MA MUSIC THEATRE COURSE SPEC V1 JULY 2010 FINAL

8/7/2019 MA MUSIC THEATRE COURSE SPEC V1 JULY 2010 FINAL

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JULY 2010MA Music Theatre

Course specification and unitsJuly 2010


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CONTENTS

1 COURSE SPECIFICATION 2

2 UNITS

TECHNIQUE COGNISANCE & DEVELOPMENT 13

MUSIC THEATRE CONTEXTS 17

PERFORMING RESEARCH 19

ADAPTATION, IMPROVISATION AND PERFORMANCE 23

PRACTICES: MUSIC THEATRE REPERTOIRE 26

SUSTAINED INDEPENDENT PROJECT 29

Appendix A: Template for tutorial record form 31

Appendix B: Template for Sustained Independent Project (SIP) proposal form 32

3 ASSESSMENT CRITERIA and MARKING DESCRIPTORS 33

Course Approval

Version no: 1.0

Approved: ACADEMIC BOARD: 30/06/2010

Entry from: 2010/2011 onwards


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COURSE SPECIFICATION

MA Music Theatre

The MA Music Theatre is a qualification at Level 7 in the Framework for Higher EducationQualifications in England, Wales and Northern Ireland, carrying 180 credits at level 7.

The MA is a qualification at the end of the second cycle as defined within the European

Higher Education Area, carrying 90 credits in the European Credit Transfer Scheme(ECTS).

COURSE MA Music Theatre

TEACHING INSTITUTION Central School of Speech and Drama, London

AWARDING BODY University of London

AWARD(S)

MA

A PG Dip may be awarded on the basis of 120credits to a student who has not passed the 60

credit Sustained Independent Project.MODE OF STUDY Full-time only

Introduction to the course

As part of the Postgraduate area of Central, you will be part of a thriving community ofpractitioners with a shared vision of learning able to research your own particularfield, and push forward the boundaries within your own chosen area of practice. As aparticipant in the MA Music Theatre course supported by this school-wide frameworkfor research and experimentation, you will be one of a carefully selected group oftheatre and drama facilitators aiming to imagine the practice of the future.

The MA Music Theatre course offers a unique opportunity for the postgraduate study ofthe work of the actor/singer/dancer/instrumentalist in response to thecomposer/choreographer/writer both in process and in performance, from the expandingperspective of music theatre. It is the integration and fusion of the three skills of acting,singing and movement which remain at the heart of this course, with the other four skillsexperienced as extensions. The course places the training of each performer in anindividualised place regarding the seven skills. It emphasises high levels of technical andcreative self-assurance alongside resilience in order to support the needs of theperformer-creator to meet the demands of an evolving industry.

It is doubtful that any one student could embrace all these abilities to a high level but themixture and proximity of practitioners on the course encourages all students to developboth their understanding and experience, opening new vistas for future development. Wework essentially in a collaborative context, and the integration of these disciplines leadsto mutual development and interdependence through performance practice, executionand reflection.

The course embraces many international performance practices which are important tothe development of the genre. It seeks to promote new ways of thinking about andpractising music theatre in response to the social, political and cultural context in whichwe live and to define a discourse enabling progression for those working in the field.

Throughout the course students will address the interface between skills and technicalvocabulary and arrive at a wider understanding of process, performance and practice.Research through a wide variety of methodologies will underpin academic and practical


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understanding and experience and point towards further development. While musicalsremain a key component of popular entertainment in contemporary theatre culture, musictheatre has also grown in different directions: opera has been theatricalised; song-basedperformance including formerly avant-garde extended voice technique fields hasproliferated in both popular and experimental music; actor-musician skills have recentlybecome highly prized; and all of these depend upon a certain command of integrated on-stage movement.

The course also addresses aspects of the history and sociology of music theatre throughthe analysis of specific sub-genres and in so doing assesses the contemporary field ofpractice. You will be encouraged to take a critical perspective on the expanding contextof music theatre and your own work within it. Our aim is to help you develop as a skilful,informed and reflective practitioner, equipped to challenge, cooperate, create and be pro-active within the profession.

The MA Music Theatre course is a one-year full-time programme studied over threeextended terms. It comprises seven units which together address performance practice inand study of the field from a performative ethos, emphasising the new within a context of

many traditions. The first six units offer a predominantly practice-based enquiry into thenature, techniques, traditions and current development of music theatre. The seventhunit, undertaken in the third extended term, is devoted to independent specialist studyresulting in a significant piece of work. All seven units must be successfully completed togain the MA qualification.

This course is offered as full-time only.

Who is the course for?

The course is for those who wish to work as performing and creative artists in musicaltheatre as well as music and theatre, in all its forms. All students accepted onto thecourse will demonstrate proficiency in some aspect of performance. Some willconcentrate on performance, while others may wish to emphasise their creativeproficiency through integration and collaboration. Prospective students will demonstratehigh proficiency in two or more areas of acting, singing, movement or dancing in audition.They may in addition offer composing, instrumental musicianship, choreography, andwriting. Before the end of their studies, many students find work in West End musicals,theatre productions, touring nationally and internationally, in film or TV or in creating andproducing new work.

The course enables students to develop areas of expertise and ancillary skills through

reflection, exposure and practice. It places a particular focus on new material, createdthrough collaborative processes, learned through interdisciplinary study, and presentedwithin a socio-historical context which exposes its relationship to previous developmentsin music theatre. The course is for those who wish to gain further knowledge, throughpractice and study, of the array of styles and contexts of music theatre. It is for those whowish to undertake self-development, self-reflection and critical analysis appropriate tospecialist postgraduate study.

Distinctive features of the course at Central

A transdisciplinary approach to skills that involve the possibility of theircombination containing more than their parts; the combination of any two or more


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skills may lead to the recognition of an additional new skill.

Creativity and artistic development are expected through the course.

Engagement with a broad range of performance and performance-relatedpractices and the development of embodied and intellectual knowledge andunderstanding through participation in a number of platform performances andproduction projects.

Detailed work on some or all the areas of voice, singing, acting, instrumentalperformance and movement, partly in relation to disciplines such as composition,writing and choreography, working with tutors and visiting lecturers who arespecialists in these respective areas.

Awareness of the canon of music theatre, different styles, influences and contextsof production, and experience the unique perspective of creating new and originalmaterial.

Undertake selected work into the creation of original music theatre in self-written,devised and improvisational contexts and interaction with new writers, composersand directors through The Kitchen, an experimental series of workshops.

A curriculum which celebrates, reflects and responds to the individuality,international and cultural diversity of its students.

Educational aims

The aims and learning outcomes of the MA in Music Theatre are closely informed byCentrals M (Masters) Framework principles:

gain knowledge at the forefront of, or informed by, a focussed approach to theacademic and professional disciplines of creativity and performance;

take risks, be intellectually rigorous and show originality in your application ofknowledge in, for example, practical performances, ongoing skills developmentand sustained written arguments debating the field;

understand how boundaries are advanced through sustained and intense practiceand research;

share learning with students on other courses;

in collaboration with peers and independently, show originality in tackling andsolving problems and deal systematically and creatively with complex

performance-related issues in unpredictable environments; develop practice and scholarship pertinent to the field.

Learning outcomes

Learning outcomes describe what you should know and be able to do if you make full useof the opportunities for learning which the course provides. If you successfully complete theMA Music Theatre at Central:

You will obtain knowledge and understanding of:

(A1) current critical debates, concepts and discourses in music theatre; (A2) relevant theories and research methodologies including those most

appropriate for students of music theatre (social, cultural, historical,


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professional, multidisciplinary, transdisciplinary);

(A3) appropriate historical, socio-cultural, aesthetic and dramaturgical contexts;

(A4) systematic approaches to textual and performance analysis and performancepresentation.

You will develop the thinking skills that will enable you to:

(B1) demonstrate your systematic understanding and critical awareness of relevanttheoretical knowledge and its impact upon practice;

(B2) develop intellectual rigour and conceptual understanding enabling you to:undertake advanced scholarship and sustained research; critically evaluate andreflect upon your own and others relevant current practice, research and researchmethodologies;

(B3) engage productively in performance and its evaluation; (B4) understand a range of repertoire and materials, including score/text/libretti,

performers, creators, specific agendas, performance spaces, event structures andresearch materials.

You will develop the practical skills that will enable you to:

(C1) use and evaluate relevant practices applicable in music theatre sometimesexperimenting with new and/or original ideas;

(C2) apply established techniques to improve your experience and understanding ofvocal, physical, musical and dramatic performance;

(C3) work successfully in a collaborative ensemble;

(C4) create, synthesise and sustain character(s) and role(s) in diverse performancesituations.

You will develop the broader workplace skills that will enable you to:

(D1) negotiate the challenges of working in complex and unpredictable situations e.g.making decisions independently or in dialogue with peers and/or external bodies;

(D2) operate successfully as a professional performer (e.g. manage time anddeadlines; engage confidently in debate; structure and communicate ideas effectively;engage with relevant industries);

(D3) take creative risks.

Learning, Teaching and Assessment Methods

Practical skills are developed mainly through tutor and practitioner-led lessons andworkshops and through working with colleagues towards the achievement ofdesignated tasks. Thinking skills are developed through reflection on your own practice

and that of others in relation to literature of the field as well as lectures and workshopsdesigned to give you an understanding of research and its possible application withinyour field.

A feature of the course is its emphasis on your working alongside tutors and practitioners in an exploratory and supportive laboratory atmosphere designed to enable you todiscover your potential within company situations.

The course will continually assess and review its learning, teaching and assessmentmethods with you maintaining a responsive approach and flexibility to your needs.

The methodologies involved in Performance Research are embedded and presentedwithin other units such as Music Theatre Contexts and the Performance Workshops.

During the second term specific sessions are designated for this unit for the whole coursegroup then each sub-group and finally each individual.


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Programme structures and requirements, levels, modules, credits and awards: SummaryUnit Credit

RatingWork for assessment Req.

foraward

Weighting infinal mark foraward of MA

withdistinction

Typical Date ofassessment

Personal Skills Audit (80%) Week 1 term 2 Unit 1:TechniqueCognisance &Development

20

Personal Development Plan(750 words) (20%)

Pass 11%

Week1 term 2

Unit 2:Music TheatreContexts

20 3000 word essay (100%) Pass 11% Week 1 term 2

Conference presentation(50%)

Unit 3:PerformingResearch

20

Essay (50%)

Pass 11% Wk 1, summer term

Ensemble Performance

(70%)

End term 1 Unit 4:

Adaptation,Improvisation &Performance

20

1,200 word criticalcommentary (30%)

Pass 11%

Week 1 term 2

40 Contemporary PerformanceProject (50%)

Solo Recital (15%)

Unit 5: & 6Practices:Music TheatreRepertoire

Showcase Performance(35%)

Pass 22%

Unit 7:Sustained

IndependentProject

60 Dissertation, composition,playtext or a performance

(12,000 words or equivalent)(100%)

Pass 34% Final week of course

Please note that all assessment tasks (e.g. word count, time limit) have a 10% margin either side (Please see individual unit outlines in document for detail of assessment tasks. Please see M Level assessmenhandbook to see level of attainment required. Feedback will be aligned to these descriptors. Centrals Assessmwill receive feedback within 6 weeks of completing assignment - excluding winter and spring vacations. Usually within sessions.)

6


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Regulations for assessment

Full assessment regulations are published to student. This is a summary only.

You must pass every unit to achieve the credit required for the MA. A percentage mark is given for each unit. The pass mark for each unit is 50%. Unless otherwise stated, you must pass each separate element of assessment in the

unit in order to pass the unit as a whole. The value of each separate task in theassessment of the unit is listed in the unit outline.

If you fail a unit, you may be reassessed once. For that reassessment, the maximummark given is 50%.

For the award of an MA with distinction, you must achieve an average mark(weighted in proportion to credit) of 70% or more, anda mark of at least 60% in thefinal 60-credit Sustained Independent Project (SIP).

The weight given to each unit in calculating awards will be in proportion to the creditwhich the unit carries in relation to the award for which the students is a candidate.Thus a 20 credit unit contributes 20/180 of the overall average mark for an MA or

20/120of the weighted overall average mark for the award of a PG Dip.

A PG Dip will be awarded if you achieve 120 credits but do not pass the SustainedIndependent Project (SIP).

Support for your learning Induction to the School and the course

Provision of Student Course Handbook and Central Handbook

Provision of sessions regarding career development

National Union of Students at Central

Access to full range of library and IT resources

Access to Senate House Library (University of London)

Library and computer inductions

Access to Student Support Services (including dyslexia testing and support)

Staff member with specific remit to support students with a disability.

E-mail bulletins from the staff members

Centre for Excellence in Training for Theatre

Excellent specialist learning facilities e.g. video editing suites, practical spaces,access to costume hire and props store

A range of inductions (e.g. for library and computers; for international students)

Academic and progress supervision tutorials:

- Each Masters student will have two (or more) individual tutorials during the year in

addition to those allocated for the core, 60-credit Sustained Independent Project(SIP).

- Notes of academic tutorials should be made. Unless stated otherwise, these will bedrawn up by the student and e-mailed to the tutor who will also store them. SeeAppendix A for a baseline Tutorial Record Form.

- E-mail or telephone tutorials are included as part of allocated tutorial time.

- All Sustained Independent Project (SIP) students may ask for draft writing to belooked at by the tutor, just as rehearsals or exhibitions may be visited. The normalexpectation is that writing will be seen only once and it is not necessary for a tutor to

see the entire submission prior to hand in.

- With the exception of Sustained Independent Project (SIP), students will make use of


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formative peer assessment for the viewing of draft assignments. It is anticipated thatstudy groups will be established as part of MA inductions. Should there be anexceptional issue arising after peer viewing of drafts have taken place, a tutor may beasked for advice. There is scope for unit-specific variation to this guidance (forexample, in Critical Contexts).

- Tutor feedback on draft essays will comprise broad comments on areas for

improvement e.g. that the argument is not sustained or does not unfold fluently; anoverall comment about technical errors such as referencing. Specific examples ofkinds of improvement may be made by using a modelling example.

Admissions Criteria

Applicants will typically have a degree in a related subject. Students from other disciplineswill be accepted if sufficient experience as a performer is evidenced.

Applicants will normally be able to demonstrate the following:

relevant qualifications (e.g. undergraduate degree or equivalent) or professionalexperience which has prepared you equivalently for advanced study; appropriate written reference; evidence of a specific commitment to the course with an understanding of relevant

issues and practices; evidence of appropriate level of skills/competencies; evidence of the ability to work in collaboration with colleagues and, where relevant,

with external parties; evidence of a capacity to work at masters level e.g. engage with complex matters

in the field; demonstrate originality in the application of knowledge.

Invitation to interview/audition and admission will be based on the reasonable expectationfrom your application that you have the potential to complete and contribute positively tothe degree and that you would benefit from masters level study.

We actively seek a cohort that is diverse in ethnicity, dis/ability, age range and heritage.

Admission with prior experiential learning and/or academic credit

The courses admissions tutor will consider applications for admission with priorexperiential learning and/or academic credit subject to the Schools policies in thisrespect. Candidates may not substitute more than one third of the course (i.e. 60 credits)with prior experiential learning and/or academic credit.

Attainment of English Language Level

Applicants whose first language is not English are required to obtain and present as part oftheir application a valid Test Report from the International English Language Testing System(IELTS) as administered by the British Council. Applicants will normally be expected toachieve an Overall Band Score of 7.0, and a minimum score of 7.0 in Listening, 7.0 inAcademic Reading, 7.0 in Academic Writing and 7.0 in Speaking.

How is the quality of the course demonstrated and maintained?

The methods by which quality and standards are maintained include: Assessment moderated by external examiners;

Feedback from and consultation with students through course committees, surveysand informal discussion;

Annual monitoring of the course, through consideration of statistics, feedback,


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graduate destinations;

Review of the curriculum and organisation of the course every five years;

The involvement of teaching staff in practice, research and staff development.

The quality of the MA Music Theatre has been demonstrated through:

Excellent completion statistics;

The quality and reputation of the professional contributors, who regularly mentorand contribute to the course from companies and current productions;

Through the high level of achievement of its graduates, currently employed atmany of the major theatres including West-End Musicals (e.g. Avenue Q,Chicago), National Theatre (e.g. Caroline or Change), Globe Theatre (e.g. TitusAndronicus) and major International Festivals (e.g. Shaw Festival, Canada);

Graduates of the course are Artistic Directors of new companies creating new workand giving first performances;

Active professionally in a wide range of disciplines embracing creativity and

performance, as soloists and collaborators in ensembles.

Course Diagram

Term 1 Term 2 Term 3Unit 1: 20 credits. TechniqueCognisance & Development

Unit 3: 20 credits. PerformingResearch

Unit 7: 60 credits.Sustained IndependentProject

Unit 2: 20 credits. Music

Theatre Contexts

Unit 5 & 6: 40 credits.

Practices: Music TheatreRepertoireUnit 4: 20 credits.Adaptation, Improvisation &Performance

Key:Orange indicates units where MA MT feathers in to the MA framework.


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Mapping the Learning Outcomes

Unit

TechniqueCogn

isance&

Development

MusicTheatreC

ontexts

PerformingResearch

Adaption,Improvisation

andPerformance

Practices:Music

Theatre

Repertoir

e

SIP

LearningOutcomes

A1 X X X X

A2 X X

A3 X

A4 X

B1 X X X

B2 X X X

B3 X X

B4 X X

C1 X X X

C2 X X

C3 X

C4 XD1 X X X

D2 X X

D3 X X X

10


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Schedule of Activities

Full-time students

You will take all units indicated, according to the published schedule of activities. The table belowis indicative and the specified weeks could change from year to year.

You may not undertake the Sustained Independent Project (SIP) unit before completing thecoursework for all previous course units.

Your tutor will liaise with you during the spring term in order for you to select your options inadvance of the summer term.

TERMS INDICATIVE DATES UNIT / ELEMENT NOTES

Week 1 Induction

Weeks 2-9Technique Cognisance &Development and PerformingResearch

Weeks 2-9Music Theatre Contexts andPerforming Research

AUTUMN

Weeks 10-14Adaptation, Improvisation &Performance

Week 16Performing Research

intensive

Weeks 17-20Contemporary PerformanceProject

SPRING

Weeks 16-17, 22-30Practices: Music TheatreRepertoire

Week 31Performing ResearchConference

SUMMER(Note:PerformingResearchconferencein week one) Weeks 31-45

Sustained IndependentProject

NB: The typical MT week is four days, from 9.00-5.00pm.Personal research is scheduled for the fifth.

During production units a fifth working day may be called with notification. Occasionally a Saturdaymay be required.


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UNITS


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Record System Ref allocated by Academic Records Office

Title UNIT 1: TECHNIQUE COGNISANCE & DEVELOPMENT

Level 7 Credit value 20 ECTS points 10

Notional StudentStudy Hours 200 hours (60 taught hours; 140 student managed)

Unit Leader Course Tutors

Course(s) for whichthe unit is mainlyintended

MA Music Theatre Compulsory

Prerequisite Learning Performing standard ascertained at audition

Aims gain knowledge at the forefront of, or informed by, a focussedapproach to the academic and professional disciplines ofcreativity and performance;

take risks, be intellectually rigorous and show originality in yourapplication of knowledge in, for example, practical performances,ongoing skills development;

develop practice and scholarship pertinent to the field.

Learning Outcomes On successful completion of this unit, you should be able to:

(A1 and B1) demonstrate your understanding of currentcritical debates, concepts and discourses in music theatreand its impact on practise

(A4 and C2) undertake systematic approaches to textual andperformance analysis and application to techniques of

performance presentation. (B3) Engage productively in performance and its evaluation.

(B4) Understand a range of repertoire and materials, includingscore/text/libretti, performers, creators, specific agendas,performance spaces, event structures and research materials.

(C1) use and evaluate relevant practices applicable in musictheatre sometimes experimenting with new and/or original ideas.

Transferable skillsdeveloped

Practice in your field; evaluation of practice (self & others)

Indicative unit content This unit focuses on the identification of skills appropriate toperformative music theatre, i.e. creation and performance as acontinuum, and the development of specific techniques in relation tofour subjects. The choice of subjects is to be made by each student inagreement with the Course Leader and any relevant teachers. Themost usual combination would be to comprise the majority from list Awith the minority from list B:

List A: acting, movement, singing, voice.

List B: composition, writing, choreography and instrumentalperformance.

Current critical debates, concepts and discourses in music theatreand its impact on practice is taught in the Performance Workshop andChoir.


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Feedback is continual throughout the unit as both formal and informal,peer to peer and from tutors.

How you learn Staff-led class/workshop

Student-led collaborative workshop

Various performance opportunities

One-to-one tuition where appropriate

Independent preparation and planning

Type of task(e.g. essay, report, groupperformance)

Magnitude(e.g. No ofwords, time, etc)

Weight withinthe unit (e.g.50%)

Progress against areas identifiedin the personal skills audit,evidencing ability to applyspecific techniques andundertake independent personaldevelopment across the periodof the course

Continualsupervisedprogression withfeedback

80%

Assessment

A personal development planincorporating the initial skillsaudit.

750 words 20%

You must pass both elements of assessment to pass the unit.

Assessment Criteria progress in relevant practice-based techniques; intellectual engagement.

External requirements None

Key Texts: Acting:Hodge, A (2000) Twentieth Century Acting Training, London,Routledge

Stanislavsky K (1989) An Actor Prepares, NY, Routledge

Movement:Hendricks, G (1995) Conscious Breathing: Breathwork for Health,Stress Release, and Personal Mastery, New York: Bantam Books

Singing:Bunch, M (1982) Dynamics of the Singing Voice, New York, SpringerWienReid, C (1965) The Free Voice, NY, Josef Pattelson Music HouseWedge G (1995) Ear Training & Sight Singing, US, Schirmer

Voice:Berry C (1973) Voice and the Actor, NY, Wiley Publishing, IncRodenberg, P (1992) The Right To Speak, US, Routledge

Performance Theory:Deer, Joe; dal Vera, Rocco (2008) Acting in musical theatre : acomprehensive course. London: Routledge.Fortier, Mark (2002) Theory/theatre: an introduction. London,Routledge, 2nd ed.

Supportive Reading: Acting:Adler, S (1990) The Technique of Acting, Bantam Trade PaperbackBalk, W H (1977) The Complete Singer-Actor/Training for the MusicTheatre, Minneapolis U.S.A, University of Minnesota PressBarker, C (1988) Theatre Games, London, MethuenChekov, M (1988) On the Technique of Acting, US, Harper Perennial


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Meisner, S; Longwell, D (1997) Sanford Meisner on Acting, NY, AVintage OriginalMitter, S(1992) Systems of Rehearsal: Stanislavsky, Brecht,Grotowski, and Brook, NY, RoutledgeZarrilli, P (2008) Psychophysical Acting: An Intercultural Approachafter Stanislavski, Routledge

Movement:Alberts, D (1997) The Expressive Body: Physical CharacterizationFor The Actor, UK, HeinemannBogart, A; Landau, T (2005) The View Points Book, NY, TheatreCommunications GroupBrennan, R. (2003) The Alexander Technique Workbook, YourPersonal System for Health, Poise, and Fitness, UK, Vega BooksEvans, M (2008) Movement Training for the Actor, RoutledgeFeldenkrais M (1990) Awareness through Movement, UK, PenguinLaban R (1980) Mastery of Movement, London, Northcote HouseNewlove, J (1993) Laban for Actors and Dancers, NY & London,

Routledge.Richards, T (1995) At Work with Grotowski on Physical Actions, NY& London, Routledge

Singing:Barker P (2003) Composing for the Voice, NY, RoutledgeHusler, F; Rodd-Marling, Y (1965) Singing: The Physical Nature of theVocal Organ, London, Faber & FaberKayes, G (2000) Singing and the actor. London: A. & C. BlackManen, L (1974), The Art of Singing, London, Faber & FaberMcCallion, M (1988) The Voice Book, London, Faber & FaberReid, C (1950) Bel Canto, NY, Josef Pattelson Music House

Reid, C (1975) Voice: Psyche and Soma, JNY, Josef Pattelson MusicHouse

Voice:Boston, J; Cook, R (2009) Breath in action: the art of breath in vocaland holistic practice, London: Jessica KingsleyLinklater K (1976) Freeing the Natural Voice, Drama PublishersMithen, S (2006) The Singing Neanderthals, London, PhoenixRodenburg P (1993) The Need for Word, US & Canada, RoutledgeRodenburg P (2002) The Actor Speaks, NY, Palgrave MacMillan

Performance Theory:

Bogart, A (2003) A Director Prepares, seven essays on Art andTheatre, NY, RoutledgeBrook, P (1988) The Shifting Point, London, MethuenHarvie, Jen; Lavender, Andy (2010) Making Contemporary Theatre:International Rehearsal Processes ManchesterJackson, S. (2004) Professing Performance, Acting from Philology toPerformativity, Cambridge University PressKershaw, B (1999) The Radical in Performance, London, RoutledgePavis, P (1996) The Intercultural Performance Reader, UK,RoutledgePavis, P (2003) Analyzing performance : theater, dance, and film,Ann Arbor: University of Michigan Press

Schechner, R (2003) Performance Theory, NY, RoutledgeShepherd, Simon, and Wallis, Mick (2004)Drama/theatre/performance. The New Critical Idiom, London,


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Routledge,Willet, J (1986) The Theatre of Bertolt Brecht, A Study from EightAspects, London, Methuen

Writing for Musical Theatre:Frankel, A (2000) Writing the Broadway musical, Da Capo PressSpencer, D (2005) The Musical Theatre Writer's Survival Guide,

Heinemann DramaRosenhaus, S.L; Cohen, A (2006) Writing Musical Theater, PalgraveMacmillanSalzman, E; Desi, T (2008) The New Music Theatre: seeing thevoice, hearing the body, Oxford

Journals:For survey of current critical theory in Music theatre: ContemporaryTheatre Review 14:1For survey of current critical theory in Musical theatre: ContemporaryTheatre Review 19:1

For current scholarship in Musical Theatre: Studies in MusicalTheatre Journal (Intellect Ltd)


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Title UNIT 2: MUSIC THEATRE CONTEXTS


Student Study Hours 200 hours (24 taught hours; 176 student managed)


Course(s) for which theunit is mainly intended


Prerequisite Learning None

Aims gain knowledge at the forefront of, or informed by, a focussed

approach to the academic and professional disciplines ofcreativity and performance;

take risks, be intellectually rigorous and show originality in yourapplication of knowledge in, for example, practical performances,

ongoing skills development and sustained written argumentsdebating the field;

develop practice and scholarship pertinent to the field.

Learning OutcomesOn successful completion of this unit, you should be able to:

(A1 and A3) demonstrate your understanding of currentcritical debates, concepts and discourses in music theatrewithin appropriate historical, socio-cultural, aesthetic anddramaturgical contexts;

(A2) demonstrate knowledge of relevant theories andresearch methodologies including those most appropriate

for students of music theatre (social, cultural, historical,professional, multidisciplinary, transdisciplinary);

(B1) demonstrate your systematic understanding and criticalawareness of relevant theoretical knowledge and its impactupon practice.

Transferable skillsDeveloped

Study, research, analytical and critical thinking, collaborative practice,presentation, non-linear articulation of critical thinking

Indicative unit contentYou will address Western music theatre through presentation andanalysis of its history in a sociological context. It explores aesthetic,cultural, critical and historical issues with reference to particularartists, composers, writers and choreographers. It introduces specificsorts of production and textual analysis. Each session also promotes

aural skills in listening and recognition. You will explore the symbioticrelationship between the music theatre actor-singer-dancer-musicianand the composer/lyricist/librettist through consideration of specifichistorical instances. You will learn to discuss and analyse orally andin written form. You will take a part in the presentation of someclasses.

How you learn Presentation by tutor or visiting lecturer

Staff-led seminar

Student-led group analysis & presentation

Independent reading and research

Assessment Type of task(e.g. essay, report, group

Magnitude(e.g. No of

Weightwithin the


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performance) words, time, etc) unit(e.g. 50%)

Assessment for this unit is madethrough the submission of anessay.

3,000 words, 100%

Assessment criteria sustained, independent written argument;

analytical and critical awareness of relevant contemporaryissues;

intellectual engagement; understanding and effective use of research and advanced

scholarship; recognising practice that is at the boundaries of the

specialism.

Key Texts Kirle, B (2005) Unfinished Show Business: Broadway Musicals AsWorks-in-process, US, Southern Illinois University PressZarilli, McConachie, Williams, & Sorgenfrei (2006) Theatre Histories:An Introduction, NY, Routledge

Supportive Reading Fernandes C (2001) Pina Bausch and the Wuppertal Dance

Theatre, Peter Lang PublishingJones, J (2003) Our Musical, Ourselves: A Social History of theAmerican Musical Theatre, Unv. of New England Press,Koger, A-K (1992) Trends in Musical theatre Scholarship: an essay inhistorigography, New England Theatre Journal 3:1Savran, D (2004) Toward a Historiography of the Popular in TheatreSurvey, 45:2:211-217, Cambridge University PressSwain, J (2002) The Broadway Musical: A Critical and MusicalSurvey, Second ed. USA: Scarecrow PressSchechner, R (2002) Performance Studies, An Introduction, NY,Routledge


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Title UNIT 3: PERFORMING RESEARCH


Notional Student StudyHours200 hours (30-40 taught hours; 160-170 student managed)

Unit Leader Postgraduate tutor team

Course(s) for which theunit is mainly intended*

All MA courses Compulsory

Prerequisite Learning None

Aims This unit aims to enable you to: Acquire an understanding of current theoretical and practical

debates concerning research within the broad discipline ofdrama;

Investigate relevant research methods; Experience the challenges of presenting at a research

conference; Contribute to a research task, collaborating in an appropriate

context.

Learning OutcomesOn successful completion of this unit, you should be able to:

(A1, B2) Demonstrate your engagement with critical debates,concepts, and discourses relevant to researching in the broadfield of drama, theatre and performance;

(A2) Identify and apply appropriate research methodologies; (B2) Critically evaluate and contextualise your understanding

of research methodologies and specific methods.


Study, research, analytical and critical thinking, collaborative practiceand presentation.

Indicative unit contentThe unit begins with course-specific preparation and discussion aboutthe unit. This is followed by a series of lectures and workshops, theintensive, usually offered to all MA students across two days.Sessions introduce issues appropriate to research in the broad fieldof drama, theatre and performance. A number of these sessions willinvolve you working alongside students from other courses.

After the intensive, you will apply specific research methods to anarea of personal and group interest under the guidance of a tutor.You will also focus on the development of your personal contributionto this research, along with the development of an appropriate bodyof knowledge and relevant analysis and practical exploration. You willwork collaboratively with a small group of colleagues to prepare aconference presentation on a topic of interest. The unit concludeswith the Postgraduate Conference, which takes place during the firstweek of the summer term.

The indicative schedule is as follows, therefore:

Independent and group preparatory work, prior to the intensiveweek

Key note presentations from leading practitioners, researchers


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and academics on contemporary approaches to performingresearch

Presentations/ workshops on designing research projects,applying knowledge of methods within ones own practice andworking collaboratively

Sessions focused on specific research methods, indicativelyincluding:

Case Study and/or Action Research

Practice-based Research

Document analysis and literature review

Student-led group sessions preparing for, and undertaking, aresearch project

Course-specific sessions to support your group project andindividual research

Cross-course follow-up seminars on topics of specific interest.

NOTE:Initial induction into research protocols (including, for instance,

bibliographic procedures, the use of databases and electronicarchives and procedures regarding customised web searches) takesplace during a non-assessed induction phase outside this unit.Please refer back to material presented during induction.

How you learn You will learn through engaging with the material offered in keynotes,practitioner-researcher seminar sessions, lectures and course-specific guidance sessions. You will learn, also, through undertakinga research project with a group of peers in your field and presentingthis at a research conference.

Type of task(e.g. essay, report,group performance)

Magnitude(e.g. No of words,time, etc)

Weight within theunit(E.g. 50%)

Group conferencepresentation

5 mins each memberof group

50%

Assessment summary

Essay 1,500 words 50%

Assessmentdetail

The unit is assessed through two components:

- a group conference presentation on a negotiated topic. Eachmember of the group will be allocated approximately 5 minspresentation time, so a typical presentation will be between 15-30minutes in length depending upon the number of people in thegroup). (50% of mark)

- a written piece of work not exceeding 1,500 words based on thestudents individual contribution to the presentation. (50% of mark)

The essay provides you with an opportunity to articulate your ownpersonal contribution to the group research project. Specifically, itfocuses on your own individual learning during the research processand allows you to evaluate it in terms of your own interests.The learning outcomes are met across the two assessment tasks.You will receive a group mark for your conference presentation. Youwill receive an individual mark for your essay. The final unit mark will

be an average of the two marks. You must pass both elements topass the unit.


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AssessmentCriteria

taking creative risks, selecting and implementing from theseappropriately;

originality in the application of knowledge in relation to thematter of the unit;

analytical and critical awareness of relevant contemporaryissues;

intellectual engagement; understanding and effective use of research and advanced

scholarship; recognising practice that is at the boundaries of the

specialism; successful collaborative processes.

(Other assessment criteria from the M Framework may be referred toin your feedback.)

Key Texts Atkinson, T. & Claxton, G. (2003) The Intuitive Practitioner: On theValue of not Always Knowing What One is Doing, Milton Keynes,Open University Press.

Bannerman, C. , Sofaer, J. and Watt, J. (2006) Navigating theUnknown, London, Middlesex University PressBarrett, E. & Bolt, B. (2007) Practice as Research: Approaches toCreative Arts Inquiry, New York, St Martins Press.Bolt, G. (1998) Writing as a Reflective Practitioner with Wisdom,http://www.shef.ac.uk Kershaw, B. and Nicholson, H. (2009/10)Research Methods in Theatre and Performance Studies, Edinburgh,Edinburgh University Press (in press).Romanyshyn, R. (2007) The Wounded Researcher: Research withSoul in Mind, New Orleans, LA, Spring Journal Books.Sonyini Madison, D. (2005) Critical Ethnography: Method, Ethics andPerformance, London, Sage.

Supportive Reading JournalsNot all these journals will be relevant to each course. However, all ofthem will contain articles that address research into relevant fields.CTRArts in PsychotherapyNTQPerformance ResearchTheatre JournalRIDETDRTDPTTRI

PAJ

Websiteshttp://www.bris.ac.uk/parip/index.htmPractice as Research in Performance (PARIP) was a five-yearproject directed by Professor Baz Kershaw and the Department ofDrama: Theatre, Film, Television at the University of Bristol. It wasfunded by the Arts and Humanities Research Board. PARIP has nowfinished.

PARIP's objectives were to investigate creative-academic issuesraised by practice as research, where performance is defined asperformance media: theatre, dance, film, video and television. As aresult of PARIP's investigations, in collaboration with colleagues,
http://www.bris.ac.uk/parip/index.htmhttp://www.bris.ac.uk/parip/index.htmhttp://www.bris.ac.uk/dramahttp://www.bris.ac.uk/dramahttp://www.bris.ac.uk/http://www.ahrb.ac.uk/http://www.ahrb.ac.uk/http://www.bris.ac.uk/http://www.bris.ac.uk/dramahttp://www.bris.ac.uk/dramahttp://www.bris.ac.uk/parip/index.htm


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educational institutions and professional bodies throughout the UKand Europe PARIP, aimed to develop national frameworks for theencouragement of the highest standards in representing practical-creative research within academic contexts. Many of the researchpapers delivered throughout the various conferences can beaccessed online.

http://www.rescen.net/ResCen, the Centre for Research into Creation in the PerformingArts, is a multi-disciplinary, artistdriven research centre. It isdesigned to be a bridge between academia and the practices ofprofessional performing artists. Established in 1999, its base is atMiddlesex University in North London.

ResCen is centrally concerned with the artist at work, and with theways in which the working artist, under the usual pressures of the artsmarketplace, can be enabled to: reflect on her/his own creative processes

document these processes, and make these materials, musings and critical reflections available tothe wider international arts community and the university.
http://www.rescen.net/http://www.rescen.net/http://www.rescen.net/


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Title UNIT 4: ADAPTATION, IMPROVISATION & PERFORMANCE

Level 7 Credit Value 20 ECTS 10

Notional Student StudyHours

200 hours (60 taught hours; 140 student managed)


Course(s) for which theunit is mainly intended*


Prerequisite Learning N/A

Aims gain knowledge at the forefront of, or informed by, a focussed

approach to the academic and professional disciplines of creativityand performance;

take risks, be intellectually rigorous and show originality in yourapplication of knowledge in, for example, practical performances,ongoing skills development and sustained written argumentsdebating the field;

understand how boundaries are advanced through sustained andintense practice and research;

share learning with students on other courses;

in collaboration with peers and independently, show originality intackling and solving problems and deal systematically andcreatively with complex performance-related issues inunpredictable environments;

develop practice pertinent to the field.

Learning Outcomes (B3, D1 and C3) Engage productively in performance and its

evaluation in a collaborative environment and in complex andunpredictable situations.

(B4 and D2) Understand a range of repertoire and materials,including score/text/libretti, performers, creators, specific agendas,performance spaces, event structures and research materials.Professional performance practice.

(C1) use and evaluate relevant practices applicable in musictheatre sometimes experimenting with new and/or original ideas;

(C2) Apply established techniques to improve your experience andunderstanding of vocal, physical, musical and dramaticperformance.

(C4 and D3) Create, synthesise and sustain character(s) androle(s) in diverse performance situations; taking creative risks.

Transferable skillsdeveloped Practice in your field; evaluation of practice (self and others).

Indicative unit content This unit entails you working in companies to devise and present ashort piece of music theatre comprising solo and ensembleperformance. After initial research your group will create, improvise orselect material for performance, create a scenario that links and

supports the material, create individual characters and prepare aperformance. This will be produced according to a rough theatreaesthetic in terms of design components (set, costume, lighting), so


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that the focus is on the acting, movement and vocal work of theperformers on stage.

The company will be largely responsible for the structuring andpresentation of the piece through collaboration. You will have a timebudget for access to a staff director, musical director andchoreographer up to the number of hours specified, and where possible

according to the companys designation of need. You will present yourpiece to an invited audience.

Conscious acknowledgement of existing models and excerpts, if used,will play an important part in the process of research and eventualcontextualisation of the work. Original work will be encouraged. Thebalance between original and extant material will depend upon therequirements and abilities of the course team.

How you learn* Staff-led workshop

Student-led project

Independent rehearsal Performance in front of an audience

Type of task(e.g. essay, report, groupperformance)

MagnitudeWeight withinthe unit(e.g. 50%)

Peer assessment bycolleagues of your ability towork as a member of ateam.

(formative) N/A

An ensemble performanceTypically 20 to 30minutes

70%

Assessment

A critical commentarycomprising a summary ofkey findings in particular asthey informed yourcompanys development ofthe project (600 words, withsupporting materials) andan analysis of personalperformance practice (600words).

1200-word (The twoparts may beproduced separatelyor jointly as a 1200word text

30%

Assessmentcriteria

Work is assessed on evidence of: progress in relevant practice-based techniques; taking creative risks, selecting and implementing from these

appropriately; intellectual engagement; understanding and effective use of research and advanced

scholarship; recognising practice that is at the boundaries of the specialism; successful collaborative processes.

External requirements N/A

Key Texts Bicat, T; Baldwin C (2002) Devised & Collaborative Theatre: A PracticalGuide, Crowood PressBrook P (1990) The Empty Space, UK, Penguin.


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Taylor, M (2009) British Pantomime Performance, Chicago UniversityPress

Supportive Reading Balk HW (1991) The Radiant Performer, US, University of MinnesotaChain J (1991) The Presence of the Actor, US, TheatreCommunications


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TitleUNIT 5 & 6: PRACTICES: MUSIC THEATRE REPETOIRE (doubleunit)



400 hours (100 taught hours; 300 student managed)

Study hours in this unit are likely to include taught sessions, timespent being directed, as well as time working independently in smallgroups.

Unit Leader Member of the course team

Course(s) for which the

unit is mainly intended


Prerequisite Learning Previous units

AimsThe unit aims to enable you to: Understand key practical issues and debates of relevance to your

own practice(s); Develop and apply skills and techniques relevant to the relevant

contexts; Engage critically and creatively with current and emergent

processes in your field; Undertake sustained practice/s, possibly in two contexts, developing

your understanding, application and critical processes of practicewithin your discipline through an extended range of experience.

Learning OutcomesOn successful completion of the unit, you should be able to: (C1) Demonstrate a capacity to apply practical understanding and

skills of your field in relevant contemporary contexts; (C1, D1, D3) Demonstrate an ability to operate at a professional

level appropriate to your discipline or field e.g. take decisions incomplex and unpredictable situations independently and in dialoguewith peers and/or external bodies; take creative risks;

(B2, D2) Evaluate your specialist practice, interrogating theapplication of current principles and ideas in your field paying

particular attention to extended learning gained through a sustainedengagement, possibly in different contexts.


Practice in your field; evaluation of practice (self and others).

Indicative unit content This double unit is divided into two parts: the ContemporaryPerformance Project and the Solo Recital and Showcase Performance.

1) CONTEMPORARY PERFORMANCE PROJECT

This part of the unit comprises two elements: Realised Performanceand The Kitchen. In Realised Performance, students work in acompany to devise or present an original piece of contemporary


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musical theatre, working with, for example, a composer, a writer, adirector, a choreographer, a musical director and a stage manager. Inconsolidation of earlier units, the focus will be in particular upon theintegration of music, movement and singing through rehearsal andperformance.

The performance may be produced according to a rough theatre

aesthetic in terms of components (set, design, costume, lighting) sothat the focus is on the movement and vocal work of the performers onstage and (where appropriate) the skills of the directors in working withperformers.

The second element, known as The Kitchen, will extend yourexperience of contemporary performance work through a series ofexperimental workshops led by varied and different professionalpractitioners. Invited composers, writers, and directors involved in thedevelopment and gestation of new work will collaborate with studentstrying out or developing new material. Activities may include script

reading, musical direction, character development, improvisation,choral song, choreography, etc. This element is non-assessed but theexperience is expected to feed into the other elements of this unit.

2) SOLO RECITAL AND SHOWCASE PERFORMANCE

The second part of the unit comprises a solo recital and showcase:

2a) - Solo Recital - You may choose to sing and/or play an instrument.The primary focus throughout this element will be on your personalinterpretive qualities in handling musical material. You will also be ableto explore the strength and agility of your technique through a new solorepertoire. Performance development will continue at a more

sophisticated level to deal with confidence, effective communicationwith reference to characterisation and a sense of truth in relation to thequality of the text and music in performance. This element is alsointended to provide you with a useful performance repertoire in order toimprove your chances of employment through auditions and otherperformance-related activities. You will give a solo performance at theconclusion of this element.

2b) - Showcase Performance - You will rehearse and present a publicproduction to an audience including professionals within the field ofmusic theatre. You will focus on the presentation of music theatre skills.This element is designed to enable you to synthesise your learning

experience as a performer and creator on the course into a cohesive,technically astute and assured public creative expression.

How you learn You will learn through engaging with practical activities appropriate tothe particular practice of the field. You will learn, also, from anexperienced professional (tutor, director etc.) with whom you will work.

Type of task(e.g. essay, report,group performance)

Magnitude(e.g. No of words, time,etc)

Weight within theunit(E.g. 50%)

ContemporaryPerformance Project

Typically up to 60minute ensemble

performance

50%

Assessment

Solo Recital Typically 5 to 15minutes

15%


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ShowcasePerformance

Typically a 60 minuteensemble performance

35%

Assessment criteria progress in relevant practice-based techniques; taking creative risks, selecting and implementing from these

appropriately; originality in the application of knowledge in relation to the

matter of the unit; analytical and critical awareness of relevant contemporary

issues; intellectual engagement; recognising practice that is at the boundaries of the specialism; successful collaborative processes; tackling and solving problems and dealing with complex

situations in professionally-related environments.

External requirements None

Key Texts Hammond, M (2009) Thank you thats all we need fortodayLondon, Edition Peters

Supportive Reading Craig D (1993) A Performer Prepares, NY & London, ApplauseCraig, D (1990) On Singing on Stag, NY & London, ApplauseDevenney, D (1998) The Broadway Song Companion, NY, ScarecrowPressLegge, A. (1988) The Art of Auditioning, Rhinegold PublishingMapleson P (1994) Auditioning for Musicals, Australia, Currency


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Title UNIT 7: SUSTAINED INDEPENDENT PROJECT (SIP)

Level 7 Credit value 60

ECTS

points 30


600 hours

Unit Leader Course Leaders

Course(s) for which theunit is mainly intended

All MA courses Compulsory

Prerequisite Learning All other units. (Some may run concurrently with the start of SIP).

Aims Extend your understanding of critical debates and practiceswithin a specific area of drama/theatre/performance;

Make appropriate, intelligent and informed selections from awide range of possibilities of approach or research materials;

Engage in a sustained, focused, independent piece of work thatconstitutes a summative contribution at the end of your course;

Develop as a contributor to the field.

Learning OutcomesOn successful completion of this unit, you should be able to: (B2) Undertaken sustained and extensive research; (A1, B1) Demonstrated your understanding of critical debates

and practices in your field; (D1) Demonstrated your capacity to manage complex work

independently; (D1; D3) Realised a final piece of work that engages with a

relevant specific context or focus, taking appropriate creativerisks and that contributes to the field.


Independent research, awareness of contemporary and/or historicalpractice, reflexivity, ability to bring an extended, independent piece ofwork to completion.

Indicative unit contentStudents should match the content to their strengths individually: as inwriting, composing or performing. Building on the work undertaken in

the previous units students complete a sustained independent projectwhich may include one of the following:

a dissertation a performance a composition a playtext

How you learn You will learn through engaging with an individual, sustained task.


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Type of task(e.g. essay,report, groupperformance)

Magnitude(e.g. No of words,time, etc)

Weight within the unit(E.g. 50%)

Proposal 0.0%

Assessment Summary

The Work 12,000 words or

equivalent

100%

Assessment Detail 1. The proposal.This will be submitted to a relevant tutor and agreed by a selectedcourse-specific date. The student cannot proceed with theSustained Independent Project (SIP) until the proposal has beenaccepted by the course team. Significant changes to the proposalmust be approved. (See Sustained Independent Project (SIP)Proposal Form, Appendix B) The proposal is not assessed but hasto be passed before you may undertake the work.

2. The work.This may be one of the following: a dissertation of 12,000 words, or a composition a playtext, a performance

In the case of a performance, composition or playtext an accompanyingdialogic and reflective document will also be submitted. In consultationwith a member of the Course Team the paramaters and scope of theassessment shall be determined as part of the proposal.

Assessment criteria sustained, independent written argument

originality in the application of knowledge in relation to thematter of the unit; analytical and critical awareness of relevant contemporary

issues; intellectual engagement; understanding and effective use of research and advanced

scholarship. Implementation of relevant creative and technical techniques

and expertise

Key Texts/ Supportivereading

The key texts and supportive reading will be entirely dependent uponyour choice of subject matter. It is expected that you will use texts and

resources referred to earlier in the course as well as material new toyou at this point in the course.


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Appendix A: Template for tutorial record form

CENTRAL SCHOOL OF SPEECH AND DRAMA

TUTORIAL RECORD FORM

Name of Student:

Name of Staff member:

Topic (e.g. Sustained Independent Project (SIP) tutorial):

Date:

Record of matters discussed in tutorial:

Actions:

Date of next tutorial, if relevant:


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Appendix B: Template for Sustained Independent Project (SIP) proposal form

SUSTAINED INDEPENDENT PROJECT (SIP) PROPOSAL FORM(Two sides of A4 would be usual for this. Additional information may be attached where relevant.The form may be adapted by your Course Tutors.)This must be agreed by your tutor before you continue with the work of the Sustained

Independent Project (SIP).

Title/Topic:

Nature of work (e.g. Dissertation; portfolio comprising ; artefact with complementary annotation.Be clear to avoid potential ambiguities.):

Anticipated structure of events (see next page for an example):

Short title of taskto be completed Date Detail of task

Resource needs, where relevant (ensure these are within the allocations for your course):

How do you think your title/topic will demonstrate that you have met the learning outcomesfor the unit? (You are anticipating how the work will allow you to demonstrate Masters Level.):


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Framework Criteria for Assessment and Marking descriptors

These will be included in the Course Handbooks for all courses in the Framework. They areapproved for the Framework as a whole. The assessment criteria for individual units are selectedfrom these criteria.

Assessment criteria

Not all the assessment criteria apply to each unit although all will be incorporated acrosseachMasters course. (The three compulsory units include all these criteria already.) The assessmentcriteria to be considered will be clear in each unit outline. Tutors will give feedback relevant tothese criteria with references to specific examples from your work.

Work is assessed on evidence of the extent to which you have met the learning outcomesdemonstrated through:

sustained, independent written argument; progress in relevant practice-based techniques; taking creative risks, selecting and implementing from these appropriately; originality in the application of knowledge in relation to the matter of the unit; analytical and critical awareness of relevant contemporary issues; intellectual engagement; understanding and effective use of research and advanced scholarship; recognising practice that is at the boundaries of the specialism; successful collaborative processes; tackling and solving problems and dealing with complex situations in professionally-related

environments.

Assessment descriptors(relating to the assessment criteria)

Work that is marked near a borderline is likely to have characteristics of work in the next closest

bracket, but these are outweighed by characteristics described in the bracket in which the work isplaced. The languages of these descriptors will be used by staff in feedback to make clear the levelthe student has reached. In addition, tutors will make reference to the learning outcomes andwhether these have therefore been achieved.

80% and over (distinction)Your written work demonstrates a fluent, lucid and advanced argument of a near-publishable level.You show exceptional evidence of progress in specific techniques relevant to the practical work ofthe unit. You have demonstrated a highly impressive exploration of creative risks and options andselected and implemented ideas with acuity. There is clear and sustained evidence of originality inyour applications of knowledge in practice. You have demonstrated excellent qualities of analysisand critical awareness of contemporary issues throughout the unit. Your levels of intellectual

engagement are exceptional; you have developed original knowledge making use of extensive andhighly complex research. You display strikingly effective practice, demonstrating an advancedunderstanding of the boundaries of your specialism. You work at the highest of standards in groupsituations (if relevant), exercising most effective collaborative strategies. There is evidence ofexceptional ability in tackling and solving problems and addressing complex situations inprofessionally-related environments. The work is characterised by its sustained excellence and isof equivalent achievement to striking professional practice at the forefront of its field.

70% and over (distinction)Your written work demonstrates sustained, advanced argument at an academically high level. Youshow outstanding evidence of progress in specific techniques relevant to the practical work of theunit. You have demonstrated an impressive exploration of creative risks and options and selected

and implemented ideas with acuity. There is clear evidence of originality in your applications ofknowledge in practice. You have demonstrated very good qualities of analysis and criticalawareness of contemporary issues in the unit. Your levels of intellectual engagement are


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impressive; you have developed areas of original knowledge, making use of extensive andcomplex research. You display most effective practice, demonstrating an advanced understandingof the boundaries of your specialism. You work at high standards in group situations (if relevant),always exercising effective collaborative strategies. There is evidence of clear ability in tacklingand solving problems and addressing complex situations in professionally-related environments.The work is characterised by excellence and is of equivalent achievement to professional practiceat the forefront of its field.

60% and overYour written work demonstrates a sustained and clear argument. You show very good evidence ofprogress in specific techniques relevant to the practical work of the unit. You have demonstratedan effective exploration of creative risks and options and selected and implemented ideasappropriately. There is clear evidence of originality in your applications of knowledge in practice.You have demonstrated good qualities of analysis and critical awareness of contemporary issuesin the unit. Your levels of intellectual engagement are good; you have made often made use ofdetailed research. You display effective practice, demonstrating a good understanding of theboundaries of your specialism. You work well in group situations (if relevant), frequently exercisingeffective collaborative strategies. There is evidence of good ability in tackling and solving problemsand addressing complex situations in professionally-related environments. The work is of a goodstandard and, on several occasions, is equivalent to professional practice at the forefront of itsfield.

50% and overYour written work demonstrates a developed argument that is reasonably sustained. You showevidence of progress in specific techniques relevant to the practical work of the unit. You havedemonstrated exploration of creative risks and options and selected and implemented ideasappropriately. There is evidence of originality in your applications of knowledge in practice. Youhave demonstrated reasonably good qualities of analysis and critical awareness of contemporaryissues in the unit. Your levels of intellectual engagement are adequate; you have made use ofresearch at times. Your practice is at a reasonable standard, and you have demonstrated an

understanding of the boundaries of your specialism. You contribute to group situations, adoptingreasonably effective collaborative strategies for most of the time. There is evidence of some abilityin tackling and solving problems and addressing complex situations in professionally-relatedenvironments. The work is of a fair or good standard and, on occasion, is equivalent toprofessional practice at the forefront of its field. It is likely to be reasonably strong in some areasbut less developed in others, and it may be inconsistent.

40-49% (fail)Your written work demonstrates an argument but one that is only sporadically sustained. You showlimited evidence of progress in specific techniques relevant to the practical work of the unit. Youhave only occasionally demonstrated exploration of creative risks and options and selected andimplemented ideas appropriately. There is limited or little evidence of originality in your applications

of knowledge in practice. You have demonstrated limited qualities of analysis and criticalawareness of contemporary issues in the unit. Your levels of intellectual engagement were notalways adequate; you have made little use of research. Your practice is not always of a reasonablestandard, and you have rarely demonstrated an understanding of the boundaries of yourspecialism. You contribute to group situations, although you do not often adopt effectivecollaborative strategies. There is limited evidence of ability in tackling and solving problems andaddressing complex situations in professionally-related environments. The work is only of a fairstandard and is rarely equivalent to professional practice at the forefront of its field. You have notsufficiently demonstrated that you have met the learning outcomes of the unit, although it is likelythat your work shows potential.

Less than 40% (fail)

Your written work does not sufficiently demonstrate an argument. You show insufficient evidenceof progress in specific techniques relevant to the practical work of the unit. You have rarely ornever demonstrated exploration of creative risks and options and selected and implemented ideas


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appropriately. There is little or no evidence of originality in your applications of knowledge inpractice. You have rarely demonstrated qualities of analysis and critical awareness ofcontemporary issues in the unit. Your levels of intellectual engagement were inadequate; you havemade little or no use of research. Your practice is not of a good enough standard, and you havenot demonstrated an understanding of the boundaries of your specialism. Your contribution togroup situations is very limited, as are your effective collaborative strategies. There is little or noevidence of ability in tackling and solving problems and addressing complex situations in

professionally-related environments. The work is not equivalent to professional practice at theforefront of its field. You have not demonstrated that you have met the learning outcomes of theunit.

The following additional information from the Framework Handbook will be included in theCourse Handbooks for students

relevant parts of the assessment strategy and weightings; student support and the template for tutorial record-keeping details about staff contacts.


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Central School of Speech and DramaEmbassy Theatre

Eton AvenueLondon

NW3 3HY
http://www.cssd.ac.uk/

MA MUSIC THEATRE COURSE SPEC V1 JULY 2010 FINAL

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