Students’ Union and ‘Senior Residents’ in the College’s Sir Charles Groves Hall of Residence who assist with general pastoral care and support. Learning Resources The Faculty The Popular Music Performance Faculty will comprise experienced and talented educators, academics and music professionals, bringing a thorough knowledge to the classroom that comes from a rich professional background in Higher Education and the music industry. They will be mentors, collaborators and role models, providing access to a large network of industry contacts. There will also be a series of visiting performers, industry professionals and professors of national and international repute, offering an invaluable insight into the career of the professional musician. Academic Registry The Student Administration team within the Academic Registry will deal with the core central administrative activities and processes relating to the new programme, including management of the student records system, auditions, registration, fees and funding, student number planning, management information reporting and statutory returns, timetabling, examinations, publications for new students and liaison with course managers about all these matters.

12

IT Facilities Every student will be allocated their own IT Account consisting of a College email address, 20Mb of disc space, their unique login name and password. There are 24 PCs in the Library providing access to Microsoft Office 2010, the Internet and Library resources. Printing is through a number of networked colour copier/printers situated within the Library. These facilities are only available when the Library is open (see Library opening hours). An air-conditioned IT Studio is also available on the ground floor just off the main reception area which includes special facilities for the disabled. There are 11 PCs, providing access to Microsoft Office 2010, Internet and Library resources. Printing is through a networked colour copier/printer situated within the IT Studio. All PCs in the IT Studio have the latest copy of Sibelius installed. The IT Studio is normally open between 0700-2400 hours every day. The College is connected to the Joint Academic Network (JANET) via a high speed link. Apart from the rules and regulations within the Student IT Agreement, students will be able to surf any part of the net. Currently all PCs have unrestricted access, but should it prove necessary to restrict access then prior notification will be given. RNCM Moodle VLE ATM has developed an excellent Virtual Learning Environment through Moodle that allows students to access resources and support materials, to submit work for assessment, and to engage in forums, discussions and notice boards. All course work is assessed online and grades and feedback sent directly to students via email. Curriculum management is made effective and efficient through this highly developed platform which has now been piloted on the RNCM’s new Moodle site. Library The College has a well-resourced Library the primary purpose of which is “to support the work of the College in teaching, learning, performance and research through the timely provision to students and staff of appropriate resources in printed, audio, video and online formats.” Students have access to around 30,000 sound recordings and a collection of over 90,000 items of books and music. The latter includes sheet music, full and vocal scores and chamber music sets. The Library also has an extensive collection of orchestral, wind band, brass band, and jazz band sets. Full information on borrowing entitlements and loan periods may be found in the Library information sheets and the Library area of RNCM Moodle. Reference material includes: dictionaries, encyclopedias, repertoire guides, bibliographies, thematic catalogues, yearbooks, scholarly collected editions of music (e.g. Musica Britannica) and over 90 current journals (e.g. Popular Music Journal). College members have access to several online resources including databases, journals (e.g. Rock’s Back Pages), e-books and audio / video streaming services (e.g. Spotify). There are links to an extensive range of online resources via the Library website and the Library’s Facebook and Netvibes pages.

13

Networked IT workstations in the Library provide facilities for word processing, e-mail, the internet, Sibelius music software and the Library’s online catalogue, with the option to print to digital printers. The Library is also equipped with wireless network access. One computer is equipped with a scanner and a colour printer and a microfilm / fiche reader is also available with a dedicated computer and printer. The Library has a collection of commercial videos & DVDs, off-air recordings and recordings of College performances dating back to 1973, together with a range of listening, viewing & recording equipment. Using Other Libraries The Library is a member of the SCONUL (Society of College, National & University Libraries) Access scheme. Under this scheme postgraduates may borrow from other member libraries and undergraduates may use them for reference purposes. Students must obtain a SCONUL Access card from the RNCM Library in order to participate. Other major academic libraries in the area to which students have access include: The University of Manchester Library (substantial music holdings, including much research material), University of Salford Library (strong in popular music, jazz and brass band material and information on the music industry) and Manchester Metropolitan University Library (strong in music education materials). The Henry Watson Music Library, part of Manchester Central Library, is one of the largest public music lending libraries in Britain and students are strongly advised to become members. Items not stocked by the College Library or readily available locally may be requested through the inter-library loan scheme (see Library information sheets for more information). Rehearsal Rooms and Performance Venues The College offers a variety of specialist music and general teaching space including the main venues, which offer students a professional standard experience. The main venues include a Concert Hall, an Opera Theatre, Studio Theatre and a Recital Room. All main venues have professional facilities including lighting, recording, and IT/AV, and are supported by a Venues Department who all have professional experience and can offer both professional support for students and advice and training. There are 60 tutorial rooms and all specialist teaching spaces are acoustically designed. BA (Hons) students will also have a dedicated soundproof room equipped with drum kit, back line and PA for ensemble rehearsal. Students may book tutorial rooms and studios through ASIMUT (a web-based scheduling software system made specifically for music academies) for personal or ensemble practice when these are not required for formal teaching. In addition there are 15 dedicated open practice rooms for students to use for personal practice.

14

Blueprint Studios Blueprint Studios is Manchester’s premier rehearsal and recording studio. Established in 2002, the studios are home to Mercury Award winners Elbow and are a focal point for both established and up and coming bands and recording artists. Blueprint’s recording credits include Elbow, Gorillaz, Snoop Dogg, I Am Kloot, Smokey Robinson, Mark Ronson, Johnny Marr, Justin Timberlake, Stephen Fretwell, Lady Gaga, Paul Heaton, Pharrell Williams, The Ting Tings, Duran Duran, The Drums, The Fall, Moby, The Noisettes, Delphic, Everything Everything, The Coral, Russell Watson, One Republic, 50 Cent, Rhianna, Jamie T, Orson, Newton Faulkner, The Durutti Column, Katherine Jenkins, Camera Obscura, Cherry Ghost plus many more. Students on the new BA (Hons) programme will receive instrumental / vocal tuition and directed music ensemble rehearsals at the studios. They will also perform their studio recording assessments in start of the art facilities alongside Blueprint’s professional recording engineers and producers. Lever Street Studios Based in Manchester’s iconic Northern Quarter, Lever Street Studios is home to Music for Brands – an award winning commercial composition and production company supplying music for the film and television advertising industries. In the final year of the new programme, students will have the opportunity to record, collaborate with, and be supervised by Lever Street Studio’s experienced professional producers in realizing their Final Major Project. Careers Advice Careers advice will be available throughout the programme through tutorials, visiting industry professionals and advice, information and guidance given by all course tutors. Although RNCM does not have a dedicated Careers Advice Service, the University of Manchester Careers Service facilities are free of charge to RNCM students. Students are not eligible for individual sessions with careers counsellors, but can use the extensive facilities of the service. Student Complaints The procedure for student complaints is detailed in RNCM Student Information Handbook.

15

6. CURRICULUM MAP AGAINST INTENDED LEARNING OUTCOMES OF THE PROGRAMME Music-making at the highest level is a complex synthesis of knowledge, understanding and skills with intellectual, physical, and creative activities. The stimuli for the most outstanding musical achievement are neither readily definable nor consistently applicable within a programme structure. This curriculum map is intended to demonstrate where the broad programme outcomes are being developed (d) and assessed (a) within the course. It is also intended to be a tool for prospective and current students to enable them to monitor their learning and personal and professional development. It will, however, only partly reveal the essence of the individual musician’s artistic and personal experience and growth.

Knowledge and Understanding Strand A1 A2 A3 A4 A5 A6 A7 A8 A9 A10

Principal Study

da d da d d

Musicianship d da da da da da d d

Professional Development da da da da da

Intellectual Skills Strand B1 B2 B3 B4 B5 B6 B7 B8 B9

Principal Study da d d d d d d

Musicianship d da da

Professional Development

d da da da da da da

Practical Skills Strand C1 C2 C3 C4 C5 C6 C7 C8 C9

Principal Study da d d d

Musicianship da da da da da da

Professional Development

d da da

16

Transferable Skills and Personal Qualities Strand D1 D2 D3 D4 D5 D6 D7 D8 D9 Principal Study da da da da d d da da

Musicianship d d da d da da

Professional Development d da da da da

17

7. CRITERIA FOR ADMISSION Rationale The RNCM’s recruitment policy provides a balance between ensuring that candidates meet the academic standards required for degree level study, and providing maximum access to students from a broad range of musical and academic backgrounds. The approach to admissions is to balance motivation, musical and intellectual potential, accomplishment and training with the ability to succeed at the RNCM and after. This programme is designed to attract musicians specializing in popular music genres who wish to develop excellence in terms of instrumental/vocal performance. This is sought by means of instrumental examinations certification, and/or through the interview and audition. Suitability to cope with the academic expectations of degree level study will be gathered through examination results, academic references, and/or via the written exercise and interview sections of the application process. Accessibility and Flexibility The RNCM’s philosophy is to offer access to programmes of study which are up-to-date and open to all who are successful on interview and audition, fulfill the entry requirements and demonstrate the enthusiasm and commitment to succeed. The aim is to widen participation in the music industry. Indicative Target Student Numbers The RNCM aims to recruit around 20-25 UK/EC students and 5 international students to the programme each year in-line with College and regulatory controls on student numbers. Target Student Groups Indicative target student groups for the programme include:

• Students who have gained Grade 8 through the ABRSM, Rockschool and/or Trinity performance examinations.

• Students who have studied music/performing arts at A and AS level. • Students who have gained a National Diploma in Popular Music/Performing Arts. • Students who have been players and performers for some time independently, but who

now wish to expand their skills in a more formal educational setting. • Returners to learning who have high level performing skills. • Students of junior conservatoire groups. • Formally taught and self-taught instrumentalists and vocalists.

18

Applications All applicants will apply to the course through CUKAS. Students will normally be at least 18 years of age on 1 September in the year of entry. Applicants will be encouraged in the first instance to attend the RNCM Open Days and then to seek further seek advice and guidance about the suitability of the course through the RNCM admissions team. Overseas Applicants Applicants who are resident overseas and unable to attend interview are required to submit a video of a recital performance lasting between 10 and 15 minutes, evidence of technical skills through technical exercises and verbal responses to structured interview questions. A witness statement to verify the authenticity of these materials must accompany the submission. The contact details of the witness must be included with the application. The application will not be accepted without this statement and the contact details. Visits Prospective applicants are invited to visit the facilities informally and speak to staff and students of the programme at any time during the academic year by appointment. They are also formally invited to attend Open Days at the Royal Northern College of Music. Selection for audition and interview The criteria for selection for audition and interview include:

• Evidence of high-level performing and technical skill. • Strength of achievement in musical activities. • Strength of commitment to personal musical development. • Level of ability to study successfully and to complete programmes of study. • Predicted academic grades for level 3 programmes. • Evidence of a desired career goal, which is congruent with the aims and design of the

programme. • Evidence of the ability to present a coherent and reasoned personal statement. • A supportive reference from a reliable source. (Overseas students must also have a

witness statement accompanying their performance video).

19

Audition and interview procedures The functions of the audition and interview are to:

• Allow applicants to demonstrate that they meet the minimum requirements for entry to the programme; this is especially important with regard to technical and interpretative performance skills.

• Enable the admissions team to make informed, nuanced judgments in offering places on the programme in fair competition.

• Ensure equality of opportunity, thereby underpinning the widening participation agenda of the RNCM.

Applicants who meet the selection criteria are invited for interview at the Royal Northern College of Music. They are sent guidance notes with their invitation to enable them to prepare for the audition and interview, making clear the criteria for selection. Monitoring of Admissions Process The annual review cycle of the programme includes an appraisal of the admissions process with regard to the level of entrance requirements, age, gender and ethnicity profiles and other equal opportunities. Entry Requirements The minimum entry requirements for the programme are as follows:

• A high level of performing ability – equivalent to ABRSM/Rockschool/Trinity grade 8. • At least 18 years of age on 31 December in the year of entry. • Pass in GCE A level (A2) in 2 subjects, or a Rockschool Level 3 Music Practitioner

qualification, or a National Diploma in a music related subject, or international equivalent.

• 4 passes (A*–C) at GCSE including Maths and English. • A level of theoretical ability equivalent to ABRSM Grade 5 theory. • Candidates with Scottish, Irish or other equivalent qualifications should contact

Admissions on +44 (0) 161 907 5260. • Non-English speaking candidates are required to have an IELTS score of 6.0. • Applicants with non-standard qualifications are encouraged to apply. The admissions

panel considers admitting applicants who do not have the previously stated qualifications, but who demonstrate threshold abilities through their audition and interview.

Students who do not have English as a first language are assessed at the beginning of the programme in order to meet the IELTS 6.0 standard. This standard must be met within 3 months of programme registration if not met on admission. A student may be advised to undertake additional language training before starting the programme.

20

Accreditation of Prior Learning (APL) ATM operates an APL policy for this programme, which is congruent with the current RNCM APL policy. The RNCM recognises that significant knowledge, skills and understanding relevant to the programmes of study can be developed as a result of learning opportunities outside formal educational frameworks such as through employment, voluntary work, or individual activities and interests. This recognition promotes lifelong learning, social inclusion and wider participation; above all, it ensures that the RNCM provides equal access opportunities to gifted and motivated applicants from all backgrounds. The RNCM has developed strong and clear mechanisms for identifying, assessing and formally acknowledging prior learning, including prior certificated learning and prior experiential learning. Prior certificated learning refers to learning and achievement that was assessed and certificated before the start of the programme of study. Prior experiential learning refers to learning and achievement through experience and critical reflection outside the context of a formal programme of study. It is crucial that proper consideration be given in the accreditation process to learning and achievement through experience, not just the relevance of the experience alone.

21

8. ASSESSMENT Programme Assessment Strategy The Programme Assessment Strategy for the new BA (Hons) Degree is based on three basic concepts:

• The purpose of assessment is to enable students to demonstrate that they have achieved the intended learning outcomes of the programme at the appropriate standard set for the award.

• Assessment should promote and support learning, thus it will occur in both formative and summative contexts.

• Assessment is intended to provide an indication of the level of learning for students, staff, external scrutinisers, Higher Education authorities, professional bodies and other external organisations.

The new programme will adopt a variety of methods of assessment consistent with and appropriate to its variety of modes of learning and teaching. The purpose of using a range of methods is to:

• Provide the most appropriate and direct means of measuring the extent to which students achieve the intended learning outcomes of the programme and its constituent units.

• Allow students to demonstrate their strengths, taking into account the varied nature of their prior learning experiences and their individual learning needs.

• Promote, support and develop different learning experiences. • Encourage student involvement. • Encourage recognition of a range of cultural and musical values. • Avoid excessive / inappropriate formal examinations.

In addition, the programme assessment strategy aims to:

• Encourage the development of fair, innovative and rigorous approaches to assessing student work, taking into account the need for innovation to be underpinned by the concepts listed above.

• Ensure consistency and parity of assessment standards through marking, moderation and standardisation procedures, as well as the involvement of specialist external assessors and external examiners.

• Engage in regular reviews of assessment procedures through the mechanism of the annual review of programmes of study (ARPoS).

• Archive documentation of work for future reference, including training, standardisation and calibration, thereby ensuring diachronic as well as synchronic parity and consistency. A refined system of electronic storage of work will be in place.

• Provide regular staff training for those involved in the assessment of the programme. • Allow for student views on assessment to be articulated and considered by the

Programme Team, for example by means of student-led formative peer assessment.

22

The programme’s assessment methods have been designed so that they relate explicitly to the intended learning outcomes, levels, and learning and teaching methods in the units. The number of assessments and their weightings are consistent with the credit value of each unit across the programme. FHEQ Level 4 Unit Credits Summative Assessment Word Count /

Length Principal Study 1 30 Technical Assessment (100%)

15 minutes

Ensemble Performance 1

30 Live Performance 1 (70%) Studio Recording 1 (30%)

90 minutes 6 hours

Musicianship 1 20 Theory & Aural Examination 1 (100%)

90 minutes

Musicianship 2 20 Lead Sheet Portfolio (50%) Improvisation Exam (50%)

1000 words 30 minutes

Professional Development 1

10 Music Industry Guide (50%) Networking Portfolio (50%)

1000 words 1000 words


10 Planning for Business Portfolio (100%) 2000 words

FHEQ Level 5 Unit Credits Summative Assessment Word Count /

Length Principal Study 2 30 Repertoire Excerpts (100%)

20 minutes

Ensemble Performance 2

30 Live Performance 2 (70%) Studio Recording 2 (30%)

90 minutes 6 hours

Musicianship 3 20 Theory & Aural Examination 2 (100%)

90 minutes

Musicianship 4 20 Stylistic & Historical Analysis Presentation (50%) Directing a Live Ensemble (50%)

1000 words 30 minutes


10 Artist & Audience Relationships Essay (100%) 2000 words


10 Online Promotional Portfolio (100%) 2000 words

23

FHEQ Level 6 Unit Credits Summative Assessment Word Count /

Length Final Major Performance

30 Final Recital (100%) 30 minutes

Final Major Project

30 Final Major Project Showcase (100%) 1 hour

Musicianship 5 20 Music for Media Composition Project (50%) Free Composition Project (50%)


Musicianship 6

20 Arranging Portfolio (100%) 4000 words


20 Optional

Research Report (50%) Teaching Portfolio (50%)



20 Optional

See Elective Unit Specification

3000 words

Outcomes and assessment aim to reflect progression through the programme. The range and nature of assessment vehicles at FHEQ Level 6 are designed to develop and enhance assessment at FHEQ Levels 4 and 5, through further analysis of concepts and ideas. This can be seen across for example, the Professional Practice units, where a report assessed at FHEQ Level 4 detailing research into the key functions of elements of the music industry designed to increase an individual’s broad contextual knowledge of the mechanics of the industry, underpins assessment at FHEQ Level 6 relating to actual, real world music promotion, focused on the professional development of the individual, informed by that knowledge of industry operation. Where units are concerned with musical skill development, skills developed at FHEQ Level 4 are extended and given a professional context, for example the requirement in Final Major Project for performance in a professional situation (for example a professional venue, to a paying audience) at FHEQ Level 6. An understanding across the delivery staff of the concept of level is key, as phraseology tends to remain consistent at all levels. Various safeguards are in place to ensure that formative and summative assessment is carried out effectively at each level (see Marking Conventions and Marking and Moderation), underpinned with regular opportunities for staff training in this area. It is evident from feedback that students value highly the formative assessment in the Foundation Degree programme. This is also referred to in the Overall External Examiner reports.

24

Through a careful balance of formal, informal and peer assessment methods, this assessment strategy is designed to develop students as independent learners and as musicians who are self-reliant, able to function successfully in the music industry and adapt to change. To this end, the assessment methods are designed to foster reflective skills and to encourage students to be constructively self-critical, to critique each other, and to analyse and to critique the music industry itself. In particular, students will be encouraged to reflect on their learning on an ongoing basis and to use tutorial formative feedback to monitor and develop their own progress. Assessment of Work-Related Learning As previously stated, the intention is to embed the work-related learning relevant to the self employed, professional musician into the programme delivery and assessment rather than to focus on for example, a separate work placement module. However, work placement is not eliminated entirely from the programme but will be student-led in relation to agreed aims and objectives. Work-related learning is monitored primarily through the tutorial system and via carefully designed assessments. At levels 4 and 5 students are required to operate in professional performance venues interacting with venue mangers, sound and light operators, promoters and paying audience members, and in professional recording studios, working with producers and sound engineers. At Level 6 students are made responsible for the preparation, management and production of a professional level public performance working as part of an ensemble (Final Major Project). The principal vehicles for assessment of student achievement are: Live performance A1, A3, A9, B1, C1, C2, C3, D1, D2, D4, D9 Live performance is a central feature of the programme and students may be assessed through the following aspects:

• Individual Practical Exam e.g. Technical Assessment and Repertoire Excerpts • Ensemble Live Performance • Ensemble Studio Recording • Directing a Live Ensemble

Students may also have the opportunity to perform in the following:

• RNCM Session Orchestra • RNCM Big Band • RNCM Gospel Choir • RNCM External Engagements

25

The key live performance elements of the programme occur within the Ensemble Performance units and are designed to enable students to demonstrate interpretative and technical achievement in a broad range of musical styles and settings. The Ensemble Performance units require performances to take place in professional venues with a vocational aim in mind: for example, the recorded performances in each unit may contribute to a ‘show-reel’ for use as a professional promotional tool. Self-evaluation B5, B8, D3, D7 Self-evaluation is important within the programme to enable students to review their own development in relation to their vocational aims. Students are introduced to appropriate methodologies during the Principal Study units in order to encourage reflective observations within their own practice. Examples of self-evaluation as an assessment mode occur in The Working Musician, Promoting the Musician, Artist and Audience Relationships, Composition and Arranging and Pedagogical Practice in Popular Music units. Self-evaluation is fundamental to the student’s continuous learning and development as an independent learner. At FHEQ Level 6 expectations are that students should have the facility to appraise their own learning and to think critically and honestly about their career choices. This critical reflection encourages ownership of learning, helping students to acquire skills in judgment and evaluation, thus enhancing their autonomy as learners and ultimately as professionals. . Written assignments A4, A6, A7, A8, A9, B3, B4, B5, B6, B7, B8, C6, C8, C9, D6, D7 Students are required to demonstrate a theoretical and analytical understanding of a range of musical concepts and methodologies. Written assignments are a vehicle to demonstrate this understanding and occur in the Musicianship and Professional Development units. Written assignments may take the form of essays, map/reports, critical commentaries and research/practical portfolios. These assignments are designed to facilitate the development of students’ competence in a variety of basic research methods: for example, field research, the use of primary and secondary sources, interview and experiential research. In turn this leads to the development of the ability to construct rational arguments and draw independent conclusions, based on a rigorous, analytical and critical approach to evidential data, practical demonstration, and debate. Portfolios are designed to allow students to demonstrate their achievements in more sustained critical thinking and coherent, rational argument.

26

Oral/Visual Presentations A4, B3, C6, Presentations function principally as a means for students to present research and analytical findings within the teaching and learning environment. They evidence students’ ability to communicate ideas, engage in discussion, argue rationally and utilise relevant media effectively and in context. This mode of assessment is present in the Historical and Stylistic Analysis element of Preparation for Performance 2. Other, non-standard vehicles

• Online Promotional Portfolio (Promoting the Musician) A8, B8, D5 Designed to assess students’ ability to promote their work through the internet.

• Teaching Delivery/Directing a Live Ensemble (Teaching Music/Musical Direction)

A5, A10, C7, C9, C10, D8, D9 Designed to assess students’ ability to demonstrate leadership and communication skills.

• Theory and Aural Examinations (Musicianship 1 and 3)

A3, B2, C3 Designed to assess students’ ability to respond to notated and aural stimuli.

• Composition/Arranging Portfolios (Musicianship 5 and 6)

A2, A3, A6, B2, C4, C5, D5 Designed to assess composition, arranging and notation skills using specialist music technology.

It is important that assessment requirements are communicated clearly to students and staff. To this end, assignment briefs will be made available to include an outline of assessment tasks, setting out their weighting, size and timing so that students and staff can understand what is required, in what format, and when. Each unit has a published set of appropriate descriptive marking guidelines. The use of marking guidelines is intended to ensure comparability of standards internally, to demonstrate these standards externally, and to promote transparency in the assessment process between students and staff. Assessment schedules are sensitively planned with careful attention given to realistic assessment burdens. However, it is important that students are aware of the need to think ahead and pace their work schedule. Students will be strongly encouraged to plan forward and work at a consistent rate throughout each semester. The Course Director and Unit Co-ordinators will consistently monitor the student workload during the course of each academic session, and the appropriateness of the student workload will be reviewed as part of the annual review process of the programme.

27

9. PROGRESSION AND ASSESSMENT REGULATIONS Requirements to progress through and pass the programme To progress from Year 1 to Year 2 of the programme the student must have been awarded 120 credits at Level 4 (which may include ‘compensated’ credit). To progress from Year 2 to Year 3 of the programme the student must have been awarded 120 credits at Level 5.

Award Credits and Levels Bachelor of Arts with Honours: 360 credits (180 ECTS): 120 credits at HE

level 4, 120 credits at HE level 5, 120 credits at HE level 6

Bachelor of Arts (non-Honours): 300 credits (120 ECTS): 120 credits at HE level 4, 120 credits at HE level 5, 60 credits at HE level 6

Diploma of Higher Education:

240 credits (120 ECTS): 120 credits at HE level 4, 120 credits at HE level 5

Certificate of Higher Education:

120 credits (60 ECTS) at HE level 4

A student who fails or who elects to leave before completion of the bachelors programme is entitled to the exit awards of Certificate in Higher Education or Diploma in Higher Education, provided that the requirements for these awards have been successfully completed. The Cert.HE and Dip.HE are awarded without title. The award of Pass Degree (non-Honours) is conditional on:

• The candidate submitting herself/himself for the examination in all 120 credits which constitute the final year of the programme.

• The candidate successfully passing the Principal Study: Final Recital or Composition

Portfolio.

28

10. REFERENCES The following reference points were used in designing the programme:

• QAA Code of Practice • FHEQ (August 2008) • The research specialisms and expertise of staff members • Employer input • Students • Subject Benchmark Statement for Music

Documents

BA Programme Specification New - Music Conservatoire€¦ · PROGRAMME SPECIFICATION: ... B.6 Evaluate ways in which audience perception of a musician is formed and how ... with a