STRINGS MMus Professional Studies Syllabus 2015-2016 (FINAL)

8/16/2019 STRINGS MMus Professional Studies Syllabus 2015-2016 (FINAL)

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Strings Professional Studies MMus Syllabus 2015-2016

STRINGS

MMUS PROGRAMME

Head of Department Nic Pendlebury

dl b @t i it l b k 020 8305 4475

mailto:[email protected]:[email protected]:[email protected]


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n pendlebury@trinitylaban ac uk 020 8305 4475


Contents

Summary description 3

Professional Studies Major Strings Assessment Syllabus and Minor StringsAssessments 4

MMus Assessment Options 5

Major Assessment 6

Minor Assessment 1 7

Minor Assessment 2 9

Performance (100%) 9

Professional Portfolio (10% of module mark) 12Appendix 1: Contact hours, Departmental Classes, Ensembles 13

Appendix 2: Departmental Classes Topics 14

Explanation of Departmental Classes 14

Appendix 3: Assessment Regulations (all programmes 17

Appendix 4: Student attendance Policy 17

Appendix 5: Performance Code of Conduct (all programmes) 17

mailto:[email protected]:[email protected]:[email protected]


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Summary description

The ‘Professional Studies’ module is designed to develop the technical skills and musicianship ofeach individual learner and, in addition, expose students to the varied kinds of opportunities availableto musicians in the wider music profession.

Offered throughout the duration of the academic year, the Professional Studies module forms thecore of student learning within BMus (Hons), MMus and PG Diploma/Artist Diploma musicprogrammes at Trinity Laban.

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MMus Programme Outline

Professional Studies

1) Individual and small group principal

study learning (masterclasses, discipline

specific supporting classes, the informed

performer)

2) Departmental Learning (workshops, seminars,

chamber ensembles, teaching techniques, healthy

musician development of the informed performer in

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&

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MMusProfessional Studies Major Strings Assessment Syllabus and

Minor Strings Assessments(100 credits)

Assessment structure within Professional Studies String Department;Major Performance Assessment (Recital) Assessment Period – Block E & F* Minor Performance Assessment (Orchestral) As sessment Per iod – Block C** Minor Performance Assessment (Chamber Ensemble) Assessm ent Period –Blo ck D****for more information on the Assessment Period - see Moodle

Major Performance Assessment: The Major performance assessment will require students tocreate music under conditions similar to that of a real performance. It will develop students’ ability toperform to a set deadline and to apply personal skills of organisation, communication and stressmanagement needed for live performance.*Commence Monday 16

th May and finish Friday 10

th June 2016

Minor Performance Assessments (Orchestral) The Minor Assessment (Orchestral) requiresstudents to prepare material for an Orchestral Audition and for an Orchestral rehearsal. It will develop

students’ ability to perform to a set deadline and to apply personal skills of organisation,communication and stress management needed for live performance/auditions and give students aclear understanding of the rigour required in preparation for life as an professional orchestralmusician.**Commence week beginning 18

th January and week beginning 25

th January 2016

Minor Performance Assessment (Chamber Ensemble): The ensemble performance assessmentwill require students to create music under conditions similar to that of a real chamber ensembleperformance. It will develop students’ ability to perform to a set deadline and to apply personal skills

of organisation communication and stress management needed for live performance in an


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MMus Assessment Options

In establishing their professional pathway through the module, students will consider their corestrengths and choose to ‘major’ or ‘minor’ in certain elements. Options available are as follows:

Option 1

Assessment Component Weighting %within module

PassMark

Major performance (Recital) 50% 50%

Minor performance (Orchestral) 20% 50%

Minor performance (Chamber) 20% 50%

Professional Portfolio 10% 50%

Ensemble Attendance/Participation* N/A Pass/Fail

Option 2


PassMark


Minor performance (Orchestral) 30% 50%Minor performance (Chamber) 20% 50%

Professional Portfolio 10% 50%

Ensemble Attendance/Participation* N/A Pass/Fail

Option 3


PassMark



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MMus Professional Studies Strings Assessment Syllabus

Major Assessment

MMus Recital

Assessment RequirementPERFORMANCEMasters Recital

Weighting %within

Assessment

Pass Mark

40-50 minute Performance Recital, repertoirechosen by the student in conjunction withtheir Professional Studies Professor andapproved by their Head of Department

80% 50%

Programme Notes 10% 50%

10-15 minute Viva voce 10% 50%

MMus: Performance Recital

The Performance Recital will encourage and test students’ abilities to: perform with musical insight,interpretative maturity, individuality and technical assurance; construct a cohesive and imaginativeprogramme; work effectively under pressure; recall and apply knowledge; communicate appropriatelyand effectively with an audience; recognise and respond quickly to performance conditions.

The Programme Notes will encourage and test students’ abilities to: communicate, in writing, apersonal and critical view of their repertoire to their audience; illustrate, with reference to supportingevidence where appropriate, their creative ideas relating to that repertoire; demonstrate their ability tosynthesise critically a range of ideas relating to performance.

The ability to produce well-written and informed programme notes is a valuable skill for the modernf i l i i P t i t t d i f ti id t th it l


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Although memorisation is not compulsory, standard performing practice is encouraged, for examplesolo pianists would usually be expected to perform from memory while accompanists would not.Likewise, in a programme of contemporary music memorisation may not be appropriate. All students

should, however, aim to perform at least one work from memory if possible.

Within the Performance Recital / Composition Portfolio Presentation, students must be able todemonstrate:

highly developed technical control and range, and a high level of accuracy;

sophisticated, appropriate and coherent interpretative choices;

high-level skills in organisation, presentation, communication and time-management.

In the Programme Notes or Commentary, students must be able to demonstrate:

advanced interpretative, critical, contextual and/or analytical knowledge;

an ability to communicate data clearly, accurately and articulately;

high-level skills in organisation, presentation, and communication.

In the Viva Voce, students must be able to demonstrate:

a high level of knowledge of the historical, contextual, aesthetic and/or critical issuessurrounding their chosen repertoire/compositions;

an ability to communicate clearly, accurately and articulately;

high-level skills in organisation, presentation, communication and time-management.

Minor Assessment 1

MMus Minor Performance AssessmentsMinor Performance Assessment (Orchestral) Bowed Strings and HarpMinor Performance Assessment (Studies) Guitar


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1. Present one specified movement from any of the following major Concerti:

Rodrigo: Concierto de Aranjuez, Mvt.1or 3

Villa-Lobos: Mvt.1, 2 (including cadenza), 3Manuel M Ponce: Mvt.1or 3Rodrigo: Fantasia para un Gentilhombre, Any Mvt plus last Mvt.Stephen Dodgson: Concerto No.1, Mvt.1 or 3Castelnuovo Tedesco: Concerto in D, Mvt.1 or 3Lennox Berkeley: Concerto, Mvt. 1or 3Malcolm Arnold: Concerto, Mvt. 1,2, or 3Leo Brouwer: Concerto No, 3 Mvt 1 or 3

Or one work from the following list;

Aguado: One of the Trois Rondos BrilliantesSor Grand Solo op. 14Guiliani Grand Overture op. 61Coste: Andante and PolonaiseBarrios: Le CatedralBrouwer: HikaBrouwer: Tres Apuntes

Tansman: PassacailleR R Bennett: ImpromptusDodgson: Fantasy DivisionsTakemitsu: In the WoodsDomeniconi: Variations on a Turkish Folk SongPiazzolla: 3 pieces selected from Cinco Piezas

List of suggested works: These lists are indicative. Other works may be offered in consultation with the Professional

Studies Teacher and must be approved by the Head of Department


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Minor Assessment 2

MMus Minor Performance AssessmentsMinor Performance Assessment (Chamber) Bowed Strings, Harp,Guitar and Mandolin

Chamber Music - bowed strings, harp, mandolin and guitarPerformance (100%)

Students are responsible for the formation of their own group

Students will be required to prepare a substantial complete work of approximately 20 – 30 minutesduration. The panel will choose an appropriate excerpt/s of approximately 15 minutes.

The panel will award individual marks to each member of the group. The same music must not beused subsequently for the end of year recital. Repertoire will be primarily coached in chamber musiccoaching sessions

Assessment Criteria: musicality, technical ability, communication skills (within the group and withthe audience), presentation.


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List of Suggested Works for Minor Assessment 1

This list is indicative. Other works may be offered in consultation with the Principal Study Teacher

and should be approved by the Head of Department. Only new students have the option to perform aClassical Concerto returning students must perform a Romantic Concerto

Violin

Saint Saëns Concerto No. 3, 1st movement.

Mendelssohn Concerto, 1st movement or 3

rd movement.

Tchaikovsky Concerto, 1st movement.

Brahms Concerto, 1st movement.

Beethoven Concerto, 1st movement.

Sibelius Concerto, 1st movement.

Prokofiev Concerto No. 2, 1st movement.

Bartók Concerto No. 2, 1st movement.

Walton Concerto, 1st movement.

Szymanowski Concerto No.2, 1st movement.

Mozart Concerti 1st movment

Haydn Concerti 1st movement

Viola

Bartók Concerto, 1st movement up to bar 230 or 2

nd and 3

rd movements.

Walton Concerto, 1st and 2

nd or 2

nd and 3

rdmovements.

Martinů Concerto, whole work

Hindemith (Schwanendreher), 1st or 3

rd movement.

Schnittke Concerto, either Part 1 or Part 2

Milhaud Concerto No. 2. 1st and 2

nd or 3

rd and 4

th movements

R bb C t 1st

3rd

t


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Harp

Concerti

Ginastera Concerto, 1st Movement Boieldieu Concerto, 1

st Movement

Handel Concerto (whole work)

Debussy Danses sacrée et profane

Ravel Introduction and AllegroSolo

Fauré Impromptu

Britten Suite Op. 83, movements 1, 2, 3 and 4

Hindemith Sonata

Spohr Fantasie

C.P.E. Bach Sonata

Suggested Reading and Resources

A range of works chosen or developed by the student in consultation with the Professional StudiesProfessor. Works presented for assessment should be agreed with the relevant Head of Department

by the date shown in the Programme Handbook. Reference should also be made to books, articles,recordings, manuscripts and/or other source materials relevant to the preparation of the works and/orexploration of musical styles/issues, such as the following:

Butt, John. Playing with History: The Historical Approach to Musical Performance. Cambridge,Cambridge University Press, 2002.

Cook, Nicholas. A Guide to Musical Analysis. New York: Norton, 1994. _____. Music: A Very Short Introduction. Oxford: Oxford University Press, 1998.Cook, Nicholas & Everist, Mark, eds. Rethinking Music . Oxford: Oxford University Press, 1999.Grier, James. The Critical Editing of Music: History, Method, & Practice . Cambridge: Cambridge

U i it P 1996


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Professional Portfolio (10% of module mark)MMus (Level 7)

Component Leader: Karl Lutchmayer [email protected]

Attendance of all seminars is vital for this course.

For full documentation please refer to the Professional Portfolio section of the TL Moodle site.

This component will test students’ ability to:

demonstrate autonomy, initiative, and critical self-awareness in relation to the development of

their careers

reflect on their own and others’ ways of working

articulate a sophisticated understanding of audiences (both actual and potential)

manage personal information

and present information in an accessible and confident manner appropriate for a musician

entering the profession

The Portfolio

The Professional Portfolio should comprise a selection of resources with which you are presentingyour skills to the world in order to develop your career in the way you wish. As such, it is entirelydependent on your career aims as to what you include and at whom they are aimed, however it islikely that it will include some of the following:

Hard copy material e.g. brochure, CV, flyers, could include a promotional CD etc.

O li /di it l b it F b k T itt bl t

mailto:[email protected]:[email protected]:[email protected]:[email protected]


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Appendix 1: Contact hours, Departmental Classes, Ensembles

1) Instrumental Provision

All postgraduate students receive the following instrumental provision:

One-to-one teaching with your instrumentalteacher

28 x 1.5 hour individual lessons throughout theyear

Group tuition with your instrumental teacher(groups of between 4-7 students)

6 hours spread throughout the year

Total of instrumental contact throughout the year 48 hours

2) Departmental Classes

Weekly instrument-specific classes (20 weeks) compulsory for all years. Topics range widely,and might include such topics as:

The Healthy Musician*, Teaching Skills*, The Informed Performer*,Performance Classes, Orchestral Extract preparation, Audition classes, Transcription class(Guitarists only) etc.

*Post Graduates receive a generic class but are invited to join BMus classes for more specificsubject based classes.

Classes are taken by Trinity Laban instrumental staff and other leading instrumentalists oftenprincipals of London orchestras and other eminent musicians.

For a more detailed description of all classes (BMus and MMus) see Appendix 2

3) Di t d E bl


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Appendix 2: Departmental Classes Topics

Explanation of Departmental Classes

Subject ExplanationIntroduction to year andExplanation of *TechnicalPortfolio (*BMus Only)

Scheduled at the beginning of the year this class will introduce allthe classes in the forthcoming year and will explain how to keep,present and develop your Technical Portfolio

Ensemble Playing An opportunity to play together with your peers – perhaps in thisgroup you will find long-term chamber music partnerships.

Ensemble Workshop plus

issues of orchestral disciplineand etiquette

The Ensemble Workshop will focus on the issues of playing

together in a small string group. The class will focus on orchestraldiscipline and etiquette – how to behave, what to do and what notto do.

Time Management & how topractice

One of the most important attributes a musician needs is knowinghow to practice and to be able manage time well. This class willhelp you learn these essential tools.

Internal Masterclass A chance to play to your peers in front of a member of theprofessorial staff and receive useful comments.

Sightreading Skills That dreaded word but something we all have to do and forms

part of the Minor assessment in year four as well as mostprofessional orchestral auditions. The class that will give you tipsand guidance on how best to read quickly and accurately.

Scales Class Another dreaded word but an extremely important part of ourtechnical armoury. Knowing the geography of the fingerboard isan essential attribute we all need. This class will offer help andtips and provide an opportunity to play them in front of your peers.Be brave!

Individual Viva with Hosd and

t ti f T h i l

An opportunity to talk through with the Head of the String Faculty

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Informed PerformerPeriod Performance Practice

Taken by a leading exponent of period performance practice thisclass will give invaluable information and understanding of howplayers of the day would have performed works from the 17th &

18th centuries.Solo Bach Performance An authentic look at the performance of Bach’s Partitas, Sonatas

and Suites from a Period Performance Practitioners perspective.

The Art of Bowing Covering all aspects of bow technique from bow holds to bowchanges.

Advanced Bowing Techniques A continuation from “The Art of Bowing” this class will look atmore advanced types of bowing. From up bow staccato tospiccato and martelé this class will cover all those vital aspects.

The Healthy Musician Injuries both physical and psychological are unfortunately only too

common amongst string players. This class will look atpreventative measures and give participants an understanding ofhow best to use one’s body and mind in order to prevent suchproblems.

Presentation Skills Class How you present yourself on stage can influence yourperformance. A confident performer will quickly engage withhis/her audience and more successfully communicate the storythey are trying to tell.

Improvisation Class The modern classical “portfolio” musician may well in the course

of their career be required at some level to improvise. This classwill tackle some of the basic issues of improvising.

Classical ConcertoPerformance

A class concentrating on the performance of the ClassicalConcerto. Expert advice and tips from one of our professorialstaff.

Instrument Maintenance Keeping your instrument in tiptop condition is vitally important ifyou want trouble free playing. With instruments often costingthousands of pounds it is important to keep them in good playingorder and look after them properly. From the simple task of

h i t i d k i i t t l t th


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discipline will be expected. This class will introduce you to theworld of recording and teach you many of the does and don’ts.

What next? Should I do a postgraduate year or should I start looking for a job.Should I stay in this country or should I go abroad. What doesTrinity Laban have to offer? Useful advice on what to do next

Contemporary Music Contemporary music is an exciting part of a musician’s repertoire. An exploration into this fascinating world of the new lead by oneof the world’s leading practitioners of new music

Working with electronics The 21st century musician is constantly looking for new ways toexpress themselves. No more so than with the use of technology

which in this day and age is readily available and perhaps not asdaunting as you might think. An exploration into the soundworldof music of our time with particular emphasis on working withelectronics.

Sonata Class Sonata playing is a collaborative partnership of great importanceand may well form part of your final recital. This class will explorethe relationship between pianist and instrumentalist.

Mock Assessment Class An opportunity to experience an assessment from both sides ofthe table. This class will give you an opportunity to play through

material for your End of Year recital and also to experience anassessment from an examiners point of view. Using the criteriathat will be used to assess you this will give you an insight as towhat examiners are expecting to hear from you.

Final Recital PerformancePlatforms

Your last opportunity to play through your Final RectalProgramme to your peers and a member of the professorial staff.Good Luck!

Please note: Due to time constraints it may not be possible to deliver all the classes listed above.


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Appendix 3: Assessment Regulations (all programmes)

A separate document called ‘Assessment Regulations’ http://www.trinitylaban.ac.uk/about-us/academic-quality/assessment-regulations provides detailed information relating to institution andprogramme specific assessment regulations.

Appendix 4: Student attendance Policy

Full guidance for attendance can be found on the ‘Student Attendance Policy’ on Moodle:

http://moodle.trinitylaban.ac.uk/course/view.php?id=2039

Appendix 5: Performance Code of Conduct (all programmes)

Summary overview

Attendance, punctuality and a professional approach are essential for all group

performance activities to which a student is allocated Poor communication, unauthorised absence, repeated lateness or attempting to send a

deputy without agreement will all result in serious repercussions for the student. These

repercussions are laid out in 8.11 below

Requests for absence will be considered but should be submitted as laid out in 8.10

below

It is vital that students make themselves aware of the code of conduct below

P f C d f C d t

http://www.trinitylaban.ac.uk/about-us/academic-quality/assessment-regulationshttp://www.trinitylaban.ac.uk/about-us/academic-quality/assessment-regulationshttp://www.trinitylaban.ac.uk/about-us/academic-quality/assessment-regulationshttp://www.trinitylaban.ac.uk/about-us/academic-quality/assessment-regulationshttp://moodle.trinitylaban.ac.uk/course/view.php?id=2039http://moodle.trinitylaban.ac.uk/course/view.php?id=2039http://www.trinitylaban.ac.uk/about-us/academic-quality/assessment-regulationshttp://www.trinitylaban.ac.uk/about-us/academic-quality/assessment-regulations


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3. Management

3.1 The Heads of Department allocate their students to various performance projects and

concerts, assisted by members of the Music Faculty administration team who will frequentlymake direct contact with students regarding these allocations. Department Coordinators willadminister some Chamber Music Projects.

3.2 The Learning & Participation Department offer student placements with outreach andeducation projects. These are delivered with external agencies and participant groups andeach project has a designated Project Leader (responsible for the artistic/educationalcontent), and a Project Manager.

4. Rehearsal requirements for Orchestral, Choral and Ensemble Projects

4.1 Students are expected to approach all performance projects in a professional and organisedmanner. All sessions are compulsory and 100% attendance is required. Students should beseated, tuned (warmed-up in the case of singers) and ready to begin rehearsing at least 5minutes before the start time published on the schedule. Lateness will not be accepted.

4.2 All orchestral and large ensemble rehearsals will begin with tuning some 2-3 minutes beforethe published start time. Students should be ready 10 minutes in advance. Anyone not in

seat when tuning begins will be registered as late.

4.3 All Trinity Laban performance projects aim to achieve the highest standard of performancethat is possible. Students are expected to learn their own parts before rehearsals begin, andalso to be familiar with the work as a whole. Individual copies of the music (scores/parts etc.)will be available from the Music Faculty Administration two weeks before the commencementof a project.

4.4 Unless addressed directly by the conductor, communication with him/her is most efficiently

i d t th h th ti l d Th h ld b t lki d i h l bil


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6.2 Learning & Participation Placements are available for voluntary sign up by students of any

course/year group. Interested students should visit the Learning & Participation (Music) area

on Moodle to access further information and details of projects and placements. Once astudent has been taken on for such a project, they will be required to observe the publishedcode of conduct in terms of commitment and attendance.

6.3 Queries regarding schedules or overall workload should be brought to the attention of theMusic Manager or Orchestral Manager (in writing) immediately upon receipt of the scheduleand under no circumstances later than five working days afterwards.

6.4 Details of rehearsals will be accurate at the time of going to print, but may be subject to

alteration. While the need for consistent scheduling is recognised, projects are occasionallyaffected, beyond the institution’s control, by relationships with external artists, venues,organisations and participants. Students are expected to keep a regular check on the intranetand e-mail in case of any last-minute logistical alterations. Where a change of schedulecauses a clash with another activity, the student should identify this clash to the relevantdepartment within five working days of publication of the alteration.

7. Music & Project Resources

7.1 Music will normally be available at least two weeks before the first rehearsal for a project.Students are responsible for keeping their own copies of the music/parts/project resourcessafe for all projects and taking these to all sessions. Please collect and sign for music at yourearliest convenience and look after it until after the end of the concert when it should be lefton the stand. Orchestral folders and music are the responsibility of each musician. Studentswill be charged for damaged parts and music that is not returned within 5 days of the end ofthe project.

8. Absence from Scheduled Performance Activities


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8.7 In cases of transport delays/cancellations, students will be expected to provide a full writtenexplanation with documentary evidence (e.g. http://www.tfl.gov.uk/tfl/service_rt_tube.shtml.)to the staff member in charge.

8.9 If a previous lesson or activity finishes late resulting in potential lateness for another activity,

the student should phone ahead as in 8.6 above. This information will be verified by theinstitution.

8.10 If the student wishes to be absent from TL for any period of time, a Permission for Absencerequest form must be emailed to [email protected] (available on Moodle).This form should be completed by the deadlines advertised each term.

Permission to be absent must never be assumed. A Permission for Absence request formmust be completed with approval before the student agrees to accept outside work, (even ifthe student’s diary appears free at the time of engagement). Students should not acceptexternal work before obtaining this permission. While every effort will be made toaccommodate outside engagements, this will not always be possible.

8.11 Students who fail to secure permission for absence and whose attendance patterns give

cause for concern may find themselves penalised in various ways, including :

Scholarships: loss of scholarship and/or recommendations for future scholarshipswithheld

TL Competitions: loss of opportunities to participate in TL competitions

Masterclasses: withdrawal of opportunities to participate in departmental

masterclasses (limited to auditing rights only)

External Engagements: withdrawal of opportunities to be considered for external

t ff d th h TL

http://www.tfl.gov.uk/tfl/service_rt_tube.shtmlhttp://www.tfl.gov.uk/tfl/service_rt_tube.shtmlhttp://www.tfl.gov.uk/tfl/service_rt_tube.shtmlmailto:[email protected]:[email protected]:[email protected]:[email protected]://www.tfl.gov.uk/tfl/service_rt_tube.shtml


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Appendix 6: MMus Marking Criteria

M-levelPerformanceCriteria

Indicativegrade

SUMMARY ACCURACY/FLUENCY

INTERPRETATION

PRESENTATION

80% and above Very highdistinction

Artistic authority combinedwith complete technicalassurance.

Comprehensively assured inextensive and technicallychallenging repertoire.

Bold, original and authoritative;a challenging range of styles.

Highly professional in allrespects; outstanding rapportwith audience; completecontrol of the occasion.

70-79% High distinction= 75-79%

Distinction= 70-74%

Exciting performance andchallenging programming.

Artistically and technicallychallenging repertoire;imprecision rare andinconsequential.

Sophisticated and convincing,with ample evidence of acommitted, informedinterpretation.

Engaging, communicative andexciting.

60-69% High pass= 65-69%

Good pass= 60-64%

Convincing, varied, well-projected and enjoyableperformance.

Mainly secure; always fluent; avariety of techniques displayed.Repertoire shows candidate’saptitude to assess his/herabilities.

Convincing response to a varietyof interpretative challenges. Assured; appropriate to theoccasion; comfortable withaudience; well-projected.

50-59% Average pass= 55-59%

Pass= 50-54%

Student presents a prosaicreading of their chosenrepertoire.

Mostly secure; occasional minorlapses; repertoire offers anarrow range of technicalchallenges.

Appropriate in most respects butlacking individual direction.

Competent, but weak inprojection and communication.

40-49% Bare fail= 45-49%

Clear fail= 40-44%

Students unable to meet thechallenges, either technicallyor interpretatively, of their

chosen repertoire.

Either frequent smallinaccuracies, or infrequent largemis-readings or mistakes. Little

evidence of thoughtfulpreparation.

Significant misjudgements. Limited rapport with either: a)audienceb) the repertoire

39% and below Bad fail Little evidence ofunderstanding the repertoire.

Substantial and frequentinaccuracies; incoherent attimes.

Seriously flawed; lackingappropriateness and coherence.

Seriously flawed; fails to engageaudience.

STRINGS MMus Professional Studies Syllabus 2015-2016 (FINAL)

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