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LRAM Handbook 201 –201

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Page 1: LRAM Handbook.pdf

LRAM Handbook 201 –201

Page 2: LRAM Handbook.pdf





Your responsibilities as an LRAM student 2 Core values 2 2 Staff 4


Entry requirements 4 Registration 5 Fees 5 DBS checks 5 Regulations 6 Marking 7 External examiner 7 Mark descriptors 8 Academic malpractice 8 Portfolio submission 9 Submission forms 9

4 PART 1: PRINCIPLES OF TEACHING Module description 14


Module description 15 Bibliographies 15

6 PART 3: PORTFOLIO Module description 20


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Welcome! The LRAM (Licentiate of the Royal Academy of Music) provides an opportunity for you to acquire and have recognised a set of occupationally relevant skills in one-to-one music teaching as an adjunct to an undergraduate or postgraduate award. The LRAM gives you a solid foundational knowledge of the principles of teaching, together with practical skills in teaching an instrument, voice or composition (that of your Principal Study) to children or adults within the context of individual tuition. The LRAM is offered to students who are formally enrolled on one of the Academy’s undergraduate or postgraduate programmes.

Anthony Gritten

Your responsibilities as an LRAM student

Your principal responsibilities as a LRAM student are as follows: 1 You must check your Academy email every day during term time; 2 You must fulfil each part of the LRAM to the best of your ability; 3 You must refer to this LRAM Handbook so that you know which modules you must pass in order to

progress / graduate, and what you have to do for each module; 4 You must attend 100% of classes timetabled by the Academy; 5 You must consult with your Tutor ASAP when problems cannot be resolved by reading this LRAM

Handbook, checking notice boards or AIR, or consulting Registry staff; 6 If you choose to complete the Part 3 Portfolio over three years, then you will finish the LRAM after

having left / graduated from the Academy programme on which you are formally enrolled. In such cases you must email Registry your new email address ([email protected] & [email protected]).

Core values

Educare (latin): to lead out It has always been part of the role of a musician to do more than simply play their instrument, sing or compose. Intrinsic to the role is the ability to teach, inspire others, and to express that special something that exists beyond mere words. Music and musicians do not exist in a vacuum. We exist in the world and interact with it, depending upon it also for our livelihoods. Musicians are also powerful role models within society: hard-working, focused and self disciplined, and highly skilled at working in teams to achieve something which cannot be experienced alone. Musicians acquire and develop a range of skills from a young age, which are constantly refined over their careers: those skills include an ability to learn, practise and rehearse effectively, and the development of ensemble and performance skills. Music Leadership and teaching means the application of all of these acquired skills within a new context, that of leading, coaching, and teaching others in the discovery and development of their own musicianship. Through their teaching and leadership, musicians have the capacity and opportunity both to preserve their art and shape the future of music: to consider its position and importance within society, to reflect on what it is about, and to whom it belongs. We have the opportunity to encourage people to see themselves in a new light, to gain confidence, to find connections with others, and to aspire to ever greater ambitions. There are many reasons why musicians include teaching and creative leadership as part of their careers. From practical considerations like paying bills to building and making connections with future audiences, sustaining one’s own artistic curiosity and enabling others to fulfill their own musical dreams. Some of the less obvious, but sometimes profound benefits for musicians include:

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Enhancing one’s own performance Through placing one’s musicianship in a different context, one is forced to come back to basics in fresh and deeper ways. If you’re going to teach a piece of music, or present it to a class of 7 year olds, you will have to think about it in ways which will enhance your own relationship to it. You will need to focus on the essentials: what is it that you want your pupils to get out of it? Deeper relationships with audiences Thinking deeply and imaginatively about what we want to communicate to an audience results in much more personal investment in the audience’s experience. Instead of being a sea of faces, we are much more likely to make real contact with them. Maintaining a connection with why one wanted to be a musician in the first place It probably wasn’t about playing faster, higher, louder, or better than someone else. It was (and remains) about a love of music and a deeply personal relationship with it that inspires, moves, and has a profound impact on the way we experience and understand the world.

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If you need to contact staff quickly, the best way is via email: [email protected] (exceptions are noted below). Please email general inquiries to [email protected]. Management and Support

Name Role Room

Anthony Gritten Head of Undergraduate Programmes

Responsible for LRAM operations as a whole. G 88

David Piper Management Information and Undergraduate Programmes Coordinator

LRAM Handbook, maintenance of online resources on AIR. YG 144

Rebecca Holmes Registry Services Assistant

Coordinates registration, assessment scheduling and payments to Subject Specialist Professors.



Name Role Room

Paul Harris Responsible for all aspects of Part 1 Principles of Teaching. YG 52

Subject Specialism Professors and Department Administrators

Department Subject Specialism Professors Department Administrator

Brass John Hutchins Murray Richmond

Cello David Smith: via pigeonhole or Departmental Administrator

Emily Good

Choral Conducting Esther Jones: [email protected] Sam Batchelor

Classical Accordion Owen Murray Karen Ingram

Classical Guitar Michael Lewin Karen Ingram

Composition David Knotts: [email protected] Emily Mould

Double Bass Rodney Stewart: via pigeonhole or Departmental Administrator

Emily Good

Harp Charlotte Seale: [email protected] Karen Ingram

Historical Performance Within relevant related department Emily Mould

Jazz Nick Smart Emily Mould

Musical Theatre Sam Kenyon [email protected] Katie Blumenblatt

Organ Anne Marsden Thomas: [email protected] Helen Wills

Percussion Neil Percy: [email protected] Murray Richmond

Piano Pascal Nemirovski: [email protected] Sam Batchelor

Violin / Viola Diana Cummings: [email protected] (viola classes: Martin Outram)

Emily Good

Vocal Glenville Hargreaves Chris Loake

Woodwind Simon Carr Murray Richmond

3 Administration

Entry requirements

You must be enrolled on either an undergraduate or postgraduate programme at the Royal Academy of Music in order to undertake the LRAM. If you are on an exchange / year-in / ERASMUS programme then you are not eligible to enroll on the LRAM. If you are an undergraduate then you must have progressed into B3 of the BMus programme. If you are an undergraduate (B3 or B4) then you must take Principles of Teaching either as an elective or in addition to your electives, and you must also fully complete the formal LRAM registration requirements. Taking Principles of Teaching as an elective does not automatically constitute enrolment onto the LRAM. If you are in the Historical Performance department then you may enroll on the LRAM in the relevant related department: e.g., Baroque violin enrolls in the Upper strings LRAM.

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Registration Online registration will take place Week 1 to Week 2. Late applications will not be accepted. To register for the LRAM, you must complete the online registration form which can be found on LRAM section on AIR (go to Menu/Academic Information/LRAM). Once you have submitted your registration form, and in order that you can be fully enrolled on to the LRAM course, you must visit the Academy’s Accounts department to pay your fee and then visit Registry to provide proof of payment. Payments should be made no later than 17.00 on Monday of the 2nd week of October. If Registry have not received your proof of payment by this deadline, your registration will be cancelled. An information session for students considering LRAM registration will take place in Week 0. This will be an informal drop-in session, consisting of a short presentation followed by a question and answer session with key staff and LRAM documentation made available. No booking is required to attend this session.


The registration fee is £300 inclusive. This resources Part 2 and Part 3 of the LRAM (Part 1 is resourced by the BMus programme). Refunds are not possible after the 4th lecture of Part 1 Principles of Teaching. There is a fee of £150 per retake of Part 2 and / or Part 3.

DBS checks What is a DBS check? A DBS check certificate is issued by the Disclosure and Barring Service (DBS) and is required for the specific areas of employment included in the Rehabilitation of Offenders Act 1974, including work with young people of under 18 years of age. A DBS check certificate lists criminal convictions, and is seen by potential employers. Full details of what is included on a DBS check certificate are available on the DBS website https://www.gov.uk/government/organisations/disclosure-and-barring-service Who needs a DBS check? An enhanced DBS check is required if you are employed by an organisation in the UK to teach children of under 18 years of age. An enhanced DBS check which includes the additional barred list check is required if you are employed by an organisation in the UK to teach children of under 18 years of age on a regular basis (‘regular’ is defined as a minimum of 4 days in 30 calendar days). A DBS check is not required for the teaching of children under 18 years of age in the UK on a self-employed freelance basis if you have the consent of the parent/carer. Although parents/carers do not have the right to request a DBS check we strongly recommend that you obtain one, as a DBS check will provide the additional security and confidence that many parents or carers require in order to allow you to teach their children. Do I need a DBS check to teach outside of the UK? If you are teaching children, or other young people, outside of the UK a DBS check is not required. You are, however, advised to check the relevant legal equivalent to a DBS check for the country you work in, in order to ensure that you meet all the necessary requirements to teach in that country. When is a DBS check required? A DBS check is required following the offer of relevant employment in the UK and prior to the start of your employment contract. If you are intending to teach on a self-employed freelance basis then it is recommended that you obtain a DBS check prior to the start of your teaching. If you are regularly teaching on a self-employed freelance basis in the UK, then the Academy recommends that you obtain a DBS check whilst you are still a student. How do I get a DBS check? If you are regularly employed by an organisation in the UK, or obtain your teaching work via an employment agency, then the employer/agency will generally make arrangements for your DBS check.

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Checklist on how to get a DBS check for teaching work based in the UK. Your situation will fall into one of the following three categories: 1 “I am a current Academy student employed on a contract by a school or other educational institution,

or have obtained teaching work via an employment agency” The employer or employment agency generally makes arrangements for your DBS check.

2 “I am a current Academy student, or graduate/student leaver no longer studying at the Academy (but yet to complete the LRAM), working on self-employed freelance basis” You should contact a registered agency who can apply for a DBS check on your behalf, e.g. the Incorporated Society of Musicians or the Musicians Union (membership fees may apply, but you will also receive a range of additional benefits). You will normally be required to pay for the cost of the DBS check.

3 “I am a graduate/student leaver no longer studying at the Academy (but yet to complete the LRAM) and employed on a contract by a UK organisation, or have obtained teaching work via an employment agency” The employer or employment agency generally makes arrangements for your DBS check, but you should check this with your employer/employment agency directly.

What is the current cost of a DBS check? Enhanced DBS checks cost £44.00, although the cost will vary depending on the agency you use to apply for your DBS check. How long is a DBS check certificate valid? A DBS check certificate has no official expiry date, although it is generally advised that you renew your DBS check for teaching every three years. We recommend, however, that you sign up to the DBS Update Service (https://www.gov.uk/dbs-update-service), which keeps your certificate ‘live’ and any changes to your status will automatically be updated. This service costs £13.00 per year and you must register within 19 days of the initial issue of your DBS certificate. The advantage of the Update Service is that it allows you to take your DBS certificate from one organisation to the next and also allows for potential future employers to check your DBS certificate online. Please note that individuals (e.g. parents/carers) are not able to access your DBS check certificate via the Update Service; only organisations are able to do this. When working with individuals e.g. parents of pupils, you would simply need to show them your DBS check certificate. How do I get more information? If you need further information, or have concerns about how to make the arrangements to obtain your DBS check, please contact the DBS helpline 0870 909 0811 or email [email protected].


The Regulations for the LRAM, including those in relation to failure and reassessment, are contained within the Academy’s main Regulations, on AIR. The LRAM must be studied in your home Principal Study (not Second Study), with the exception of Historical Performance students, who study in the relevant related department (e.g. Baroque violin enrolls in the Upper strings LRAM). The LRAM must be studied in the following order: Part 1, Part 2, Part 3. There is no compensation regulation allowing marginal failure in any component. Penalties for late submission apply as per the Academy’s main regulations. The total time allowed to complete the LRAM is 7 years. You must pass all three parts of the LRAM (Principles of Teaching, Subject Specialism, Portfolio) in order to qualify for the award of LRAM. The award of LRAM is conferred following the ratification of results by the LRAM

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Examination Board, which meets at the end of the autumn term each year. You will be notified of your results via email. If you pass the LRAM then you will receive a certificate following confirmation of your award.


All summatively assessed work at level 6 will be blind double marked either by individual assessors or by a panel as appropriate. Blind marking means that neither assessor sees the other assessor’s marks until separate marking has been completed. Summatively assessed work at level 5 and below may be double marked or single marked and moderated. The Part 3 Portfolio is assessed by a compulsory 20 minute viva voce exam conducted by two members of academic staff, one of whom will be your Subject Specialist Professor. The viva voce exam will normally be held at the Academy, but for those living further away or outside the UK it may be possible to hold the viva by Skype; you must indicate which your require when completing the LRAM Assignment Submission Form. If you fail one or more of the three modules, the LRAM Examination Board normally offers you an opportunity to re-sit the referred module(s). If you fail an assessment, are given an opportunity to re-sit it (if your work is referred), and pass the assessment on the second attempt, then your final mark will be capped at the pass mark 40%. For further information please see the Academy’s Exam Procedures 2016-17, on AIR. External examiner

The Academy’s external examining system is one of the most important ways of ensuring that the programmes we are running are academically sound, that the students are receiving appropriate teaching and that results are comparable to those in similar higher education institutions. External examiners have the opportunity to see and comment on all draft examination papers, on samples of coursework and any other work that contributes to the degree result. The LRAM external examiner has the opportunity to see and comment on the Part 3 Portfolios and observe a selection of viva voce during the examination period to scrutinise the marking process across the different Principal Study disciplines. External examiners are members of the Examination Boards and their views are taken extremely seriously. At the end of the academic year the external examiners each produce a report on the programme for which they are examiner. These reports are scrutinised by the Programme Boards and by Standing Committee of Academic Board. Heads of Programme respond to their external examiners explaining how points raised are to be addressed. The external examiners' reports are routinely circulated to the Senior Management Team and other relevant contacts. External Examiner reports are published on AIR and students may request copies by emailing the Academic Secretary [email protected] Current external examiner: Karen Humphreys, Head of the Junior Royal Northern College of Music.

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Mark descriptors

These descriptors are used to mark all three components of the LRAM.

Class % Class descriptor

I 90-100 Phenomenal. Worthy of public dissemination because of its phenomenal depth of reflective insight, imagination and understanding of pedagogical practices and techniques. Combines striking personal and creative authority, and demonstrates phenomenal command of delivery and communication.

I 80-89 Outstanding. Outstanding reflective insight and delivery, demonstrating exceptionally mature reflective understanding of pedagogical practices and techniques. Outstandingly responsive and flexible.

I 70-79 Excellent. Excellent levels of reflective insight and delivery and communication. Excellent

demonstration of an understanding of pedagogical practices and techniques.

IIi 60-69 Very good. A very good understanding of pedagogical practices and techniques, and levels of delivery and communication. Accomplished and reflective work.

IIii 50-59 Good. A good reflective grasp of a reasonable number of pedagogical practices and techniques, and competent levels of delivery and communication. Good responsiveness and flexibility.

III 40-49 Adequate. An adequate assimilation of relevant skills, and some ability in delivery and

communication. An adequate level of reflective understanding of the appropriate pedagogical practices and techniques, but lacking responsiveness or flexibility.

Soft fail 30-39 Inadequate. Inadequate reflective awareness and understanding of pedagogical practices and techniques. Fails to demonstrate practical understanding of the nature of teaching, and inadequate delivery and communication.

Hard fail

0-29 Inadequate. Fails in every respect to engage with the subject matter, and shows no evidence of reflective or communicative work meeting any of the learning outcomes.

Academic malpractice

Students are reminded that academic malpractice is a serious offence and will be dealt with severely, as outlined in the Academy’s Examination Regulations. All students receive information on the Academy’s expectations in terms of referencing, academic convention and scholarly practice during their first year of study. You should consult with your Year Tutor if you do not understand what is expected of you in terms of these areas as soon as possible and in any case before you are required to take any kind of assessment. Guidelines are also available on AIR on the definitions of Academic Malpractice and how it should be avoided.

You should note that Academic Malpractice is not only limited to plagiarism (failure to acknowledge the work or ideas of others in academic work). It is also academic malpractice to submit the same piece of work for more than one module or the same performance programme for more than one Principal Study component. You should also not enlist the help of other people in the completion of individual essays/assignments as this could be considered as collusion. For further details of all of the offences which constitute academic malpractice, please see the Academic Malpractice Regulations or check with your Year Tutor.

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Portfolio submission

Submission deadlines

For students who enrol on the LRAM in September / October 2016, the earliest date for submission of the Portfolio is Friday in the second teaching week in September 2017. There are further staggered opportunities for students to submit, up until a final deadline of the Friday in the second teaching week in September 2020. Details of the staggered submission dates are found on Form 2: LRAM Portfolio Submission Form (see page 11). Note that your final mark will be confirmed at the LRAM examination board held in the November following your portfolio submission. For example, if you submit your portfolio in January 2017 or April 2017, then your final mark will be ratified by the LRAM examination board in November 2017. In order to submit your portfolio you must complete three forms. These are available below and on AIR. Form 1: LRAM Portfolio Submission Approval Form You must get the signed approval of your Subject Specialist Professor confirming that you are ready to submit your Portfolio. The request to your Subject Specialist Professor must be accompanied by at least one of the lessons on audio-visual DVD. This form must be submitted with the complete Portfolio within four weeks of signed approval. Form 2: LRAM portfolio submission form You must complete this form when submitting your Portfolio. Portfolios can be submitted in either hard or electronic format. You must retain a copy for yourself of the whole portfolio. Form 3: LRAM video recording consent form You must get this form signed by the pupil(s) being recorded / photographed / filmed for your DVD lesson. If the young person is below the age of 18, then you must also get the signature of the parent / legal guardian of the young person. This form must be included with the Portfolio submission. Form 4: Letter to schools requesting Academy permission for LRAM student to record lessons

You must complete this form by inserting the relevant details as directed, and then get your Subject Specialist Professor to sign the form, before you send it to the school along with Form 3 and DBS evidence.

Submission forms

Please print out and complete these forms (overleaf) as necessary. They are available on AIR.

Page 11: LRAM Handbook.pdf


Form 1: LRAM Portfolio Submission Approval Form

Student Name:

Programme: LRAM

Principal Study:

Course Title: Part 3 Portfolio

Title of assignment: Portfolio

I declare that I have reviewed the draft portfolio (which included at least one lesson on DVD) for the above named student, and confirm that he / she is now ready to submit the final portfolio for part 3 of the LRAM.

Subject Specialist Professor’s signature: Date: I declare that I have submitted my draft portfolio to my Subject Specialist Professor, and will submit the final portfolio within four weeks of the date of his / her approval. Student’s signature: Date:

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Form 2: LRAM Portfolio Submission Form

Student Name:

Programme: LRAM

Principal Study:

Course Title: Part 3 Portfolio

Title of assignment: Portfolio

Submission deadlines:

There are three deadlines in each of the three years you have to complete your Portfolio. Please circle the deadline against which you are submitting:

17.00 Friday in the second teaching week in September

17.00 Friday in the first teaching week in January

17.00 Friday in the third teaching week after Easter

Viva voce examinations will normally be held at the Academy; for those living further away or outside the UK it is possible to hold the viva by Skype. Please tick one box:

I will attend the Academy in person

I will require a viva by Skype

Are you happy for your Portfolio to be viewed by Academy staff for teaching purposes, including those not teaching LRAM, and by other LRAM students? Please tick one box:



You will be notified of your viva date and time by email. Please give your preferred email address:

I declare that the assignment submitted is my own work and has not (either in whole or in part) been submitted towards the award of any other qualification for the Academy or elsewhere. I have referenced all sources of information used during the completion of the assignment and understand that if I am found guilty of any form of academic malpractice the matter will be referred to the Academic Malpractice Committee who will impose an appropriate penalty (see Academic Malpractice Regulations). Student signature: Date: Receipt to be completed and retained by student as proof of submission. Please keep this receipt safe as it is the only proof that your work has been received. Student’s name: Title of course: LRAM Part 3 Portfolio Student’s signature: Date: Staff initials:

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Form 3: LRAM Video recording consent form (student use)

This form must be signed by students, staff and formal visitors being recorded / photographed / filmed, and the parent / legal guardian of the young person (if below the age of 18). The purpose of this form is to seek consent for the video recordings to be taken and used by person named below as part of their LRAM portfolio submission. In turn, this form offers a commitment to only allow said video recordings to be used appropriately and sensitively for the purposes of assessing teaching practice as part of the LRAM.

Name of event: LRAM “demonstration lesson” student video



(4) Name of LRAM student seeking permission to make recording:

Name of person making the recording:

I, the undersigned, consent to the use of my performance and participation as a “demonstration lesson” student being used by the person named in (4) above for, and limited to, the assessment of their LRAM portfolios.

Full name of pupil being recorded:

Name of organisation:

Email address:

Student’s signature: Date: Signature of parent / guardian (if the young person is below the age of 18): Date:

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Form 4: Letter to schools requesting Academy permission for LRAM student to record lessons [insert date]

To Whom It May Concern: Student [insert name] I write as a Subject Specialist Professor on the LRAM teaching diploma at the Royal Academy of Music. As such I am responsible for overseeing [insert student’s name] Part 2 Portfolio for the course. The criteria for the Portfolio state that it must include three short video clips of pupils at different stages of their development. I ask for your permission for [insert student’s name] to video pupils from your school so that he / she can complete the LRAM diploma. I can assure you that they will be solely used for exam purposes only. Please find a form enclosed for parents’ permission. [attach Form 3 to this letter] Kind regards [Subject Specialist Professor’s must sign here]

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[This module description duplicates the BMus Programme Handbook entry] PRINCIPLES OF TEACHING 10 credits: Autumn term Paul Harris Module Summary This vocational elective addresses common elements of teaching and learning but with a specific emphasis on instrumental and vocal teaching. The nine sessions include a consideration of the psychology of teaching, the qualities of an effective teacher, teaching and learning styles, how to teach, group teaching, practice, assessment, motivation, and music in schools. Representative lecture titles: Simultaneous Learning and whole brain teaching; The Virtuoso Teacher; Teaching beginners; Getting the best out of pupils; The Language of Music; Group teaching, including small groups and first access; The trouble with practice; Thrills, spills, mindsets and brains. Assessment

Task Weighting %

Essay: c. 2500 words 100

Assessment submission deadline

17.00 Wednesday 18 January 2017. Intended learning outcomes A4, A5, B1, B3, B4, B5, B7, C1, C2, C3, C4, C5, C6 and C7. Bibliography Crozier, R, Musical Instruments for Children (Octopus Publishing, 2007). Green, B, The Inner Game of Music (Pan). Hallam, S, Instrumental Teaching (Heinemann). Harris, P, Simultaneous Learning (Faber, 2014). Harris, P, The Practice Process (Faber, 2014). Harris, P, Improve Your Teaching (Faber, 2006). Harris, P, Teaching Beginners (Faber, 2008). Harris, P and Crozier, R, The Music Teacher’s Companion (ABRSM). Harris, P, The Virtuoso Teacher (Faber, 2012). Mackworth Young, L, Tuning In (MMM Publications, 2002). O’Connor, J, Not Pulling Strings (Khan and Averill). Llobet, J, & Odam, G, The Musician’s Body: a maintenance manual for peak performance (Ashgate, 2007). Odam, G, The Sounding Symbol (Stanley Thornes, 2001). Oglethorpe, S, Instrumental Music for Dyslexia (Whurr, 2002). Pratt, G, Aural Awareness (Open University, 1998). Stephens & Pratt (eds.), Teaching Music in the National Curriculum (Heinemann, 1995). Stanwick, K, Teaching Music Musically (Routledge). Williamon, A (ed.), Musical Excellence (Oxford). Cleave, S, & Dust, K, A Sound Start (Nelson). ABRSM Jazz Syllabus (http://us.abrsm.org/en/home)

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Module description

Commencing: early January Organised by: individual Principal Study Departments Contact time: 15 hrs Attendance: compulsory Subject Specialist tuition normally takes the form of weekly seminars or of a short intensive course in the Easter Vacation (over 2-3 days). A full timetable of classes is circulated to you by your department administrator. The following list of topics discussed in the module is indicative, not exhaustive: 1 Understanding the teaching of instrumental/vocal/compositional technique 2 Developing a teaching repertoire from printed source 3 Identifying and troubleshooting pupil problems 4 Teaching style and interpretation 5 Understanding the instrument/voice: brief history, care/vocal health, repair, purchasing 6 The first few lessons with the young beginner. What to teach, when to teach, how to teach, comparison

with teaching adult beginners 7 Developing musicianship skills in and out of lessons 8 Devising curriculum for matching standards to individuals 9 Producing original materials to support pupil learning where appropriate 10 Workshop and group teaching 11 Practice strategies Assessment

Task Weighting (%)

Essay: c. 2500 words 100

Your essay must be typed, double-spaced and include a bibliography. Please refer to the BMus Programme Handbook for style guidelines on how to present your work. Assessment submission deadline 17.00 Wednesday 17 May 2017. Your essay must include a completed and signed LRAM Assignment Submission Form (on AIR).

Bibliographies Accordion

Bibliography not provided. Brass general Frederiksen, B, Arnold Jacobs Song and Wind, (USA, Windsong Press, 1996). Jeans, J.H, Science and Music, (Cambridge, Cambridge University Press, 1937). Steenstrup, K, Teaching Brass, (Aarhus, Det Jyske Musikkonservatorium, 2007). Johnson, K, Brass performance and Pedagogy, (Pearson Education Australia, 2001). Herrigel, E, Zen in the Art of Archery, (London, Arkana, 1985). Gallwey T, The Inner Game of Tennis, (Pan, 1986). Petterson, B, Trumpet Science, (Peterson Music, 2012). Fox, F, Essentials of Brass Playing (Alfred Publishing, 1982). Syed, M, Bounce, (Harper Collins, 2011). You are only as good as your last breath; Improving Brass Pedagogy www.midwestclinic.org International Trumpet Guild DVD-ROM of backdated articles. Cello Pleeth, W, Cello (Kahn & Averill, 2001). Whitehouse W.F and Tabb R.V, Scale and Arpeggio Album (Schott Music). Feuillard L, Daily Exercises for Cello, (Schott Music).

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Choral Conducting Voice in education, (London, Rheingold Publishing, 1999). Blocker, R. (ed.), The Robert Shaw Reader, (USA, Yale University, 2004). Durrant, C. Choral Conducting: Philosophy and Practice, (New York, Routledge, 2003). Hill, D, & Parfitt, H & A, Elizabeth Giving voice, (Rattlesden, Kevin Mayhew Ltd, 1995). Lamble, W, A handbook for beginning choral educators, (Bloomington, Indiana University Press, 2004). Smith, B, Salatoff, R.T, Choral Pedagogy 2nd ed., (San Diego, Plural Publishing, Inc., 2006). Composition Composers writing about their own music and other people’s music Messiaen, O, The Technique of my Musical Language, (Leduc, 1996). Babbitt, M, Words and Music: The Madison Lectures, (University of Wisconsin Press, 1987). Boulez, P, Boulez on Music Today, (Faber, 1971). Boulez, P, Orientations, (Faber & Faber, 1986). Carter, E, Selected Essays and Lectures, (Rochester University Press, 1998). Composers writing about composition Schoenberg, A, Theory of Harmony. Hindemith, P, Craft of Musical Composition, (Schott, 1945/1948). Hindemith, P, Fundamentals of Musical Composition (Schott, 1967). Writers on Composers Hill, P. (ed.), The Messiaen Companion, (Faber and Faber, 1995). Griffiths, P, Olivier Messiaen and the Music of Time, (Faber & Faber, 1985). Schiff, D, The Music of Elliott Carter, (Faber, 1998). Griffiths, P, Peter Maxwell Davies, (Robson, 1981). Books on Techniques Risatti, H, A Guide to Notational Signs for Contemporary Music, (University of Illinois Press, 1975). Butterworth, A, Stylistic Harmony Workbook (Oxford, Oxford University Press, 1994). Butterworth, A, Harmony in Practice, (London, ABRSM, 1999). Holst, I, Tune, (London, Faber, 1962). Liebman, D, A Chromatic Approach to Jazz Harmony and Melody, (Rottenburg, Advance Music, 1991). Young, P, M Musical Composition for Pleasure, (London, Hutchinson, 1961). Davis, S, The Songwriters Idea Book, (Cincinnati, Writer’s Digest, 1992). Runswick, D, Rock, Jazz & Pop Arranging, (Faber, 1992). Ruffer, Compositions with 12 Tones, (London, Barrie & Rockliff, 1954). Read, G, Contemporary Instrumental Techniques, (London, Collier MacMillan, 1976). Orchestration Piston, W, Orchestration, (London, Gollanz, 1961). Rimsky-Korsakov, Principles of Orchestration, (London, Constable & Company, 1964). Del Mar, Anatomy of the Orchestra, (London, Faber & Faber, 1981). Teachers and Teaching Monsaingeon, B, Conversations with Nadia Boulanger (Manchester, Carcanet, 1985). Campbell, D. (comp.), Master Teacher (Boulder, Passacaglia, Press, 2003). Kendall, A., The Tender Tyrant: Nadia Boulanger, a life devoted to music, (London, Mcdonald and Jane’s, 1976). McPherson, G.E. (ed.), The Child as Musician: a handbook of musical Development, Oxford, Oxford university Press, 2006). Double Bass Simandl, F., New method for the double bass (Carl Fischer) Suzuki, A., Bass School volume 1 Double Bass Scales and Arpeggios Grades 1-5 (ABRSM) Guitar Aguado, D, ed. Jeffery, Aguado: new guitar method, (London, Tecla Editions, 1981). Bellow, A, The illustrated History of the Guitar, (New York, Franco Columbo, 1970). Bone, P.J, The guitar and mandolin: biographies of celebrated players and composers, (London, Schott, 1972). Byzantine, J, Guitar technique rationalized, (Pacific, MO, Mel Bay Publications, 2002). Carlevaro, A., transl. Azkoul & Diaz, School of guitar: exposition of instrumental theory, (London, B&H, 1984). Evans, T. Evans, M., Guitars: music, history, construction and players, from the Renaissance to rock, (London, Paddington Press, 1977). Fernandez, E, Technique, mechanism and learning, (Pacific, MO, Mel Bay Publications, 2001). Gallery, R, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3d, Diagnostic assessment of playing, (Reading, International Centre for Research in Music Education, 1998). Glise, A, Classical guitar pedagogy: a handbook for teachers, (Pacific, MO, Mel Bay Publications, 1997). Goss, S, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3e,

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Supporting skills, (Reading, International Centre for Research in Music Education, 1998). Iznaola, R,, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3b, The physiology of guitar playing, (Reading, International Centre for Research in Music Education, 2000). Lewin, M, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3h, Knowledge, selection and evaluation of repertoire, (Reading, International Centre for Research in Music Education, 1998). Lewin, M, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3j, Interpretation and style, (Reading, International Centre for Research in Music Education, 1998). Michelson, S, New dimensions in classical guitar for children, (Pacific, MO, Mel Bay Publications, 1991). Mills, J, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3a, History, technology and maintenance, (Reading, International Centre for Research in Music Education, 1998). Pells, T, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3g, First lessons and repertoire for beginners, (Reading, International Centre for Research in Music Education, 2000). Quine, H, Guitar technique: intermediate to advanced, (Oxford, Oxford University Press, 1990). Romanillos, J. L, Antonio de Torres: guitar maker: his life and work, (Shaftesbury, Element Books, 1987). Russell, D, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3c, Tone, touch and technique, (Reading, International Centre for Research in Music Education, 1998). Schneider, J, The Contemporary Guitar, (Rowman and Littlefield, 2015). Shearer, A, Learning the classic guitar. Part one, (Pacific, MO, Mel Bay Publications, 1990). Sor, F, Method for the Spanish guitar, (New York, Da Capo, 1971). Stimpson, M, Guitar: a guide for students and teachers, (Oxford, OUP, 1998). Summerfield, M,J, The Classical Guitar: it's evolution and its players since 1800, (Newcastle upon Tyne, Ashley Mark Publishing, 2002). Taylor, J, Tone production on the classical guitar, (London, Music Sales, 1990). Tennant, S, Pumping Nylon, (Van Nuys, USA, Alfred Publishing, 1995). Thorne, P, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3f, Structure and content of lessons, (Reading, International Centre for Research in Music Education, 1998). Turnbull, H, The guitar from the renaissance to the present day, (Westport, Conn., Bold Strummer, 1991). Tyler, J, The early guitar: a history and handbook, (London, OUP, 1980). Wade, G, Diploma course in music teaching in private practice: module 3, Guitar teaching and learning. Unit G3i, Interpretation and style, (Reading, International Centre for Research in Music Education, 1998). Harp Balderston, S, On teaching the harp: a pedagogy text for individual or class use, (Salvi Publications, 1980). Grossi, M, Metodo per arpa [Method for the harp] (Milano Ricordi, 1946). Johnston, P, The Practice Revolution (Practice Spot Press, 2004). Marson, J, The book of the harp (Kevin Mayhew, 2005). Rensch, R, Harps and harpists (Indiana University Press, 2007). Renie, H, Method for the Harp. Rosset i LJ & Odam, G, The musician's body: a maintenance manual for peak performance (Ashgate, 2007). Suzuki, S, Nurtured by love: The Classic Approach to Talent Education (Alfred Publishing, 1983). Watkins, D, Complete Method for the Harp (B&H, 1972). Weidensaul, J, Scientific practice: a manual for harp students, Teaneck, N. (Willow Hall Press, 1978). Zingel, HJ; trans. & ed. by Palkovic, M, Harp music in the 19th century, (Bloomington, Indianapolis, Indiana University Press, 1992). Jazz Crook, H, How to improvise: an approach to practicing improvisation, (Advance Music, 1991). Werner, K, Effortless mastery: liberating the master musician within, (New Albany, IN, Jamey Aebersold Jazz, 1996). Gallwey,T, and Green, The Inner Game of Music, (Pan, 2003). Musical Theatre

Borch, D, Ultimate vocal voyag, (Notfabriken Music Publishing, 2005). Dayme, M, Dynamics of the singing voice, (New York, Wien, 1997). Rodenberg, P, The Right to Speak: Working with the Voice, (London, Bloomsbury Methuen Drama, 1992). Kayes, G, Vocal Process [on line] www.vocalprocess.co.uk Speed, A.M, The Voice Explained [on line] www.thevoiceexplained.com Organ Stinson, R, Bach, the Orgelbuchlein (Oxford, Oxford University Press, 1999). Stinson, R, J.S. Bach's Great Eighteen Organ Chorales (Oxford, Oxford University Press). Syed, M, Bounce (New York, Harper Collins, 2010).

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Marsden Thomas, A, Oxford service music for organ (6 volumes) (Oxford, Oxford University Press). Henderson, J, A Directory of Composers for Organ (Swindon, John Henderson Publishing, 1999). Marsden Thomas, A, Pedalling for Organists (Cramer Music, July 2014). Marsden Thomas, A, Oxford Bach Books for organ (5 volumes) (Oxford, Oxford University Press). Moult, D, The Complete Church Organist (2 volumes) (Royal School of Church Music). Percussion Bibliography not provided. Piano Children learners Waterman, F & Harewood, M, Me and my piano Part 1 (Faber Music, 2008). Hall, P, Piano time 1 (OUP, 2004). Macgregor, J, Exploring the Piano & Piano world (2 volumes) (Faber Music, 2000). Hall, P, Tunes for ten fingers: A first piano book (OUP, 1992). Bastien, Piano basics Level 1. Barrat, C, Chester’s Easiest Piano Course (Chester, 2008). Thompson, J, Easiest Piano Course Part 1 (Willis Music, 1996). Quoniam, B & Nemirovski, P, Les leçons de piano Vol 1&2. (Editions Lemoine 2007 & 2010). Adult learners Barrat, C, The classic piano course Omnibus Edition. Bullard, J & A, Piano works’ Book (OUP, 2007). Palmer, V A, Alfred’s Basic Adult Piano Course Level 1 (Alfred Publishing, 1983). Violin Mozart, L, A Treatise on the Fundamental Principles of Violin Playing. Geminiani, The Art of Playing the Violin. Auer, L, Violin Playing as I Teach It. Flesch, C, The Art of Violin Playing: Books 1 &.2. Galamian, I, Principals of Violin Playing and Teaching. Menuhin, Y, Six Lessons with Yehudi Menuhin. Whone, H, The Simplicity of Playing the Violin. Fischer, S, Basics. Fischer, S, Practice. Harris, P, The Virtuoso Teacher. Harris, P, Improve Your Teaching. Harris, P, Teaching Beginners. Harris, P, The Music Teachers Companion. de Alcantara, P, Indirect Procedures. Viola

Fischer, S, Basics (Peters, 1997). Flesch, C, The Art of Violin Playing (Carl Fischer, 2000). Mozart, L, A Treatise on the Fundamental Principles of Violin Playing, (Oxford University Press, 1951). Bunting, C, Essay on the craft of cello playing (Cambridge University Press, 1982). Galamian, I, Principles of Violin Playing and Teaching (Faber, 1964). Mackworth-Young, L, Tuning in: Practical Psychology for Musicians who are Teaching (MMM Publications, 2002). Paul, B and Harrison, C, The Athletic Musician: a guide to playing without pain (Scarecrow Press Inc, 1997). Gerle, R, The Art of Bowing Practice (Stainer and Bell, 2001). Gerle, R, The Art of Practising the Violin (Stainer and Bell, 1983). Whone, H, The Simplicity of Playing the Violin (Gollancz, 1972). Rolland, P, The Teaching of Action in Violin Playing (Boosey & Hawkes, 1986). Barrett, H, The Viola: Complete Guide for Teachers and Students (University of Alabama Press, 1978). Dalton, D (ed.) Playing the Viola: Conversations with William Primrose (OUP, 1988). Kievman, L, Practicing the Viola, Mentally, Physically (Kelton Publications). Primrose, W, Walk on the North Side: Memoirs of a Violist (Brigham Young University Press, 1978). Tertis, L, My Viola and I (Paul Elek,1974). White, J, Lionel Tertis: the First Great Virtuoso of the Viola (Boydell and Brewer, 2006). Riley, M, The History of the Viola (2 Vols) (Braun-Brumfield, Ann Arbor, Michigan, 1993). Tarling, J, Baroque String Playing for Ingenious Learners (Corda Music Publications, 2000). Zeyringer, Franz Literatur fur Viola (Verlag Julius Schonwetter Jun, Hartberg, Austria, 1985) Herrigel, Eugen Zen in the Art of Archery (Routledge and Kegan Paul,1979)

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Vocal Essential Reading List Miller, R, The Structure of Singing, (1996). McKinney, J, The Diagnosis and Correction of Vocal Faults, (Genevox Music Group, 1994). Davies, G.D, and Jahn A.F, The Care of the Professional Voice, (A&C Black, 2004). Bunch Dayme, M, The Performer’s Voice, (W.W Norton, 2005). Slater, D, Vocal Physiology and the Teaching of Singing, (Larway, 1990). Additional Reading List Manen, L, Bel Canto, (Oxford University Press, 1987). Chapman, J.L, Singing and Teaching of Singing, (Plural Publishing, 2006). Miller, R, Training Soprano Voices, (Oxford University Press, 2000). Miller, R, On the Art of Singing, (Oxford University Press, 1996). Miller, R Solutions for Singers: tools for performers and teachers (Oxford University Press, 2004). Emmons, S and Thomas, A, Power Performance for Singers, (Oxford University Press, 1998). Bozeman, K, Practical vocal acoustics: pedagogic applications for teachers and singers, (Pendragon Press, 2013). Repertoire Books Legge, A, The Art of Auditioning, (Rhinegold Publishing, 1990). Coffin, B, Singers Repertoire Part 1&2. Manning, J, New Vocal Repertory: an introduction (Macmillan Publishing, 1986). Manning, J, New Vocal Repertory: volume 2 (Clarendon Press, 1998). Emmons, S, and Stanley S, The Art of the Song Recital. Kagen, S, Music for the Voice (Indiana University Press, 1968). Woodwind General Odam, G, The sounding symbol: music education in action (Nelson Thornes,1995). Marks, Anthony (ed.), All together!: teaching music in groups (London, ABRSM, 2004). Gane, P, Making Music: creative ideas for instrumental teachers, (Oxford, OUP, 2006). Hallam, S, Instrumental teaching: a practical guide to better teaching and learning (Oxford, Heinemann, 1998). Mills, J, Instrumental teaching (Oxford, OUP, 2007). Bassoon Camden, A, Bassoon Technique (London, Oxford University Press, 1975). Polk, J, Starting a student on the bassoon. Kopp, J.B, Bassoon: The Bassoon. Clarinet Craven, L, Instant help for playing and teaching the clarinet Davies, J & Harris, P, Essential clarinet technique: tone: intonation: articulation: finger technique (London, Faber, 1985). Pino, D, The clarinet and clarinet playing, (Dover, Dover Publications, 1998). Lawson, C, Clarinet: The Cambridge Companion to the Clarinet, (Cambridge University Press, 1995). Flute Blakeman, E, Taffanel: genius of the flute, (Oxford, OUP, 2005). Debost , M, The simple flute: from A to Z, (Oxford, OUP, 2002). Floyd, A, The Gilbert legacy: methods, exercises and techniques for the flutist (Iowa, Winzer Press, 1990). McCutchan, A, Marcel Moyse: voice of the flute (Portland, Amadeus, 1994). Welch, C, Flute: The History of the Boehm Flute Boehm, T, The Flute and Flute Playing. Oboe Schuring, M, Oboe art and method (Oxford, OUP, 2009). Joppig, G, The oboe and the bassoon (London, Batsford,1988). Sprenkle, R, & Ledet, D, Oboe: The Art of Oboe Playing. Goossens, L, & Roxburgh, E, Oboe (Yehudi Menuhin Music Guides).

Recorder O'Kelly, E, The Recorder Today (Cambridge, Cambridge University Press, 1990). Rowland-Jones, Anthony, Recorder technique: intermediate to advanced, (Oxford, OUP, 1986). Thompson, J.M, Recorder: The Cambridge Companion to the Recorder, (Cambridge University Press, 1995). Saxophone Ingham, R (ed.), The Cambridge companion to the saxophone (Cambridge, Cambridge University Press, 1998). Harvey, P, Saxophone: Yehudi Menuhin Music Guides (Kahn and Averill, 1998). Segell, M, Saxophone: The Devil's Horn (Picador, 1995). Cottrell, S, The Saxophone.

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Composition of the Portfolio

The Portfolio must contain:

1 Three lessons with pupils on audio-visual DVD. These must include pupils of at least two different levels of ability, e.g. beginner, intermediate, advanced. If appropriate, two of the lessons should be with the same pupil, delivered with an appropriate interval of time between the lessons. The duration of each lesson on the audio-visual DVD submitted must be at least 20 minutes, either 20 continuous minutes from a single lesson or edited highlights from a single lesson.

2 Supporting documentation for each of the three lessons on the DVD. This must include: 2.1 A brief musical background on each pupil, adapted to the discipline, e.g. if group work and

/ or un-seen work is required; 2.2 A list of repertoire / tests / exercises / scales etc. covered in each lesson; lesson plan that

include your aims and objectives for each lesson, and your critical post-lesson reflection on how each lesson went;

2.3 A log of the frequency and timing of lessons (including group work) given to the three pupils over the period of teaching (up to a maximum period of three years);

2.4 A list of any other teaching-related resources that you have found useful or created for lessons e.g. learning sheets.

All written components of the Portfolio must be submitted in English. If lessons on the audio-visual DVDs are not delivered in English, then you must provide a written commentary in English on the key element(s) of the lesson(s) and must be prepared to translate spoken elements of the lessons during the viva voce exam. Note: in these instances, the focus of the lesson rather than quality of the translation will be assessed. The three lessons on the DVD must not be uploaded to any social media e.g. YouTube. Support for the Portfolio

1 Individual support is delivered via distance learning (normally email) in agreement with Subject Specialist Professors;

2 Subject Specialist Professors advise (normally via email) on the precise composition of the Portfolio, on particular individual issues to be emphasised by students, and on the scheduling of support;

3 The Alumni Network may on request provide a small number of mentors to provide a second layer of more informal support from former students;

4 Web resources are available. These may include: 4.1 Representative examples of good audio-visual materials, e.g. lessons, practice guides,

good reflective written commentaries; 4.2 FAQ sheets; 4.3 Lecture notes / hand outs from Part 1 lectures and Part 2 classes; 4.4 Links to appropriate approved external sites, e.g. Westminster Teaching Partnership; 4.5 Alumni Network http://www.ram.ac.uk/alumni 4.6 LRAM email for queries [email protected] 4.7 LRAM Programme Handbook;


Task Weighting (%)

Portfolio and Viva 100

The Part 3 Viva Voce exam is a discussion between you and two members of staff, one of whom is your Subject Specialist Professor. The focus of discussion is your Portfolio. You should expect to answer questions about, e.g.: the lessons on the DVD; the accompanying documentation; how you went about preparing lessons; what resources you use in teaching; your view of teaching methods / books for beginners; what you achieved in the teaching experience; what could have gone better in the lessons; how you plan to continue developing your teaching practice, etc.

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1.1 Awarding Institution: The Royal Academy of Music 1.2 Teaching Institution: The Royal Academy of Music 1.3 Final Award: LRAM Diploma 1.4 Title: Licentiate of the Royal Academy of Music 1.5 Duration: 1 year 1.6 Mode of Study: Adjunct to a full-time UG or PG Academy programme of study 1.7 FHEQ: Level 6 1.8 Dates of Production / Revision: April 2012, August 2015 2 AIMS OF THE LRAM 2.1 Rationale The purpose of the LRAM is to introduce you to best practice in music teaching and enable you to develop as a reflective teacher in your Principal Study area. 2.2 Aims The LRAM aims to develop:

1 Your understanding of teaching and learning centred on the development of high standards in

performance and / or composition; 2 Subject-specific skills in relation to the teaching of music as a practical discipline; 3 Your knowledge of repertoire and teaching materials in your own Principal Study area; 4 A broad understanding of educational issues and methods within the context of current educational

trends; 5 Your understanding of how to plan realistic goals for your learners; 6 Your ability to teach in a manner informed by strategies relevant to learners with additional needs; 7 Good practice in self-evaluation and professional development through reflective engagement in your

own teaching and critical engagement in others’ teaching; 8 An understanding of the practicalities of building and sustaining a successful teaching practice. 3 Learning Outcomes 3.1 On successful completion of the LRAM you will be able to demonstrate: A Knowledge and Understanding of: 1 A broad range of teaching strategies and current methods in education: Aims 1, 4, 5, 6 2 A broad knowledge of repertoire and teaching materials related to your Principal Study: Aims 2, 3 3 Your principal-study discipline and the technical and artistic issues involved in developing learners’

competence in that discipline: Aim 2 B Subject-Specific Skills; the ability to: 1 Choose the type of language appropriate to the age and educational level of the learner: Aims 5, 6 2 Structure the lesson to enable learning and to develop musicianship: Aims 1, 2, 3, 4, 5, 6 3 Develop and sustain a successful teaching practice: Aims 7, 8 C Key and Transferable Skills; the ability to:

1 Communicate effectively: Aims 2, 5, 6 2 Manage time and prioritise tasks by working to strict deadlines: Aims 5, 6, 7, 8 3 Demonstrate responsiveness and flexibility in relation to problem solving: Aims 5, 6, 7

4 DELIVERY AND ASSESSMENT OF THE LRAM 4.1 Learning and Teaching Processes 4.1.1 The LRAM uses a variety of learning and teaching methods to ensure that your learning processes

are stimulating, challenging, and complementary. The principal modes are these: 4.1.2 Lecture Series under the heading ‘Principles of Teaching’. The lectures layout a broad range of

teaching strategies suitable for pupils at ‘grass roots’ level; current methodologies, educational theory

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and folk psychology; teaching students with additional needs practical strategies and lesson planning; interpersonal skills.

4.1.3 Lecture/seminars. Seminars in Part 2 teach the application of pedagogical knowledge and specific repertoire through lectures, teaching observation and practical teaching experience under supervision.

4.1.4 Personal study. Individual study of issues, ideas, and problems raised in the lectures / seminars and the development of further work and texts (and other materials) as appropriate for the development of a personal teaching portfolio and in preparation for the submission of the Part 3 Portfolio.

4.2 Assessment 4.2.1 Two precepts underpin the LRAM’s assessment strategy: (1). the function of assessment is to enable

students to demonstrate that they have achieved the LRAM’s intended learning outcomes at an appropriate level; (2). assessment promotes and supports student learning.

4.2.2 All modules have appropriate descriptive marking guidelines whose function is to ensure comparability of standards across all levels and activities within the LRAM, to demonstrate these standards to external bodies, and to promote transparency within the Academy.

4.2.3 The varied assessment methods used in the LRAM are designed to provide the most appropriate means of evaluating student achievement, to promote different types of learning experience, and to avoid excessive formal examining.

4.2.4 Written assignments. The written assignments enable students to demonstrate an understanding of course content and methodology, competence in research methods, ability to marshal information to construct a cogent and rational argument, communication skills, and self-management skills.

4.2.5 Portfolio. The Portfolio allows students to demonstrate that they have assimilated the content of the course; drawn on what they have learnt as reflective teachers; and demonstrated that they have carefully considered the evidence of their own experience.

4.2.6 Viva voce exam. A short face-to-face discussion of the Portfolio. 5 LRAM STRUCTURE

The LRAM is studied as an adjunct over one year at HE Level 6. As an adjunct, the LRAM is separate from the credit structure of the accompanying programme. The modules listed below represent the minimum requirement for the award, which is based on these three modules alone.

Part 1: Principles of Teaching 33.3% Part 2: Subject Specialism 33.3% Part 3: Portfolio 33.4%

In order to be awarded a LRAM distinction a student must satisfy all of the following criteria: Pass all three parts at the first attempt; Achieve an overall average mark across the three parts of at least 70%; Achieve a mark of at least 70% in at least two parts; Not achieve a mark below 60% in any part.

6 STUDENT SUPPORT Your study on the LRAM diploma is supported by an extensive network of staff, listed below. Full details of what these staff can do for you are in the Student Support Handbook (on AIR). 6.1 Designated Year Tutor 6.2 Head of Principal Study Department 6.3 Library 6.4 IT Helpdesk 6.5 Counsellor 6.6 Disability Advisor and team 6.7 Alexander Technique co-ordinator and team 6.8 English Language Tutors 6.9 Head of Professional Development 6.10 Instrument Technical (repair) services 6.11 Chaplain 6.12 Estates Manager 6.13 The Royal Academy of Music Students’ Union 6.14 Student-Staff Liaison Committee

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Patron: HM The Queen

President: HRH The Duchess of Gloucester GCVO

Principal: Professor Jonathan Freeman-Attwood

Marylebone Road London NW1 5HT | tel 020 7873 7373 www.ram.ac.uk | Registered Charity No. 310007facebook.com/royalacademyofmusictwitter.com/RoyalAcadMusic