GAM Gold Copy For 2021

Guildhall Artist Masters
Programme & module specifications & assessment criteria for

2021/22
The School is currently planning for the next academic year on the basis that Step 4
of the UK Government road map will have been achieved by the first day of term,
Monday 13 September 2021. This means that teaching and performance activities
next academic year are expected to be primarily in-person, as set out in the
programme and module specifications (“Gold copy”).
However, new and continuing students need to be aware that this situation may
change and consider this in their decision making; the last sixteen months of the
pandemic have shown that nothing is certain. Possible future scenarios range from
standard in-person teaching, near normal in-person teaching with mitigations (such
as students being required to take regular lateral flow tests and wear face
coverings), blended learning with a combination of in-person and online activities, to
a worst case scenario of a short-term lockdown.
The School managed blended learning very successfully this academic year with
core teaching/performance/production activity offered in-person (with small class
sizes to allow for social distancing) complemented with online classes and tutorials.
Apart from during the January and February 2021 national lockdown the School was
able to offer in-person activities throughout the academic year. The School will do its
utmost to deliver in-person activities next academic year but will necessarily have to
be guided by government regulation on this matter.
Programme details may change in future academic years, please consult the “Gold
copy” for the given year. Any programme, module and assessment criteria
amendments will be approved following consultation of the student body through the
School’s academic governance committee framework and in-line with the
requirements of the School’s Academic Regulatory Framework.
GAM Gold Copy 2021/22 Page 1 of 162

Contents
1. Programme Title ..................................................................................................... 6
2. Programme Accredited by (if applicable)................................................................ 6
3. Final qualification and level of award...................................................................... 6
4. Exit awards (where relevant) .................................................................................. 6
5. Relevant QAA subject benchmarking group(s) ...................................................... 6
6. SITS code .............................................................................................................. 6
7. Approved for the year of study ............................................................................... 6
8. Head of Programme ............................................................................................... 6
9. Pathway Leader (where relevant)........................................................................... 6
10. Aims of the Programme........................................................................................ 7
11. Criteria for admission to the Programme .............................................................. 8
11.1 Selection Process ........................................................................................... 8
11.2 Standard Requirements .................................................................................. 9
11.3 English Language requirements ..................................................................... 9
11.4 Non-standard entry ......................................................................................... 9
11.5 Age of entry .................................................................................................. 10
12. Programme learning outcomes .......................................................................... 11
13. Programme Structure ......................................................................................... 12
13.1 Programme Duration (years) ........................................................................ 12
13.2 Mode of Delivery (full/part-time/other)........................................................... 12
13.3 Total student learning hours ......................................................................... 12
13.4 % Split teaching contact hours: self-directed practice & study* .................... 12
13.5 Guildhall Artist Masters ................................................................................. 13
13.6 Extended Guildhall Artist Masters Programme ............................................. 13

14. Teaching & Learning Methodology & Assessment Strategy............................... 14
14.1 General Approach......................................................................................... 14
14.2 Teaching & Learning methodologies ............................................................ 14
14.3 Guildhall Artist Masters Modules .................................................................. 16
14.4 Extended Guildhall Artist Masters Modules .................................................. 17
15. Curriculum map relating programme learning outcomes to modules ................. 18
16. Assessment Regulations .................................................................................... 21
16.1. Requirements to pass a module .................................................................. 21
16.2 Requirement to pass a year/part and to progress ......................................... 22
16.3 Award regulations ......................................................................................... 23
16.4 Resit charges ................................................................................................ 25
16.5 Failure of a year and the award of a lower level qualification ....................... 25
16.6 Fail Withdraw ................................................................................................ 26
16.7 Periods of registration ................................................................................... 26
16.8 Parts of the programme and mode of attendance......................................... 26
16.9 Scheduling of Assessment ........................................................................... 27
16.10 General Assessment Principles .................................................................. 27
16.11 General assessment regulations for recitals and submissions ................... 27
16.12 Assessment Procedures ............................................................................. 28
16.13 Feedback to students after assessments ................................................... 30
17. Principal Study Modules ..................................................................................... 31
17.1 Graduate Certificate: Principal Study in Performance................................... 31
17.2 Principal Study in Performance (Part 1)........................................................ 34
17.3 Performance Portfolio (Part 2) ...................................................................... 37
Guildhall Artist Masters Gold Copy 2021/22

Page 3 of 162
17.4 Principal Study in Orchestral Artistry (Part 1 and Part 2) .............................. 41
17.5 Graduate Certificate: Principal Study in Composition ................................... 46
17.6 Principal Study in Composition (Part 1) ........................................................ 49
17.7 Composition Portfolio (Part 2) ....................................................................... 52
17.8 Performance Practice I & II ........................................................................... 56
17.9 Graduate Certificate: Principal Study in Electronic Music ............................. 59
17.10 Principal Study in Electronic Music (Part 1) ................................................ 63
17.11 Principal in Electronic Music (Part 2) .......................................................... 67
18. Reflective Practice Modules ............................................................................... 72
18.1 Reflective Practice (GC) ............................................................................... 72
18.2 Reflective Practice (Part 1) ........................................................................... 76
18.3 Critique of Personal Development ................................................................ 80
19. Elective Modules ................................................................................................ 84
19.1 Techniques in Composition A & B ................................................................ 84
19.2 Body Matters................................................................................................. 88
19.3 Chamber Music............................................................................................. 91
19.4 Social Arts Practices ..................................................................................... 94
19.5 Composition for Media ................................................................................ 102
19.6 Conducting.................................................................................................. 104
19.7 Contextual Studies - The Forbidden Saxophone ........................................ 106
19.8 Electro-Acoustic Music ............................................................................... 109
19.9 Historical Performance: Performance ......................................................... 112
19.10 Interpretation through Improvisation ......................................................... 115
19.11 Jazz Composition & Arranging (Jazz students) ........................................ 119
19.12 Jazz Improvisation (Jazz students) ........................................................... 121
Page 4 of 162 GAM Gold Copy 2021/22

19.13 Music, Philosophy and the Arts................................................................. 124
19.14 Opera and Theatre A & B (Singers) .......................................................... 126
19.15 PianoWorks A & B (Pianists) .................................................................... 129
19.16 Research Project ...................................................................................... 132
19.17 Song Accompaniment A & B (pianist) ....................................................... 137
19.18 Vocal Repertoire A & B (Singers) ............................................................. 140
19.19 Voiceworks A & B (Singers) ...................................................................... 144
19.20 Wind, Brass & Percussion Solo Recital .................................................... 147
20. Assessment Criteria ......................................................................................... 149
20.1 Performance, Level 7.................................................................................. 149
20.2 Composition, Portfolio submission (Level 7) ............................................... 151
20.3 Reflection (Level 7) ..................................................................................... 153
20.4 Academic (Level 7) ..................................................................................... 156
20.5 Artistic (Level 7) .......................................................................................... 159
21. Breakdown of Principal Study Hours ................................................................ 162

Page 5 of 162
1. Programme Title
Guildhall Artist Masters Programme
2. Programme Accredited by (if applicable)

n/a
3. Final qualification and level of award

MMus (Part1) MPerf (Part2) MComp (Part2)
4. Exit awards (where relevant)

PGDip
Graduate Certificate
5. Relevant QAA subject benchmarking group(s)

n/a
6. SITS code
PGARTMAST (Full-time) PGARTMASTXPT (Extended –
including Grad Cert year, and Part 1
PGARTMASTPT (Part-time Part 1, FT PT)
Part 2)
PGARTMASTS (Opera - Short FT Part
PGARTMASTX (Extended - including 1 over 2 years and long FT Part 2)
Grad Cert year, Part 1 FT)
7. Approved for the year of study

2021/22
8. Head of Programme
Alessandro Timossi
9. Pathway Leader (where relevant)

Heads of Department

10. Aims of the Programme
The Programme aims to:
• Develop to professional standards each student’s abilities as a practical

musician, according to the individual pathway and Principal Study,
demonstrating technical expertise and musical insight.
• Develop to professional standards each student’s acquisition and
communication of an individual artistic voice in Principal Study.
• Embed in each student a capacity to develop a mature artistic and
professional identity through independent self-reflection.
• Develop an understanding of the integration of research and Principal Study
as it may relate to the relevant pathways.
• Give opportunity to acquire further specialist or additional knowledge and
skills in at least one area of supportive study of the student’s choice.
• Develop each student’s personal and artistic trajectory through the integration
of the physical, emotional and intellectual aspects of music making.
• Develop the ability to articulate musical processes, experiences and identity,
demonstrating self-awareness and an appreciation of wider artistic thought.
• Develop the ability to communicate musical processes, experiences and
identity to diverse audiences through a variety of media.
• Stimulate students to expand their own intellectual, emotional and physical
horizons and resources for a life of artistic and professional fulfilment.
• Give each student the resources to understand, engage and enter the
professional music world, including self-reliance and confidence to further
their career independently through planning and implementing independent
external projects, individually or in collaboration.
• Provide the students with a learning environment that enables them to
recognise and nurture their strengths, recognise and extend their ambitions,
assimilate feedback from different sources including peers and integrate it in
their development, and supports their need for individual study and reflective
practice.
• Provide students with a learning and experiential environment that
encourages awareness, reflection and development as artists in society.
The Programme supports students’ future career development / further study by:
• Designing the curriculum & training to match professional needs.

• Giving students opportunities of contacts with the outside professional world
via (i) teachers drawn from the professions; (ii) final recitals/portfolios
assessed by leading artists (internal professors and external assessors); (iii)

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projects directed by external conductors and international visiting artists of
international renown, and (iv) use of professional venues for performances.
• Integrating within the Programme considerable opportunities for experiential
learning and professional exposure, in collaboration with high profile artists
and artistic organisations.
• Developing a broad range of musical and academic skills for further
independent learning.
11. Criteria for admission to the Programme

11.1 Selection Process
A student is admitted to the Guildhall Artist Programme in one of the following two
pathways: Performance or Composition
In the Performance Pathway, the available principal studies are:
• Strings (Violin, Viola, Cello, Double Bass, Guitar and Harp);
• Wind, Brass and Percussion (Flute, Oboe, Clarinet, Bassoon, French Horn,
Trumpet, Trombone, Bass Trombone, Tuba, Saxophone, Recorder, Timpani
and Percussion);
• Piano;
• Piano Accompanist;
• Voice;
• Opera Studies (Voice, Repetiteur);
• Chamber Music
• Jazz (Saxophone, Flute, Clarinet, Trumpet, Trombone, Tuba, Violin, Piano,
Guitar, Jazz Bass, Drums/Percussion, Voice or other instruments by
negotiation);
• Historical Performance (Medieval to Classical instruments, Vocal,
Director/Continuo);
• Orchestral Artistry (for strings and WBP) in association with the London
Symphony Orchestra.
In the Composition Pathway the Principal studies are Composition and Electronic
Music, each following their specific set of PS modules. Electronic Music includes the
specialist areas of Sonic Art; Film Music; Live Electronics; Game Audio; Electro-
Acoustic Composition; New Media; Popular Music Production
Selection to the programme is based on a Principal Study audition for the

Performance Pathway (according to both Principal Study and professional
specialism; for the Orchestral Artistry specialism members of the LSO may be
present at audition) or evaluation of compositions and colloquium for Composition or
evaluation of electronic music portfolio, response to a creative exercise and

colloquium for Electronic Music. This audition may consist of more than one round
(e.g. for Opera Studies) and will also include a brief interview.
In some circumstances (e.g. overseas applicants who are unable to attend the
international auditions when offered), this process may be carried out by submission
of a video recording of a live performance, submission of compositions, portfolio of
activities and other relevant material, and a telephone or video call (e.g. Skype)
interview arranged by the School.
11.2 Standard Requirements
At the entry audition/colloquium, candidates are assessed on their potential to

achieve the minimum standard of Master’s level in PS, according to the audition
report evaluation criteria for the relevant pathway. As entry is competitive within each
pathway, in practice candidates would normally need to demonstrate a higher
grading than the minimum.
The minimum academic qualification for entry is an Undergraduate degree with

Honours in Music, or an international equivalent. Undergraduate degrees with
Honours in any other subject may be considered if accompanied by evidence of
adequate musical activities and achievements.
11.3 English Language requirements
Non-native English speakers are required to have achieved the stated score in one
of the following examinations:
• IELTS (International English Language Testing Service) - a minimum overall

score of 5.5 with no component falling below 5.5 (reading, writing, speaking
and listening)
In appropriate circumstances (e.g. a student that has a strong command of the

language but no official certificate, or that has taken other language assessment-
types, e.g. TOEFL), normally identified at the audition/colloquium stage, this
requirement may be replaced by an internal assessment of English in reading,
writing, listening and speaking.
The School reserves the right to require non-English-speaking students to attend an

internal non-credited class in the English language once the Academic Year has
started.
11.4 Non-standard entry
The School evaluates individually all cases of non-standard and advanced standing
applicants. For these students the selection process is the same as for standard
applicants, with the following options:

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Non-standard applicants
i) Students that do not meet the standard academic qualifications are required
to satisfy the School that by 15th July before the beginning of term (or other
specified earlier date) they are able, in terms of general musical knowledge
and general academic abilities, to undertake a Masters Programme of study in
music performance or composition. Evidence, set out by the School and
provided by the student, might consist of, but not limited to:
o Submission of academic written work
o Submission of evidence of artistic and professional musical experience
ii) Students that do not meet the entry criteria in relation to level of Principal
Study, but show significant potential are required to enrol on the Extended
Guildhall Artist Master’s Programme, the first year of which is called the
Graduate Certificate Year and is aimed at a focused and intense development
in Principal Study.
Advanced-standing applicants
Application for advanced standing in the Programme (direct entry to Part2) is

permitted only for students transferring from an equivalent institution and programme
nationally or internationally. Advanced standing through the accreditation of other
types of prior learning is not accepted. Advanced Standing for both the Orchestral
Artistry and Opera Studies specialisms is not available.
11.5 Age of entry
For applicants who have not attained the age of eighteen years by the day of
enrolment, a special support scheme that includes especially selected additional
personal tutors (DBS checked), is required. Any special scheme of study requires
the approval of the Academic Board.

12. Programme learning outcomes
* Indicates transferable skill
Level 7
A. Technique and knowledge

A1: Perform/compose/produce with a level of technical control, expertise and
sophistication consistent with entry to the music profession
A2: Perform/compose/produce with a level of musical insight consistent with entry
to the music profession
A3: Perform/compose with a systematic knowledge of relevant repertoires and
models, and their artistic, stylistic, technical, and historical features and contexts,
and their relevance to the contemporary musical world
A4: Question and evaluate systematically personal learning trajectories and
experiences*
A5: Demonstrate comprehensive methods and resources that enable further
enquiry into practical music and/or musicology
A6: Understand Music in contemporary society and contemporary professional
music making
A7: Expand own intellectual and emotional resources for individual and original
expression and for a life of artistic and professional fulfilment*
A8: Refine a personal musical practice with an individual understanding of the
physiology and psychology of performance
B. Performance and/or creative output
B1: Perform/compose/produce with a level of artistic vision and originality
consistent with entry to the music profession
B2: Perform/compose/produce with autonomous and sophisticated individual
imagination and intentions beyond the assimilation of received paradigms
B3: Combine research, insights and experiences into credible syntheses of
personal and artistic development*
B4: Demonstrate the systematic integration and cross fertilization of the practical,
the theoretical, the individual insight and the experiential*
C. Communication and artistic values
C1: Perform/compose/produce showing critical awareness and command of
effective and original musical communication
C2: Perform/compose/produce applying systematic consideration of the relevant
physical and psychological demands
C3: Communicate as an autonomous musician, confident in own original artistic
voice and purpose, and in technical and intellectual abilities
C4: Demonstrate a critical approach to the comprehensive evaluation and
processing of practical knowledge and experiences, with both rigour and
imagination*
C5: Communicate effectively in writing and verbally in the English language to
different audiences and in different contexts*
C6: Participate effectively in team work*
C7: Demonstrate a range of IT and administrative skills required to work as a
professional musician*

Level 7
C8: Take direct responsibility for own professional future through having a capacity
to make realistic/informed choices and decisions*
C9: Promote music and contribute to its function in society with integrity and
attention to the ethical values of art
D. Professional protocols
On successful completion of this programme the student will have knowledge and
understanding of:
D1: Engage successfully and with artistic integrity and critical approach in all
relevant musical professional situations
D2: Identify and interact efficiently and confidently with the specific as well as
broad employment market*
D3: Demonstrate effective personal presentation, organisation and time
management*
D4: Be aware of, and promote, personal responsibility, self-discipline and
professional codes of conduct*
D5: Practise and promote tolerance, responsible leadership and fair judgement*
13. Programme Structure

13.1 Programme Duration (years)
Guildhall Artist Masters: two years (Part1, Part2)
Extended Guildhall Artist Masters: three years (Graduate Certificate year, Part1,
Part2)
13.2 Mode of Delivery (full/part-time/other)
Grad Cert and Part 2 only available FT
Part 1 is available FT or 2-year PT (but for Opera vocal students, Part 1 is two FT
years only)
13.3 Total student learning hours
Guildhall Artist Masters 3600
Extended Guildhall Artist Masters 4600
13.4 % Split teaching contact hours: self-directed practice & study*
1800 notional learning hours per year (in Parts 1 and 2), split broadly 30% contact
and 70% private study depending on Principal Study. Grad Cert is around 1100
hours. However, the demands of a practical music programme are necessarily
unevenly spread across the year. This is especially the case when there are
orchestral, ensemble or vocal projects, or if students have performance
engagements outside the School, or take part in competitions. Further, each

individual student’s learning and practice methods and artistic engagements vary
considerably.
13.5 Guildhall Artist Masters

The Guildhall Artist Masters Programme has two Parts. Part One is one year full-
time or two years part-time (Performance* & Composition pathways). Part Two is
one year full-time for all pathways. Progression from Part One to Part Two is
conditional upon a student achieving a specific Principal Study result, and in
submitting and having approved a plan of artistic and professional development for
Part Two.
* The Opera specialism within the Performance pathway is full-time only and Part 1
takes 2 academic years. Students who have completed Part 1 Opera and want to
continue to Part 2 will need to do so in the Vocal Studies department.
Parts Award Core modules Elective Total credits

modules
Part MMus Principal Study Reflective Total of 40 180

1 120 credits (L7) Practice credits (L7) 240 [Opera
20 credits students]
Performance (L7)
Practice
60 credits (L7)
[Opera
students]
PGDip Principal Study Reflective 140 [no transfer
120 credits (L7) Practice to Part 2]
20 credits
(L7)
Part MPerf PS Projects Critique 180
2 MComp Portfolio 30 credits
150 credits (L7) (L7)
13.6 Extended Guildhall Artist Masters Programme
The Extended Guildhall Artist Programme has three Parts. Parts 1 and 2 are as
above, and are preceded by the Graduate Certificate year (which can only be taken
on a full-time basis). Students who are enrolled on the Extended Guildhall Artist
Programme will need to pass successfully the Graduate Certificate year, achieving a
merit level in the Principal Study end-of-year aggregate mark, to continue to Part
One.
In the Performance Pathway, progression to Part 1, does not grant automatic

admission to the Orchestral Artistry PS module. For this specialism, the Graduate
Certificate Year Final Recital may also be used as the audition process, or a

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separate audition may be arranged prior to the commencement of the course.
Students otherwise continue onto the Principal Study in Performance (Part 1).
Parts Award Core modules Elective modules Total credits
GC GradC Principal Study Reflective 110

Year ert 90 credits (L6) Practice
(GC)
20 credits
(L7)
Part MMus Principal Study Reflective Total of 40 credits 180
1 120 credits (L7) Practice (L7) 240 [Opera
20 credits students]
Performance (L7)
Practice
60 credits (L7)
[Opera
students]
PGDip Principal Study Reflective 140 [no
120 credits (L7) Practice transfer to Part
20 credits 2]
(L7)
Part MPerf PS Projects Critique 180
2 MCom Portfolio 30 credits
p 150 credits (L7) (L7)
14. Teaching & Learning Methodology & Assessment

Strategy
14.1 General Approach
The teaching and learning strategies are designed to deliver the programme’s aims
through attainment of the programme’s learning outcomes. Students are engaged in
a combination of curriculum-based learning provision, and experiential learning
opportunities.
14.2 Teaching & Learning methodologies
The curriculum provision includes all the activities that are taught as part of the
degree and contribute to credits.
The teaching of the Principal Study in Part 1 is based on a core of individual one-to-
one lessons that are, according to the nature and need of different PS and pathways,
supported by PS-led classes and activities. The PS modules are a microcosm of
teaching and learning aimed at the specific artistic and professional development of
individual students. In Part 2 the intense work in one-to-one lessons and in PS
classes continues, according to specialisms, whilst at the same time students are
required to engage effectively with the artistic world outside the School.

Experiences in real professional contexts is seen as an integral part of the students’
development, and students are required to seek independent opportunities of
presenting publicly their Principal Study work. In both Parts, PS learning is regularly
monitored through individual meetings with departmental tutors.
PS work is supported by core modules (Reflective Practice in Part 1, and Critique of

Personal Development in Part 2) aimed at each student’s ability to evaluate their
own learning as well as artistic and professional development, in preparation for
further continuous independent learning once the degree is completed. This work is
supported by a number of core lectures on physical and psychological aspects of
high intensity music making, on understanding and interacting with the profession,
on refining research skills that enhance artistic and professional profile. This work is
supported by an individual mentor through a mix of group and individual sessions.
A number of specialised elective modules, ranging from performance-based to

academic-based, is offered to enhance learning and development in areas
connected and complementary to PS or additional to it.
Experiential learning includes all Principal Study related activities (e.g. solo,
ensemble and orchestral performances, workshops and master classes, open
sessions for composers) and academic/research events (e.g. attendance at
ResearchWorks) or cross-school projects which the School offers to the students on
a regular basis, in-house and in partnership with outside venues and organisations,
both in the UK and abroad. Some musicianship classes that are not part of the
credited curriculum (Ear Training and Musical Materials) can be also taken to
supplement and develop knowledge and skills.
English language classes are also offered to students, mostly non-native English
speakers, who want and need to develop and refine their use of their spoken as well
as their written language.
Students are also encouraged to undertake short-term study exchanges with

international institutions recognised through bilateral agreements with the School,
particularly within the EU Erasmus exchange scheme.
Programme assessment strategy
The main types of assessments are: practical examinations, written assignments and
individual presentations. Assessments are mostly based on the evaluation of product
(e.g. a performance event, a final written submission, an interview or viva voce).
The evaluation of assessment tasks is regulated by a set of assessment criteria

which are linked, on the one hand, to the learning outcomes and, on the other, to
specific types of learning ‘product’ (e.g. learning demonstrated through performance,
through artistic/creative output, through research, through reflection on experiences).

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The main focus of assessment is formative (for guiding progress) throughout, where
feedback is a key feature across all methods and modules. The number of
summative assessments (for evaluating learning) is kept each year to the minimum
necessary depending on the different learning and progression needs of the different
modules. Diagnostic assessments (for calibrating future learning) are carried out
specifically in relation to the allocation of students to electives (e.g. Conducting), or
to experiential activities (e.g. orchestral seating).
Most assessments lead to a discrete mark, but there are also pass/fail assessments.
Feedback is always included and, to encourage learning through the understanding
and critical evaluation of feedback, marks can be withheld and given upon request
only after a certain amount of time has elapsed. In these cases, an indication of
pass/fail is given at the same time as the feedback.
In addition to the information contained in the module specifications and in the

handbooks, the induction of students on assessment happens within the various
curriculum areas. Modes and practices of assessment are discussed and explained
in PS-based meetings for PS modules, or within each of the other modules.
Feedback to students
Informal verbal and written feedback (e.g. in performance platforms) is given to

students in all teaching and learning situations, both curriculum-based and
experiential-based. Formal feedback in assessment reports is given to students
immediately after a performance exam. For written assignments, the results are
communicated within six term weeks of the assignment deadline.
14.3 Guildhall Artist Masters Modules

Part 1
Core modules: students must take & pass all of the following: Notes
Title Credits Level
Principal Study 120 7
Reflective Practice 20 7
Performance Practice I & II (only for Opera students) 30 (year 7
1) and 30
(year 2)
TOTAL 140 (200
Opera)
Elective Modules: students must also pass at least 40 credits from the Notes
following:
Title Credits Level
Advanced Techniques in Composition A and B 10 each 7
Body Matters 10 or 20 7
Chamber Music 10 or 20 7
Social Arts Practice 10 or 20 7
Composition for Media 20 7
Conducting 20 7

Part 1
Contextual Studies: The Forbidden Saxophone 10 7

Electro-Acoustic Music 20 7
Historical Performance: Performance 10 or 20 7
Historical Performance: Principles and Research 10 or 20 7
Interpretation through Improvisation 20 7
Jazz Composition and Arranging (Jazz students 20 7
only)
Jazz Improvisation (Jazz students only) 20 7
Music, Philosophy and the Arts 20 7
Opera & Theatre A and B (singers only) 10 each 7
PianoWorks A and B (pianists only) 10 each 7
Research Project 20 or 40 7
Song accompaniment A and B (pianists only) 10 each 7
Vocal Repertoire A and B (singers only) 10 each 7
Voiceworks A and B (composers and singers only) 10 each 7
WBP Additional solo recital 20 7
TOTAL 40
Part 2
Title Credits Level
Principal Study portfolio 150 7
Critique of Personal Development 30 7
TOTAL 180
14.4 Extended Guildhall Artist Masters Modules

Graduate Certificate Year
Title Credits Level
GC Principal Study 90 6
Reflective Practice (GC) 20 7
TOTAL 110
Part 1
See above for details
Part 2
See above for details Notes

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15. Curriculum map relating programme learning outcomes to modules
Graduate Certificate Year
A A A A A A A A B B B B C C C C C C C C C D D D D D
1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 9 1 2 3 4 5
Principal Study               
Reflective                
Practice (GC)
Part 1
1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 9 1 2 3 4 5
Principal Study                 
Reflective                
Practice
Perform. Pract.      
(Opera)
Advanced Tech.          
in Comp.
Body Matters          
Chamber Music            
Coll. Pract.:                
cross-art
Coll. Pract.:                
education
Composition for           
Media
Conducting           
Con. Stds.           
Forbidden Sax

Part 1
Electro-Acoustic           
music
Inter. through          
Improv.
HP: Performance               
HP: Principles &               
Research
Jazz Comp. and           
Arranging
Jazz            
Improvisation
Music, Phil. and           
the Arts
Opera & Theatre            
PianoWorks            
Research Project           
Song            
Accompaniment
Vocal Repertoire            
VoiceWorks            
WBP add. solo            
recital
Guildhall Artist Masters Gold Copy 2021/22 Page 19 of 162

Part 2
1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 9 1 2 3 4 5
Principal Study                   
portfolio
Critique of                
Personal Dev.

16. Assessment Regulations
These regulations are in addition to the general assessment regulations for taught
programmes in the Academic Regulatory Framework covering Board membership,
attendance at examinations and submission of coursework (including late penalties),
extenuating circumstances, external examiners and academic misconduct.
16.1. Requirements to pass a module
To pass a module and acquire the associated credit, a student must complete all the
assessment components of the module and achieve an aggregate mark of no less than
50% (level 7) or 40% (level 6). Any Pass/Fail component must be passed.
The aggregate mark for a module is the aggregate of the marks for each component
listed in the Module Specification, weighted according to the specified percentage, and
assessed according to the stated FHEQ level (7 or 6) and associated criteria. If a
student has been assessed in more than the standard number of module components,
those with the highest results are used for calculation. Any module component
assessed with Pass/Fail is not considered for the numerical module aggregate.
Compensation of marks happens when the aggregate mark includes a marginal fail, but
the overall numerical result is a pass.
Compensation at module component level
• Compensation is not applicable to Principal Study module components.

• Only one failed component between 40% and 49% (L7) or 30%-39% (L6) is allowed
in any other module, provided the overall aggregate of the module is a pass.
All components scoring less than 40% (L7) or 30% (L6) do not meet sufficiently the
compensation margin of the Learning Outcomes and need to be re-sat even if the
overall aggregate of the module is a pass.
These compensation rules do not apply at module sub-component level in any module,
where fails below 40% (7) or 30% (6) can be compensated, apart from a fail for
academic misconduct (e.g. plagiarism, collusion).
Re-sit Provisions for a module or module components
In the case of a non-compensatable fail in a module component or of an overall module

fail, the School Board of Examiners requires a student to re-sit that component or
module and sets the date, time and format subject to the following conditions:
• The re-sit activity must be equivalent to the original task.

• A module component/module may be re-sat only once.

A student who successfully completes a re-sit is awarded the minimum pass mark for
the failed component. This minimum re-sit pass mark is aggregated to the mark(s) of
the passed component(s) according to the specified percentage for a full, and not
capped, final module mark. The only exception to this might occur for an academic
misconduct failure (e.g. plagiarism, collusion), see the Academic Regulatory Framework
for details (3.12).
Any failed module component assessed with Pass/Fail is treated following the above
rules in terms of re-sit provision.
16.2 Requirement to pass a year/part and to progress
To pass a year/part, acquire its associated credit and progress/access to the next
year/part, or progress to an award, a student must complete and pass all the modules
associated to that year/part. If a student has been assessed in more than the standard
number of modules (i.e. electives), those with the highest results are used for
calculation.
The aggregate mark for a year is the aggregate mark of the individual module marks
weighted proportionally to their credit values.
Compensation at programme level after fail at module re-sit attempt
If, having made a valid attempt at re-sit, a student fails up to 10 credits, compensation
provisions may be applied by the School Board of Examiners if the required Learning
Outcomes have nonetheless been achieved on the basis of the results of the re-sit and
of other modules/module components that share the same LOs. Where compensation is
applied to any module included in the calculation for an award (see 16.3 below), the
maximum classification awarded will be a Pass.
Progression
To progress from the Graduate Certificate Year to Part 1, a student needs to have
passed all modules of the GC and to have gained 60% minimum in the aggregate mark
of the PS module.
To progress from Part 1 to Part 2, a student needs to have passed all modules of Part
1, have gained 60% minimum in the aggregate mark of the PS module, and have
successfully submitted a plan for professional and artistic development for Part 2.

16.3 Award regulations
Interim awards
Graduate Certificate
A student who, at the end of the Graduate Certificate Year, successfully passes the
following modules for a total of 110 credits:
• GC Principal Study (90 credits)

• Reflective Practice (GC) (20 credits)
and ceases his/her studies, is considered for the award of Graduate Certificate [Grad
Cert] in Music. The result is the overall aggregate of the module marks weighted
according to their credit value. The classification shall be determined as follows:
Classification Minimum %
With Distinction 70%
With Merit 60%
Pass 40%
PGDip
A student who, at the end of Part 1, successfully passes the following modules for a
total of 140 credits:
• Principal Study (120 credits)

• Reflective Practice (20 credits)
and ceases his/her studies, is considered for the award of Postgraduate Diploma
[PGDip] in Music. The result is the overall aggregate of the module marks weighted
according to their credit value. The classification shall be determined as follows:
With Merit 60%
Pass 50%

Final Awards
MMus
A student who, at the end of Part 1,
i) completes and passes the following modules for a total of 180 credits:
• Principal Study (120 credits)
• Reflective Practice (20 credits)
• Electives (40 credits in total), and
ii) for the Opera specialism only, has passed the additional 60 credits of the
Performance Practice module credits,
and
iii) ceases their studies,
is considered for the award of Master of Music [MMus]. The result is the overall
aggregate of the module marks weighted according to their credit value (excluding the
Performance Practice credits). The classification shall be determined as follows:
With Merit 60%
Pass 50%
MPerf, MComp
A student who, at the end of Part 2, completes and passes the following modules for a
total of 180 credits:
• Performance Portfolio (150 credits)

• Critique of Personal Development (30 credits)
and has achieved all 180 credits of Part 1, will be considered for one of the following
awards:

Master of Performance [MPerf (Guildhall Artist)] or Master of Composition
[MComp (Guildhall Artist)]
The result is the overall aggregate of the module marks weighted according to their
credit value. The classification shall be determined as follows:
With Merit 60%
Pass 50%
Concert Recital Diploma (CRD) and Starred Award
For exceptional performance in a specified assessment.
Final year Performance students [MMus, or MPerf] achieving 80% or more in their
Performance B (for MMus) or Performance A (for MPerf) will be eligible for the Concert
Recital Diploma. Final year Repetiteur students {MMus or MPerf] will receive a starred
award for achievement of 80% or more in Performance B (for MMus) or Performance A
(for MPerf). Final year Composition students [BMus (Hons), MMus or MComp] will
receive a starred award for achievement of 80% or more in their composition portfolio.
A student can only get one Concert Recital Diploma / starred award for the Guildhall
Artist Masters programme; if a student achieves a CRD in Part 1 they will not be eligible
in Part 2. No CRDs for other exit qualifications.
16.4 Resit charges
There is a charge for each module or module component that needs to be retaken.
These charges are given in full in the Guildhall Artist Programme Handbook at the
beginning of each academic year. For more details, see also Academic Regulatory
Framework (3.10).
16.5 Failure of a year and the award of a lower level qualification
Where a student fails to meet the requirements for a particular year/part, having
exhausted all re-sit opportunities at module component or module level, but satisfies the
requirements for an interim award (Grad Cert, or PGDip for Part 1) or of the preceding
part (Part 1 for Part 2), the student may be considered by the School Board of
Examiners for an interim or lower level qualification.

16.6 Fail Withdraw
Where a student fails to meet the requirements for a particular year/part and is not
eligible for the award of an interim/previous part/year qualification, the School
Assessment Board will require the student to withdraw from the programme.
16.7 Periods of registration
The minimum and maximum periods for consideration for an award listed in 16.3 is as
follows:
Award Min. Period Max. Period
MPerf & MComp Min. period: 2 years Max. 4 years (5 years extended prog)
FT*
MMus Min. period: 1 year Max. 3 years (4 years extended prog)
FT*
PGDip Min. period: 1 year Max. 2 years (3 years extended prog)
FT*
Graduate Min. period: 1 year FT Max. 2 years
Certificate
The maximum period of study will include any repeat year and/or periods of deferral or
interruption.
* The minimum period may be reduced where a student has transferred from a relevant
programme offered by another higher education institution, see Academic Regulatory
Framework (2; 3.2.1).
16.8 Parts of the programme and mode of attendance
Part 1 of the Programme (leading to MMus and PGDip awards) is delivered on a one
year full-time or two years part-time basis, with the exception of the Opera Specialism
which is two-years FT only.
Where applicable, a student may apply to change from full-time to part-time status at
any point up until the 25 November in the autumn term. Transfer after this date, and up
to the end of the second term, will only be permitted for exceptional
professional/academic reasons supported by written statements from the Head of
Principal Study Department, obtained by the students themselves.
The Graduate Certificate year and Part 2 are available only on a one-year full-time basis

16.9 Scheduling of Assessment
The overall assessment schedule for all modules is published in the Guildhall Artist
Programme Handbook and available on-line to students at the beginning of the
academic year. Students are also given the complete schedule of their individual
assessments for the year by the middle of term 1.
The only exception to this is two of the three PS assessment projects in Part 2, which
are devised and scheduled by students themselves according to a specific process
supervised by the School (see 16.14)
16.10 General Assessment Principles
i) All assessment requirements and guidelines are included in the module

specifications or in the Programme and departmental handbooks.
ii) A student may not count a formal assessment for more than one module or
module component during the full duration of the Programme. This applies to
both pieces and written assignments. See Academic Regulatory Framework
(3.8.4). This normally applies to an internal student continuing from BMus to
the Guildhall Artist Masters, but exceptions in PS are possible for artistic,
professional and developmental reasons, and cleared by the Head of
Department.
iii) Reasonable adjustments in the assessment arrangements are made by the
School in the case of students with disabilities. In these cases, considered on
an individual basis, the Music Department liaises closely with the Student
Affairs Department.
iv) In certain situations, mostly to do with medical or professional extenuating
circumstances, the Music Department and the student affected agree on a
Special Scheme of Study that is approved by the Academic Board. This
scheme sets out how the necessary Learning Outcomes are met and
assessed.
16.11 General assessment regulations for recitals and submissions
i) Length of recitals. Specific time requirements are indicated for each Principal
Study final recital in departmental handbooks, they normally are taken from when
the student first plays (including tuning) to when the applause for the final piece
begins. The following penalties apply if recitals are either too long or too short:
a. A recital more than 5 minutes short of the minimum requirement is
penalised by 1 mark per minute starting at 6 marks for 6 minutes short.

b. A recital that exceeds the maximum time by 5 minutes is penalised by 5
marks, and may be terminated at the discretion of the panel chair.
ii) Specific length requirements (as minimum and maximum word-counts) are
indicated for each written submission in the programme or departmental
handbooks; 1 point is deducted for being 1 word under or over the specified word
limit; another point is deducted for every further 100 words.
iii) All written submissions must be presented with:
a. a cover sheet that includes factual information on the assignment (module
and/or module component title, student’s name, tutor’s name, assignment
title and word count) and the following statement:
“I certify that the coursework that I have submitted is my own unaided
work, and that I have read, understood and complied with the guidelines
on plagiarism as set out in the programme handbook. I understand that
the School may make use of plagiarism detection software and that my
work may therefore be stored on a database which is accessible to other
users of the same software. I certify that the word count declared is
correct.”
b. Standard academic protocols Appropriate to the nature of the submission.
These may include citations, footnotes and bibliographies.
iv) Any suspected academic misconduct (e.g. plagiarism, collusion) will be
considered under the School’s academic misconduct procedures, see Academic
Regulatory Framework (3.11).
16.12 Assessment Procedures
i) In practical examinations, including Principal Study, chamber music, interviews

and lecture recitals, the examining panel includes at least two members of staff,
of which at least one is from the Department in charge of the module. In the case
of chamber music, the panel evaluates student performance alongside any other
student input according to the specific assessment format of the module.
ii) In GC and Part 1 Final Recital, the panel includes a senior member of the Music
Division (normally as chair), a senior member of the Principal Study department
and an External Assessor specialist in the Principal Study.
iii) Part 2 Principal Study assessments adhere to the following structure:
a. Students need to complete three PS projects.
b. These are categorized as:
Project A is set by the School and is comparable to a final
recital/submission in scope and focus and assessment structure (see
above)
Project B is organized by the student (or, in some circumstances,
proposed by the School), and can be either in a School venue or external,

including abroad
Project C is organized by the student and must be in an outside venue,
including abroad.
The scope of projects B and C ranges considerably to include artistic and
professional set ups relevant to each pathway. In the relevant handbooks
there are suggestions on what these might be.
c. By the end of the autumn term, students submit for the School’s approval
their proposed programmes/contents (all projects) and venues (projects B
and C); these can be submitted as work in progress.
d. The three projects must be normally completed by August of the academic
year to give time to the assessment and moderation processes to be
finalized.
iv) Part 2 Projects B and C are assessed by one (or more) internal or external
assessor(s) proposed by the student and approved by the School. The student
must also arrange the recording (audio or video) for moderation purposes.
a. The appointment of an assessor for projects B and C will be as follows.
The student approaches informally the assessor(s) and submits to the
School the assessor’s CV that will need to demonstrate considerable
professional/pedagogical experience at international level. The School
approves/rejects the proposal (this is normally done by the Head of
Department and Head of Music Programmes in consultation). The
approved assessor is then contacted by the School (normally the Music
Office) for confirmation of appointment, for supplying the assessment
requirements, reports and criteria, for receiving back the report and for
paying the assessment fee.
v) Moderation of the recordings is undertaken by a senior member of the PS
department, or of the Music Department, for all projects marked by one assessor
only, whether external or internal.
vi) In the case of written assessments, after the first marking, a number of
submissions may be selected for moderation according to marking categories,
the nature of the assignment and the module and HE level. These are internally
moderated by a member of staff or by a moderating panel.
a. In each case, the final result is decided in consultation with the first marker
and the internal moderator or moderating panel.
vii) The evaluation of assessment tasks is calibrated by a set of five assessment
criteria which are linked to specific types of learning ‘product’. Learning assessed
through performance (e.g. performance pathway), through composition
(composition pathway), through reflection on personal and professional
experiences (e.g. core modules of Reflective Practice Part1 and Critique of
Personal Development Part2), through academic-type research (e.g. Electives),

through completion of artistic/creative tasks (e,g, Electives). Any part of the
curriculum assessed at level 6 (e.g. PS of the Graduate Certificate) adopts the
relevant BMus criteria.
viii)Pass/Fail elements of the curriculum are assessed using the same criteria both in
terms of the pass/fail threshold and in terms of the language used in the
feedback. Some pass/fail elements are based on achieving a certain rate of
success in practical tasks. These are detailed in the syllabus of each relevant
element of the curriculum (e.g. Performance Practice modules for Opera
students).
16.13 Feedback to students after assessments
i) The School endeavours to provide students with written formative and

summative feedback within a reasonable time scale after the assessment and
moderation tasks are completed. This applies to both practical exams and written
submission. Normally, practical exam reports (e.g. performance exams) are
individually communicated within a few days of the assessment event. Written
work reports take longer because of the various processes that need to take
place: marking, moderation and external scrutiny. Formative feedback on draft
versions of written work that directly contributes to the student’s learning and to
the improvement of submissions is given regularly orally and sometimes in
written format. Summative final written feedback and assessment reports are
normally available to students after the equivalent of six term weeks from the
submission.
ii) Results in the form of grades that a student may receive during the year will be
provisional until they have been agreed by the relevant School Board of
Examiners and the Pass List has been signed the Head of Registry Services (or
successor). The Music Programme Assessment Board considers marks and re-
sit provisions on an interim basis for module components taken during the
academic year (e.g. PS mid-year exams) that, for learning reasons, if failed may
need to be re-sat before the end-of-year exam can be taken.

17. Principal Study Modules
17.1 Graduate Certificate: Principal Study in Performance
1. Module Title Graduate Certificate: Principal Study in

Performance
2. FHEQ level 6
3. Credit Value 90
4. SITS module code PER4003N
5. Location of Delivery Guildhall School
6. Applicable in the year of study Grad Cert Year only
7. Module Leader Heads of PS Department
8. Department Relevant PS Departments
9. Aims of the Module
This module is at the centre of teaching and learning of the Graduate Certificate Year of
the Performance Pathway of the Extended Guildhall Artist Programme. It is aimed at
students who are not yet at the required level for Part 1 Principal Study module but have
the potential of reaching that level by the end of the academic year.
It can be taken in one of the following professional specialisms: Advanced Instrumental

Studies, Vocal Studies, Chamber Music, Piano Accompaniment, Jazz and Historical
Performance Practice. It is run by the relevant principal study department.
This module aims to:
• Develop students’ technical and artistic capacity for performance in individual

and/or ensemble contexts appropriate to their specialisms, at the FHEQ level
required to access Part 1 of the programme.
• Equip students with appropriate expertise which can be used in appropriate
contexts.
• Develop students’ confidence, independence and self-reliance necessary for a
life of changing professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their needs
so that they can feel confident in identifying and understanding their own artistic
vision.

• Develop in the students appropriate communication and interaction skills in
relation to audiences and performance partners.
10. Teaching & Assessment Methodology
This module consists of one-to-one lessons, coaching, masterclasses and other

departmental activities for the development of the students’ technical preparation,
repertoire and stylistic knowledge, artistic insight and individual imagination. Students
are also involved in solo and ensemble experiential learning opportunities, usually
through intensive projects.
There are four assessment components:
• Two solo exams: Mid-Year and End-of-Year.

• Two further assessment tasks relevant to specialisms and needs of individual
students.
These are selected, in negotiation with the principal study professor and the Head of
Department, among BMus 3 and 4 principal study assessment components and/or for
singers, assessed
Vocal Studies projects. Classes other than PS based (e.g. electives) can also be used if
appropriate.
The teaching and assessment patterns, and the repertoire/ technical requirement are
specific to each principal study and to the above mentioned specialisms, and are
included in detail in the relevant PS handbooks.
Informal formative feedback is provided verbally by the principal study professor, and
also on platform performances by other departmental professorial staff.
11. Learning outcomes: Please refer to the Programme Specification

A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4
12. Module Pattern
a) Scheduled Teaching & Learning hours

Type Contact Hours (average) *
One- to –one class 45
Practical classes 62
Supervised time in 125
studio/workshop/productions/rehearsals (ensembles)
b) Assessment
KIS Assessment Detail KIS % % Pass
Type code Weighting Mark

12. Module Pattern
Practical skills Mid-Year solo exam KPE 20 40

assessment (length varies according
to PS)
Practical skills End-of-Year solo exam KPE 60 40
to PS)
Set exercise Individual set KPE 10 40
performance exercises or
other
Set exercise Individual set KPE 10 40
performance exercises or
other
c) Independent Study hours Notional Hours
Personal practice/study 668
d) Total student learning hours for module 900
* Exact hours vary by principal study specialism - see page 130
13. Reading & Resources
Principal Study professors advise repertoire in the Principal Study area to students
individually. Principal Study teachers and chamber music coaches also advise
ensemble repertoire to ensembles. Scores and recordings for most standard repertoire
works and many lesser-known works are located in the Guildhall School Library.
Students are encouraged to use Urtext scores whenever possible.

17.2 Principal Study in Performance (Part 1)
1. Module Title Principal Study in Performance (Part 1)
2. FHEQ level 7
3. Credit Value 120
4. SITS module code PER4004
6. Applicable in the year of study Year 1
This module is at the centre of teaching and learning of Part 1 of the Performance
Pathway of the Guildhall Artist Programme. For students on the Extended Guildhall
Artist Programme, the prerequisite for this module is 60% minimum in the aggregate
mark for the GC Principal Study in Performance module.
It includes the following professional specialisms: Advanced Instrumental Studies, Vocal

Studies, Opera Studies, Chamber Music, Piano Accompaniment, Jazz and Historical
Performance Practice. It is run by the relevant principal study department.
• Develop students’ technical and artistic capacity for performance at professional

level, in individual and/or ensemble contexts appropriate to their specialisms.
• Equip students with appropriate expertise to be used in a broad range of
imminent professional contexts.
• Develop students’ confidence, independence and self-reliance necessary for a
life of changing professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their needs,
so that they can feel confident in identifying and understanding their own artistic
vision.
relation to audiences and performance partners.

It consists of one-to-one lessons, coaching, masterclasses and other activities for the
development of the students’ technical preparation, repertoire and stylistic knowledge,
artistic insight and individual imagination. Students are also involved in solo and
ensemble experiential learning opportunities, usually through intensive projects.
The assessment consists of a mid-year and end-of-year exam.
The teaching and assessment patterns, and the repertoire/technical requirements are
specific to each principal study and to the above-mentioned specialisms and are
included in detail in the relevant PS handbooks.

A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4
12. Module Pattern

Type Contact Hours (average) *
One- to –one class/tutorial 47
Practical classes/workshops 125
studio/workshop/productions/rehearsals
b) Assessment
Practical skills Mid-Year Assessment KPE 30 50
to PS)
Practical skills End of Year Assessment KPE 70 50
to PS)

Principal Study professors advise repertoire in the Principal Study area to students
individually. Principal Study teachers and chamber music coaches also advise
ensemble repertoire to ensembles. Scores and recordings for most standard repertoire
works and many lesser-known works are located in the Guildhall School Library.
Students are encouraged to use Urtext scores whenever possible.

17.3 Performance Portfolio (Part 2)
1. Module Title Performance Portfolio (Part 2)
2. FHEQ level 7
3. Credit Value 150
4. SITS module code PER4005N
5. Location of Delivery Internal and External
6. Applicable in the year of study Year 2
This module is at the centre of teaching and learning of Part 2 of the Performance
Pathway of the Guildhall Artist Programme. Prerequisites for this module are:
• a minimum final aggregate of 60% in Principal Study in Performance (Part 1).

• submission by the end of the Spring Term of Part 1 of a successful plan of artistic
and professional development for Part 2.
It includes the following professional specialisms: Advanced Instrumental Studies, Vocal

Studies, Opera Studies (including Repetiteur), Chamber Music, Piano Accompaniment,
Jazz and Historical Performance Practice. It is run by the relevant principal study
department.
• Develop the students to their highest individual level of technical abilities,

interpretative insight and artistic vision.
• Develop in students a comprehensive understanding of, and demonstrable capacity
for, the preparation and performance of material relevant to their specialisms and to
professional performance contexts.
• Assist students to be innovative and intensely self-challenging within their field of
expertise.
• Support students in developing self-direction in tackling and solving performance
related challenges.

• Support students in planning and implementing projects, either through independent
action or as an autonomous member of an appropriate project team or ensemble.
This module consists of one-to-one lessons, coaching, masterclasses and other

activities for the development of the students’ technical preparation, repertoire and
stylistic knowledge, artistic insight and individual imagination. Students may, if agreed
with their principal study head of department, attend a range of departmentally based
classes. Students are also involved in solo and ensemble experiential learning
opportunities, usually through intensive projects.
The assessment of the module consists of three components:
• Performance A (55-65 minutes' performance duration for AIS; 45-60 minutes'

performance duration for students on the vocal training course; for wind, brass
and percussion, a programme of 45-60 minutes duration, containing not less than
35 minutes of music). For all students, the inclusion of a short interval is at the
discretion of the student, and will be included in the overall performance time.
• Performance B (20 minutes minimum), a performance organised by the student
(or, in some circumstances, proposed by the School), and that can be either in a
School venue or external, including abroad.
• Performance C (20 minutes minimum), a performance organised by the student
and that must be in an outside venue, including abroad.
While Performance A is comparable to a final recital or an operatic role for opera

students, the scope of projects B and C ranges considerably to include artistic and
professional situations relevant to each specialism, for instance concerto performances,
chamber music or leading role in orchestra (first parts; not applicable to WBP)., opera
scenes. These are clearly defined in the PS relevant handbooks.
By the end of the Autumn Term, students submit a proposal for the three performance
projects for assessment. The proposal must be supported by a short statement
(approximately 500 words) to describe and justify the artistic and professional nature of
these performances in relation to the students’ own development and aims. No
repertoire can be repeated as part of the assessment package, including pieces
assessed in the Graduate Certificate year or in the Masters Part 1. The proposal is
evaluated and approved by the Head of Department and the Head of Music
Programmes in consultation.
• Performance A is assessed by a panel set up by the School.

• Performances B and C are assessed by one (or more) internal or external
assessor(s) proposed by the student and approved by the School. The student

must also arrange the recording (audio or preferably video) for
moderation/double marking purposes.
The appointment of an assessor for performances B and C is as follows. The student

approaches informally the assessor(s) and submits to the School his/her CV that needs
to demonstrate considerable professional/pedagogical experience at international level.
The School approves/rejects the proposal (this is normally done by the Head of
Department and Head of Music Programmes in consultation). The approved assessor is
then contacted by the School (normally the Music Office) for confirmation of
appointment, for supplying the assessment requirements, reports and criteria, for
receiving back the report and for paying the assessment fee.

A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4
12. Module Pattern

Type Contact Hours (average)*
b) Assessment
Practical skills Performance A (length KPE 40 50
assessment varies according to PS)
Practical skills Performance B (min 20 KPE 30 50
assessment minutes)
Practical skills Performance C (min 20 KPE 30 50
assessment minutes)
The individualised nature of study within this module means that students will be
pursuing specific material themselves in association with their Principal Study teachers
and heads of departments. The library holds an appropriately wide range of audio and

audio-visual resources as well as a comprehensive range of scores and reference
literature.

17.4 Principal Study in Orchestral Artistry (Part 1 and Part 2)
Delivered in association with the London Symphony Orchestra
1. Module Title Principal Study in Orchestral Artistry

(Part 1 and Part 2)
2. FHEQ level 7
3. Credit Value Part 1 120
Part 2 150
4. SITS module code Part 1 ORC4005
Part 2 ORC4006
6. Applicable in the year of study Years 1 and 2
7. Module Leader Director of Music
8. Department Strings and WBP
The Orchestral Artistry specialisation is available for Violin, Viola, Cello, Double Bass,
Harp, Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Tuba, Timpani
and Percussion.
The module can only be taken full time, both in Part 1 and in Part 2.
Admission to the module in Part 1 consists in fulfilling the general process of admission
into the Guildhall Artist Programme including, where appropriate, progression from the
Graduate Certificate year.
Progression from the Graduate Certificate will not, however, guarantee automatic
access to the module. In this case, the Graduate Certificate year Final Recital may also
be used as the audition, or a separate audition may be arranged prior to the
commencement of the module.

Progression to the module Part 2 is subject to the general Guildhall Artist conditions:
• Successful completion of all assessment tasks of Part 1;

• Achievement, in the Principal Study assessments of Part 1, of a 60% minimum in the
final aggregate;
• Submission by the end of the Spring Term of Part 1 of a successful plan of artistic
and professional development for Part 2.
• Provide the technical skills to deliver high levels of performance as an orchestral and
ensemble player.
• Promote a deep understanding through practical experience of the professional
landscape that students are about to enter and an appropriate level of knowledge
and skill to excel within it.
• Develop a clear understanding of how to communicate through music at emotional,
intellectual, verbal, and virtual levels, to both specialist and non-specialist audiences
and to articulate musical processes and experiences in a manner which
demonstrates self-awareness and research capacity.
• Encourage a strong personal and ethical code of conduct.
• Establish a process of continuing refinement of personal and artistic development,
integrating a high level of physical fitness and mental preparedness underpinned by
knowledge of the psychological and physiological aspects of the profession.
• Foster a sense of enquiry towards one’s life and the ability to learn for oneself with
clear career objectives and the ambition, confidence and drive to achieve them.
• Advance an entrepreneurial skills base that reflects the needs of the 21st Century
professional musician including knowledge and experience of pedagogy and
community education work, specialist or additional knowledge in both advanced
techniques for new music and historically informed interpretation, planning and
promotion of concerts and educational work.
The module is delivered in association with the London Symphony Orchestra. In

addition, members of the Barbican International Associates (Concertgebouw, Leipzig
Gewandhaus Orchestra, Los Angeles Philharmonic and New York Philharmonic
Orchestra) deliver a number of masterclasses as part of their residences. There are
also opportunities for one-off projects with their artistic directors.
OA students have opportunities to take part in chamber orchestra repertoire sessions,

side-by-side with LSO players, as well as Guildhall instrumental ensembles, and

Guildhall Symphony Orchestra and Opera projects, alongside students from other
Guildhall courses.
The content is divided into three main areas of learning; the first two are assessed in
Parts 1 and 2, the third is assessed in projects B and C of Part 2:
1. Principal Study – one to one tuition by Guildhall professors and those LSO
players on the Guildhall staff, masterclasses from LSO players and LSO
international soloists. Over the course of two years every student receives a
minimum of one audition per year with a panel of LSO players, which may be
filmed, with immediate verbal feedback.
2. Chamber & Orchestral ensemble training – classes and sectionals delivered by
both LSO players and Guildhall professors. It includes:
a. Repertoire training, covering a selection from the core symphonic and
large chamber repertoire.
b. Sight reading training.
c. Ensemble training – orchestral technique and professional orchestra code
of conduct.
3. Leadership, Entrepreneurial and Communication Skills - artistic as well as
pedagogical and educational leadership skills, within the context of Creative
Learning and LSO/LSO Discovery projects. This includes:
a. Leadership training for curating, planning, promoting and delivering
concert and education work.
b. Principal training, including group conducting lessons.
c. Education and outreach delivery, in contexts including Junior Guildhall and
the Centre for Young Musicians. Two forms of training are offered:
Instrumental coaching and Workshop leadership. Within both forms,
students shadow/observe and participate alongside LSO players (and
others) in Part 1, and then deepen their experience of hands-on
leadership/ teaching in Part 2.
Students are also given the opportunity, where appropriate, to play in LSO schools and
family concerts, and in conducting masterclass series, and to sit onstage in LSO
rehearsals. LSO players also play side by side in student rehearsals or public
workshops.
The assessment follows the pattern of the Guildhall Artist Programme.
Part 1 consists of two exams, Assessment A and Assessment B. These are both
orchestral auditions.
Part 2 consists of three projects, as in the general Performance Principal Study module,

but with the following specific requirements:
o Project A is an orchestral audition;

o Project B (20 minutes minimum), a performance organised by the student (or, in
some circumstances, proposed by the School), and that can be either in a School
venue or external, including abroad.
o Project C (20 minutes minimum), a performance organised by the student and
that must be in an outside venue, including abroad.
Possibilities for Projects B and C include solo recitals, Chamber music, leading part in
orchestral concerts (for C only external concerts).
Formative Assessment, in addition to that available normally with exam and platform
reports, also includes verbal feedback from LSO players.

A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4
12. Module Pattern (Parts 1 and 2)

Type Total contact hours for each Part
One-to–one lessons 48*
Practical classes
Orchestral sectionals 63
Orchestral Concerts 6 (3 concerts in total)
LSO & International Artists Masterclasses 6 + 12
Classes (repertoire, sight reading) 60
Coaching 14
Mastering auditions 20 mins
Supervised time in studio/workshop/ 12 (part 1)
productions/rehearsals 24 (part 2)
b) Assessment
Assessment Detail KIS % % Pass Mark
Type code Weighting
Part 1
Practical skills Assessment A: Orchestral KPE 30 50
assessment audition (WBP 25 mins;
Strings 30 mins)
Practical skills Assessment B: Orchestral KPE 70 50
assessment audition (WBP 30 mins;
Strings 40 mins)
Part 2
Practical skills Project A: Orchestral KPE 40 50
assessment audition

12. Module Pattern (Parts 1 and 2)
(WBP 30 mins; Strings 40

mins)
Practical skills Project B: Performance KPE 30 50
assessment (minimum 20 mins)
Practical skills Project C: Performance KPE 30 50
assessment (minimum 20 mins)
Personal practice/study (Part 1) 979
Personal practice/study (Part 2) 1267
d) Total student learning hours for module
(Part 1) 1200
(Part 2) 1500
Repertoire in use in orchestral projects and for orchestral auditions is defined according
to the instrument and usually include a range of repertoire from the Classical period
through to the present.

17.5 Graduate Certificate: Principal Study in Composition

Composition
2. FHEQ level 6
3. Credit Value 90
4. SITS module code COM4033
5. Location of Delivery Guildhall School of Music & Drama
6. Applicable in the year of study Grad Cert Year only
7. Module Leader Associate Head of Composition (PG)
8. Department Composition
This module is at the centre of teaching and learning in Composition of the Graduate
Certificate Year of the Guildhall Artist Programme. It is aimed at students who are not
yet at the required level for Part 1 Principal Study module but have the potential of
reaching that level by the end of the academic year.
• Develop students’ technical and artistic capacity for composition at FHEQ level
required to access Part 1 of the programme, in both original composition and a
range of supporting subjects.
• Equip students with appropriate expertise which can be used in professional
contexts.
• Develop students’ confidence, independence and self-reliance necessary for a life of
changing professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their needs so
that they can feel confident in identifying and understanding their own artistic vision.
• Develop in the students appropriate communication and interaction skills in relation
to performers and audiences.
It consists of one-to-one lessons, workshops and classes in relevant supporting

subjects, including Historical Techniques of Composition, Electronic Music/Music

Technology and Analysis, and other departmental activities necessary for the
development of the students’ technical preparation, repertoire and stylistic knowledge,
artistic insight and individual imagination.
There are four assessment components.
• Two folios of Original Composition: at Mid-Year and End-of-Year to include written

commentaries of 100 words per minute of music.
• Two folios of supporting material in Historical Techniques, Electronic Music and
Analysis. The precise content of these is selected according to individual students’
needs, in negotiation with the principal study professor and the Head of Department,
from among BMus 3 and 4 principal study assessment components, described in
detail in the relevant handbook.
Informal formative feedback is provided by the principal study professor and with
feedback in workshops.

A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4
12. Module Pattern

Type Contact Hours
b) Assessment
Portfolio Mid-Year Original KCW 20* 40
Composition folio
Portfolio Mid-Year Supporting KCW 20 40
Studies folio
Portfolio End-of-Year Original KCW 40* 40
Composition folio
Portfolio End-of-Year Supporting KCW 20 40
Studies folio
*weighting subdivided Compositions 95% and Commentaries 5%

Principal Study teachers advise repertoire in the Principal Study area to students
individually. Classes use texts relevant to the subjects studied, as outlined in the
Composition Department Handbook. The Library has a seminar room with 6 work
stations specifically for composers.
Title Author Publisher Year
Thesaurus of Scales and Slonimsky, N Music Sales 1999
Melodic Patterns
Counterpoint Piston, DeVoto Gollancz 1949
Theory of Harmony Schoenberg, A Faber 1978
(1922)
Fundamentals of Musical Schoenberg, A Faber 1970
Composition
A Guide to Musical Analysis Cook, N Oxford University 1987
Press
The Study of Orchestration Adler, Samuel Norton 1989
Essentials of Music Copying Homewood, Music Publishers’ 1990
Matthews Association
Electronic and Computer Manning, P Oxford University 2003
Music Press
Basic MIDI White, P Faber Paperbacks 2000
Experimental Music Cage and Michael Nyman Cambridge University 1974

Beyond Press
Audio Culture: Readings in Cox & Warner Continuum 2004

Modern Music (ed.)
Silence Cage, John Marion Boyars 1968
A Very Short Introduction to Cook, N Oxford University 1998
Music Press
Introduction to Post-Tonal Joseph N. Pearson Prentice Hall 2004
Theory Straus
Stravinsky's Late Music Joseph N. Cambridge University 2001
Straus Press
Stocktakings from an Pierre Boulez OUP 1991
Apprenticeship
Music Notation Gardener Read Crescendo 1979
Behind Bars Elaine Gould
Ashgate Companion to ed. James
Experimental Music Saunders

17.6 Principal Study in Composition (Part 1)
1. Module Title Principal Study in Composition (Part 1)
2. FHEQ level 7
3. Credit Value 120
6. Applicable in the year of study Part 1 only
This module is at the centre of teaching and learning in composition in Part 1 of the
Guildhall Artist Programme. For students on the Extended Guildhall Artist Programme,
the prerequisite for this module is achievement of 60% minimum in the aggregate mark
of the GC Principal Study in Composition module.
• Develop students’ technical and artistic capacity for composition at professional level
in a range of artistic settings.
• Equip students with appropriate expertise to be used in a broad range of imminent
professional contexts.
• Develop students’ confidence, independence and self-reliance necessary for a life of
changing professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their needs, so
that they can feel confident in identifying and understanding their own artistic vision.
• Develop in the students appropriate communication and interaction skills in relation
to collaborators, performers and audiences.
This module consists of one-to-one lessons, seminars, workshops, masterclasses and

other activities for the development of the students’ technical facility, repertoire
knowledge, artistic insight and individual imagination. Students are also involved in
collaborative experiential learning opportunities, usually by intensive projects.

The assessment method consists of a folio of five contrasting works created during the
year, at least three of which have been composed in response to school-based
commissions, the folio to include written commentaries (100 word per minute of music),
and a viva voce with a panel that includes the External Examiner and an internal
member of staff, to be held towards the end of the period of registration.
Informal formative assessment is provided by the principal study professor through oral
feedback and feedback from workshops.

A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4
12. Module Pattern

Type Contact Hours
Seminar 60
b) Assessment
Portfolio Composition Folio (five KCW 90 50
contrasting pieces)
Portfolio Written Commentaries KCW 5 50
(100 words per minute)
Oral assessment End-of-Year Viva KPE 5 50
Self-directed group rehearsal/study 29
Principal Study teachers and visiting seminar leaders advise students on a variety
of suitable resources, depending on the relevant commission or research topic.
These can range from texts on aspects of compositional technique to recordings
and scores of exemplar works relevant to the commission being undertaken. The
Library has a seminar room with 6 work stations specifically for composers.
Title Author Publisher Yea
r
Melodic Patterns 9


9
8
(19
22)
Composition 0
9
Essentials of Music Copying Homewood, Music Publishers’ 199
Matthews Association 0
Electronic and Computer Music Manning, P Oxford University 200
Press 3
0
Experimental Music Cage and Michael Nyman Cambridge 1974
Beyond University Press
Audio Culture: Readings in Cox & Warner Continuum 2004
Modern Music (ed.)
A Very Short Introduction to Cook, N Oxford University 1998
Music Press
Introduction to Post-Tonal Joseph N. Straus Pearson Prentice 2004
Theory Hall
Stravinsky's Late Music Joseph N. Straus Cambridge 2001
University Press
Apprenticeship

17.7 Composition Portfolio (Part 2)
1. Module Title Composition Portfolio (Part 2)
2. FHEQ level 7
3. Credit Value 150
5. Location of Delivery Internal and External
6. Applicable in the year of study Part 2 only
This module is at the centre of teaching and learning in composition of Part 2 of the
Guildhall Artist Programme. Prerequisites for this module are:
• a minimum final aggregate of 60% in the Principal Study in Composition (Part 1).
• submission by the end of the Spring Term of Part 1 of a successful plan of artistic
and professional development for Part 2, and interview.
• Develop the students to their highest individual level of creative ability and artistic
vision.
• Encourage to question the boundaries of music practice and to understand the
implications of the multi-disciplinary nature of music for contemporary creation,
innovation and research.
• Develop in students a comprehensive understanding of, and demonstrable capacity
for, the development of material which fulfils their artistic and aesthetic aims, in
professional performance contexts.
• Assist students to be innovative and intensely self-challenging in the development of
creative platforms for the presentation of their work
• Support students in developing self-direction in tackling and solving challenges
relating to the performance and presentation of their work
• Support students in planning and implementing projects, either through independent
action or as an autonomous member of an appropriate project team.

• Develop in the students the ability to communicate clearly and effectively to both
specialist and non-specialist collaborators, performance partners and audiences.
This module consists of one-to-one lessons, seminars, workshops and other activities
for the development of the students’ technical facility, repertoire knowledge, artistic
insight, individual creative imagination and capacity for experiment and innovation
through creative collaboration.
The assessment of the module consists of three principal components, that combine the
following requirements:
• One item should be generated by an internal Guildhall School performance

opportunity.
• One item should be an external opportunity generated by the student, in consultation
with departmental staff, which may draw on one the School’s external partners.
• One item should be in some sense collaborative and may involve collaboration with
an artist or artists from other disciplines
• One item should be performed in the context of a creative platform event, devised
and curated by the student in consultation with departmental staff. The platform
opportunity might involve contributions from other Guildhall students (in
Performance, Leadership or Composition), students from other institutions and/or in
other disciplines. The output will be assessed in terms of its success in the context
of the complete performance event.
The student is free to negotiate the precise configuration of their items for assessment
using these parameters, but the total duration of material submitted should not be less
than 30 minutes. Each item will be equally weighted (30%) within the folio.
By the end of the Autumn Term, students submit a proposal for the creative platform
event. The proposal must be supported by a short statement (approximately 1000
words) to describe and justify the artistic and professional nature of this event in relation
to the students’ own development and aims. The proposal is evaluated and approved by
the Composition Department.
Submissions must be accompanied by written commentaries (100 word per minute of

music) for each piece, a CD recording, or a DVD recording for projects involving a
visual, theatrical or choreographic element, and are assessed by a panel appointed by
the School according to the standard procedures. The item performed within the
creative platform event is assessed live by an examiner and internally moderated by a
senior member of the Music Department and the External Examiner by DVD recording.

Informal formative feedback is provided by the principal study professor with oral
feedback and feedback from workshops.

A1, A2, A3, A7, 7, B1, B2, C1, C2, C3, C6, D1, D2, D3, D4
12. Module Pattern

Type Contact Hours
Seminars 60
studio/workshop/productions/rehearsals
b) Assessment
KIS Assessment Detail KIS % Weighting % Pass Mark
Type code
Set exercise Portfolio item 1 KCW 30 50
Written Written KCW 5 50
assignment commentaries
Oral assessment Viva Voce KPE 5 50
The individualised nature of study within this module means that students will be
defining specific resources themselves in association with their Principal Study
teachers and other School staff. The library holds an appropriately wide range of
audio and audio visual resources as well as a comprehensive range of scores and
reference literature.

Melodic Patterns
(1922)
Composition

A Guide to Musical Cook, N Oxford University 1987

Analysis Press
Essentials of Music Homewood, Music Publishers’ 1990
Copying Matthews Association
Electronic and Computer Manning, P Oxford University 2003
Music Press
Experimental Music Cage Michael Nyman Cambridge University 1974
and Beyond Press
Audio Culture: Readings in Cox & Warner (ed.) Continuum 2004
Modern Music
A Very Short Introduction Cook, N Oxford University 1998
to Music Press
Introduction to Post-Tonal Joseph N. Straus Pearson Prentice Hall 2004
Theory
Stravinsky's Late Music Joseph N. Straus Cambridge University 2001
Press
Apprenticeship

17.8 Performance Practice I & II
1. Module Title Performance Practice I & II
2. FHEQ level 7
3. Credit Value 30 credits in Year 1
30 credits in Year 2
4. SITS module code Part 1, Year 1: PPO4048
Part 1, Year 2: PP04049
6. Applicable in the year of study Part 1
7. Module Leader Head of Opera
8. Department Opera
The Performance Practice modules link to the Principal Study module for the
Performance pathway in Part 1 of the Guildhall Artist Masters programme for those
students on the Opera specialism. The classes in this module cover specific skills &
techniques relating to dramatic characterisation within the context of an operatic
performance.
• Develop the student’s technical and artistic capacity to physicalise a range of

characters and dramatic situations in the operatic context, through stillness,
movement and transformation.
• Equip a student with the appropriate skills to be used in a broad range of imminent
• Develop a student’s confidence, independence and self-reliance necessary for a life
of changing professional expectations and demands.
This module is offered on a pass/fail basis only as the classes are essentially formative,
covering the complementary skills that are later assessed holistically as part of an
operatic performance within the Principal Study module. To pass there is a minimum

attendance requirement of 85%, and drama and movement tutors will also need to
confirm, by way of a written report, that the student’s conduct and attitude has been
professional.

A2, C2, C6, D1, D3, D4
12. Module Pattern

Type Contact Hours
Practical classes/workshops
Year 1 Performance practice
Drama classes 63 (7x3x3)
Movement classes 22.5 (5x1.5x3)
Make-up classes 18 (9 x2)
Introduction to combat 3
Manual handling 2
Total 108.5 for Year 1
Year 2 Performance practice
Drama classes 34.5 [(3.5x3x3) + (1x3)]
Movement classes 24 [(5x1.5x3) + (0.5x3)]
Character realisation (make-up, wigs & costume) 10.5 [3x1.5 +12x0.5}
consultations & execution
Combat refresher 3
Total: 72 for Year 2
b) Assessment – In Year 1 and Year 2
Continuous 85% attendance KPE n/a Pass/Fail
assessment
Continuous Professional Conduct KPE n/a Pass/Fail
assessment tutor report
Personal practice/study in Year 1 191.5
Personal practice/study in Year 2 228
d) Total student learning hours for module in each year 300
* A register of all classes is kept to monitor attendance: any student in danger of not
meeting the 85% threshold will receive a warning.


The singing and acting Thomas de Mallet Routledge 2000
handbook Burgess and Nicholas
Skilbeck
Singing, acting, and Mark Ross Clark Indiana University 2002
movement in opera: a Press
guide to singer-getics
The art of auditioning Anthony Legge Peters 2001
Care of the professional D Garfield Davies & Black 2004
voice Antony F Jahn
Stage makeup A Corson Englewood Cliffs, 1990
NJ: Prentice Hall

17.9 Graduate Certificate: Principal Study in Electronic Music

Electronic Music
2. HE Level 6
3. Credit Value 90
4. SITS module code
6a. Module Type Taught and project based
6b. Applicable in the year of study Grad Cert Year only
7. Module Leader Head of Electronic Music
8. Department Electronic Music
This module is at the centre of teaching and learning in Electronic Music of the
Graduate Certificate Year of the Extended Guildhall Artist Programme. I tis aimed at
students who are not yet at the required level for Part 1 Principal Study module, but
have the potential of reaching that level by the end of the academic year.
• Develop students’ technical and artistic capacity for electronic music at the
level required to access part 1 of the Guildhall Artists programme in one or
more of the following specialisms:
• Sonic Art; Film Music; Live Electronics; Game Audio; Electro-Acoustic
Composition; New Media; Popular Music Production.
• Equip students with appropriate expertise which can be used in
professional contexts
• Develop students’ confidence, independence and self-reliance necessary
for a life of changing professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their
needs so that they can feel confident in identifying and understanding their
own artistic vision.

relation to performers, clients, technicians, audiences, administrators and
interactive public.
Indicative content includes:
• Artistic Production Values

• Practical Electronics
• Production Techniques
• MaxMSP and other programming skills
• DAW technique
• Composition Skills
• Session Preparation
• Orchestration
• Song Production
• Sonic Art
• Commercial and Media Music
• Historical Context
The module is taught through a combination of one-to-one lessons, classes and

collaborative group sessions/seminars. Students integrate with various components
of the BMus Principal Studies offered by the Electronic Music Department. An
appropriate mix will be agreed upon entry with the Head of Electronic Music
For all creative output (compositional, production, performance, installation,

programming etc.) students are directed to the Artistic Criteria as a common guide
for assessment.
There are 4 assessment components:
• Two folios of personal electronic music projects at Mid-Year and End of

Year
• One folio of collaborative project work
• One folio of ‘common techniques’
11. Learning outcomes: On successful completion of the module students will have
achieved various skills and abilities. Please refer to the Programme Specification for
descriptions of the skills codes listed below:
A1, A2, A4, A5, A6 A7, B1, B2, B3, B4, C1, C2, C3, C4, C5, C6, C7, C8, C9, D1,
D2, D3, D4, D5

12. Module Pattern

KIS Type Contact Hours
Principal Study Lessons 30
Workshops 60
Classes 45
b) Assessment
KIS Assessment Detail (e.g. component parts, KIS % %
Component length in time or words) code Weighting Pass
Mark
Portfolio Mid Year Folio KCW 30 40
Portfolio End of Year Folio KCW 30 40
Portfolio Collaborative Work KCW 20 40
Portfolio Common Techniques KCW 20 40
Personal Production Work 600
Collaborative Production Work 100
Library-based study 65
13. Reading & Resources*

Electronic and Computer Music Manning, P Oxford 2003
University Press
Audio Culture – Readings in Cox, C Warner, D Continuum 2004
Modern Music
In Search of Concrete Music Schaeffer, P University of 2013
California Press
Electronic and Experimental Music: Holmes, T Routledge 2015
Technology, Music and Culture
Music 109 Luclier, A Wesleyan 2014
University
In the Blink of an Ear Kim-Cohen, S Continuum 2009
Film, a Sound Art. Chion, M Columbia 2009
University
Press
100 Modern Soundtracks Brophy, P British Film 2004
Institute
Settling the Score: Music and the Kalinak, K Madison: 1992
Classical Hollywood Film University of
Wisconsin Press
Film Music – A Neglected Art Pendergast, R W W Norton & 1992
Co.

History of Video Game Music Fritsch, M Springer 2013

Understanding Video Game Music Summers, T Cambridge 2016
University
Press
Game Audio Implementation: A Stevens, R Focal Press 2015
Practical Guide Using the Unreal Raybould, D
Engine
Orchestration (student edition) Alder, S W W Norton & 2016
Co.
Experimental Music Since 1980 Gottschalk, J Bloomsbury 2016
Academic
Practical MIDI handbook Penfold, R A PC Publishing 1995
The Microphone Book Eargle J Focal Press 2001
Sound Recording Practice Borwick, J Oxford 2000
University
Press
Quick Guide to Analogue Synthesis Waugh, I PC Publishing 2000
Sound Synthesis and Sampling Russ, M. Rumsey, Focal Press 1996
F

17.10 Principal Study in Electronic Music (Part 1)
1. Module Title Principal Study in Electronic Music (Part

1)
2. HE Level 7
3. Credit Value 120
4. SITS module code
6b. Applicable in the year of study Part 1 only
This module is at the centre of teaching and learning in Electronic Music in Part 1 of
the Guildhall Artist Programme. For students on the Extended Guildhall Artist
Programme, the prerequisite for this module is achievement of 60% minimum in the
aggregate mark of the GC Principal Study in Electronic Music module.
• Develop students’ technical and artistic capacity for electronic music at

professional level in one or more of the following specialist areas:
Composition; New Media; Popular Music Production.
• Equip students with appropriate expertise to be used in a broad range of
imminent professional contexts
• Develop students’ confidence, independence and self-reliance necessary
for a life of changing professional expectations and demands.
• Provide students with experiences and opportunities appropriate to their
needs so that they can feel confident in identifying and understanding their
own artistic vision.
relation to performers, clients, technicians, audiences, administrators and
interactive public.

• Developing Mature Artistic Production Values

• Practical Electronics
• Production Techniques
• DAW technique
• Composition Skills
• Orchestration
• Song Production
• Game Audio
• New Media
• Sonic Art
The module is taught through a combination of one-to-one lessons, classes and

collaborative group sessions/seminars. Students are also expected to develop their
entrepreneurial and leadership skills in the context of directing cross-discipline and
cross-ability collaborative projects.

for assessment.
There are 3 assessment components:
• One folio of personal electronic music projects at End of Year

• One folio of collaborative project work
• One folio of project direction (professional experience)
A1, A2, A4, A5, A6, A7, B1, B2, B3, B4, C1, C2, C3, C4, C5, C6, C7, C8, C9, D1,
D2, D3, D4, D5

12. Module Pattern

Workshops 60
Classes 30
b) Assessment
KIS Assessment Detail (e.g. component parts, KIS % % Pass
Component length in time or words) code Weighting Mark
Portfolio End of Year Folio KCW 60 50
Portfolio Collaborative Work KCW 20 50
Portfolio Folio of Project Direction KCW 20 50
including evidence of project
direction
Collaborative Production Work and Project Direction 240
Research 240

Press
Modern Music
California
Press
University
University
Press
Institute
Wisconsin Press


Co.
University
Press
Engine
Co.
Academic
Sound Recording Practice Borwick, J Oxford University 2000
Press
F
Sonic Art More, A Routledge 2016
The Soundscape Shafer, R M Destiny 1994
The Foley Grail Ament, V T Routledge 2014
Computer Music Dean, R T (Ed) OUP 2009
Electronic Music Collins, N (Ed) Cambridge 2007
d’Escrivan University
(Ed) Press
The Digital Musician Hugill, A Routledge 2012
Audio Culture Cox, C Bloomsbury 2017
The Fundamentals of Sonic Art and Gibbs, T AVA 2007
Sound Design
The Art of Music Porduction Burgess, R J OUP 2013
Logic Pro X 10.4 Nahmani, D Peachpit Press 2018
Max/MSP/Jitter for Music Manzo, V J OUP 2016
Electronic Music and Sound Cipriani, A Giri, M Contemponent 2016
Design
Rationalizing Culture Born, G UCP 1995
Electronic Music and Music Judd, F C Foruli Classics 2013
Concrete
Live Wires Warner, D Reaktion Books 2019

17.11 Principal in Electronic Music (Part 2)
1. Module Title Principal Study in Electronic Music (Part

2)
2. HE Level 7
3. Credit Value 150
4. SITS module code
6b. Applicable in the year of study Part 2 only
This module is at the centre of teaching and learning for Electronic Music in Part 2
of the Guildhall Artist Programme. Admission to this module is subject to interview
and a plan of artistic and professional development at the end of Term 2 of Part 1,
and an aggregate mark of 60% minimum in the end of year Folio (Part 1).
• Develop students’ technical and artistic capacity for electronic music to

their highest individual level of creative ability and artistic vision in one or
more of the following specialist areas:
Composition; New Media; Popular Music Production; Software
Programming.
• Equip students to question the boundaries of music practice in relation to
electronic music production.
• Further develop students’ confidence, independence and self-reliance
necessary for a life of changing professional expectations and demands.
• Support students in planning and implementing projects, either through
independent action or as an autonomous member of an appropriate project
team.

• Develop in the students the ability to communicate clearly and effectively
with all collaborators
– including performers, clients, technicians, audiences, administrators and

interactive public.
• Enable students to strategically plan a career in the broad field of electronic

and produced music.
• Developing highest possible Artistic Production Values

• Advanced Practical Electronics
• Advanced Production Techniques
• Advanced DAW technique
• Advanced Composition Skills
• Orchestration
• Song Production
• Game Audio
• New Media
• Sonic Art
The module is taught through a combination of one-to-one lessons, mentoring,

supervision and collaborative group sessions/seminars. Students are also expected
to further develop their entrepreneurial and leadership skills in the context of
directing cross-discipline and cross-ability collaborative projects.
Students themselves plan, prepare and complete three challenging projects, each
involving its individual sense of artistic focus and specific context. Of these,
students identify three in particular for assessment that must satisfy the following
conditions:
• One project must be in fulfillment of a departmental collaborative project

• One project must be an external opportunity generated by the student
• One project must have a collaborative element

• One project must be in response to, or result in, a commercially viable
opportunity
The student is free to negotiate with their one-to-one professor and Head of
Department the precise configuration of their projects for assessment using these
parameters, but the combined ‘audience engagement time’ across the three
projects must be roughly equivalent to a minimum of 30 minutes. Each project will
be equally weighted (30%) within the folio.

for assessment.
Folio submissions may be in whatever format is most appropriate for the character
of the project(s) and where these differ significantly, multiple submission formats
are accepted (e.g. installation art is best assessed on site so the most appropriate
submission is to arrange for a team of assessors to visit the project in situ, backed
up by material that documents the project as effectively as is possible).
In addition to the folio of creative projects, students also submit either a business
plan or comprehensive artistic manifesto that sets out a strategic vision and context
for successfully establishing themselves as an artist (min 3,000 words).
A1, A2, A4, A5, A6, A7, B1, B2, B3, B4, C1, C2, C3, C4, C5, C6, C7, C8, C9, D1,
D2, D3, D4, D5
12. Module Pattern

Workshops 60
Classes 15
b) Assessment
KIS Assessment Detail (e.g. component parts, KIS % % Pass
Component length in time or words) code Weighting Mark

12. Module Pattern
Written Submission Business Plan or Artistic KCW 10 50

Manefesto
Collaborative Production Work and Project Direction 180
Research 300

Press
Modern Music
California
Press
University
Press
University
Press
Institute
Wisconsin Press
Co.
University
Press
Engine
Co.


Academic
Sound Recording Practice Borwick, J Oxford University 2000
Press
F
Sonic Art More, A Routledge 2016
The Soundscape Shafer, R M Destiny 1994
The Foley Grail Ament, V T Routledge 2014
Computer Music Dean, R T (Ed) OUP 2009
Electronic Music Collins, N (Ed) Cambridge 2007
d’Escrivan University
(Ed) Press
The Digital Musician Hugill, A Routledge 2012
Audio Culture Cox, C Bloomsbury 2017
The Fundamentals of Sonic Art and Gibbs, T AVA 2007
Sound Design
The Art of Music Porduction Burgess, R J OUP 2013
Logic Pro X 10.4 Nahmani, D Peachpit Press 2018
Max/MSP/Jitter for Music Manzo, V J OUP 2016
Electronic Music and Sound Cipriani, A Giri, M Contemponent 2016
Design
Rationalizing Culture Born, G UCP 1995
Electronic Music and Music Judd, F C Foruli Classics 2013
Concrete
Live Wires Warner, D Reaktion Books 2019

18. Reflective Practice Modules
18.1 Reflective Practice (GC)
1. Module Title Reflective Practice (GC)
2. FHEQ Level 7
3. Credit Value 20
4. SITS module code REF4003
6. Applicable in the year of study Graduate Certificate
7. Module Leader Deputy Head of Academic Studies,

Academic and Artistic Integration
Senior Postgraduate Tutor (Discussion

Groups)
8. Department Academic Studies
The progression from an undergraduate degree to a Masters degree is marked by the

increased self-reliance of a student in preparation for a professional career. In Principal
Study, this is expressed through the production, by the student, of their three Part 2
portfolio. The Reflective Practice modules in the Graduate Certificate, Part 1 and the
Critique of Personal Development module in Part 2 support this process by introducing
and developing self-reflective techniques that allow the student to develop the resilience
required of a professional musician. In particular, Reflective Practice will:
• introduce professional development issues of relevance to all postgraduate

students.
• develop the students’ capacity to reflect intelligently on the nature of musical
excellence and on their own emerging professional relationship with musical
performance, composition and leadership.
• help students be open-minded in questioning the boundaries of traditional
practice in relation to self-reflection, research and professional development.
• ensure students are able to articulate and present their reflective practice in a
manner which is appropriate for diverse audiences and media.

• allow an opportunity for consideration of aspects of the students’ long term
artistic professional development.
• help students integrate their diverse experiences within the programme into a
cohesive whole.
The Reflective Practice module is delivered through a combination of whole-cohort

lectures, workshops, and discussion groups lead by a tutor and spread across the year
to support individual learning. Assessment and discussion groups are closely linked to
enhance formative feedback.
At the start of the year, students attend two whole-cohort lectures, to introduce them to
the key concepts of reflective practice and professional practice and well-being.
Shortly after these lectures, students gather in discussion groups to develop their first
self-reflective account, an essay that identifies objectives and suggests strategies for
the coming year. Groups are allocated by pathway and principal study and are often led
by principal study professors.
Towards the end of the autumn term, students attend a whole-cohort lecture on
Performing Knowledge, exploring the relationship between tacit and explicit knowledge
and musicianship.
In the final week of the autumn term, students attend a second discussion group
meeting to receive additional formative feedback on their self-reflective account and to
engage in peer discussion and support of their strategies.
The School year begins with workshops introducing the musician as producer, paying
particular attention to the current blended performance environment. Students create a
project pitch as part of these workshops and may be invited for further mentoring to
develop particularly innovative projects. Mentoring groups provide formative
assessment on the students’ engagement with the whole-cohort activities of the first and
second terms. Students are also invited to attend BMus 4 Professional Practice
seminars that develop the administrative skills required by a freelance musician.
Students who are deemed by their tutor to be not sufficiently engaged with the process,
whether through attendance and/or participation in the discussion group, will be
required to attend a viva voce with senior members of the Academic Studies and/or
complete equivalent written work.
The summer term offers support as required by each group as they prepare for their
summative self-reflective account. The summative account develops ideas formulated in
the autumn assessment through an evaluation of musical and personal progress and
artistic exploration, supported by relevant secondary research.

11. Learning outcomes: please refer to the Programme Specification:
A4, A5, A6, A7, A8, B3, B4, C4, C5, C7, C8, C9, D1, D2, D3, D5
12. Module Pattern
a) Scheduled Teaching & Learning hours in each year of study

Type Contact hours in each year of study
Lectures 9
Discussion groups 5
Individual tutorials 1
b) Assessment
Written assignment Self-reflective account KCW 37 50
(1350-1650 words)
Written assignment Self-reflective account KCW 63 50
(2250-2750 words)
Project output Project pitch (1-2 pages) KCW n/a Pass/Fail
d) Total student learning hours for module in each year of study 200
The material will be specific to the students’ needs and pathways; the following list
can be considered as a general starting point:

Artistic Practice as Mine Doğantan-Dack Routledge 2015
Research in Music: Theory,
Criticism, Practice
Learning journals: a Moon, J.A. London: Routledge 2006
handbook for reflective
practice and professional
development
Mentorship: the meaning of Hays, T., Minichiello, V. Research Studies in 2000
the relationship for and Wright, P. Education 15, p.3-
musicians 14
Musical Excellence: Williamon, Aaron Oxford 2004
Strategies and Techniques
to Enhance Performance
Music, Thought and Thompson, William F. Oxford University 2009
Feeling: Understanding the Press
Psychology of Music

Practice-led Research, Smith, Hazel and Roger Edinburgh 2009

Research-led Practice in T Dean (EDs) University Press
the Creative Arts
Psychology for Musicians: Lehman, A. Sloboda, J. Oxford University 2007
Understanding and Woody, R. Press
Acquiring the Skills
The influence of deliberate Ericsson, Anders In The Cambridge 2006
practice on the Handbook of
development of superior Expertise, CUP
expert performance
The Musician’s Body Rosset I Llobet J Ashgate and 2007
Odam G Guildhall School of
Music & Drama
The Music Practitioner: Jane Davidson (Ed.) Ashgate 2004
Research for the Music
Performer, Teacher and
Listener
The Practice of Rink, John Cambridge 1995
Performance: Studies in University Press
Musical Interpretation
The Reflective Practitioner Schon, D. New York: Basic 1983
Books
Johari window http://www.noogenesis.com/game_theory/joha
ri/johari_window.html

18.2 Reflective Practice (Part 1)
1. Module Title Reflective Practice (Part 1)
2. FHEQ Level 7
3. Credit Value 20
4. SITS module code REF4004A

Senior Postgraduate Tutor (Discussion

Groups)
The progression from an undergraduate degree to a Masters degree is marked by the

increased self-reliance of a student in preparation for a professional career. In Principal
Study, this is expressed through the production, by the student, of their Part 2 portfolio.
The Reflective Practice module in Part 1 and the Critique of Personal Development
module in Part 2 supports this process by introducing and developing self-reflective
techniques that allow the student to develop the resilience required of a professional
musician. In particular, Reflective Practice will:
• introduce professional development issues of relevance to all postgraduate

students.
• develop the students’ capacity to reflect intelligently on the nature of musical
excellence and on their own emerging professional relationship with musical
performance, composition and leadership.
• help students be open-minded in questioning the boundaries of traditional
practice in relation to self-reflection, research and professional development.
• allow an opportunity for consideration of aspects of the students’ long term
artistic professional development.

• help students integrate their diverse experiences within the programme into a
cohesive whole.  
The Reflective Practice module is delivered through a combination of whole-cohort

lectures, workshops, and discussion groups lead by a tutor and spread across the year
to support individual learning. Assessment and discussion groups are closely linked to
enhance formative feedback.
At the start of the year, students attend two whole-cohort lectures, to introduce them to
the key concepts of reflective practice and professional practice and well-being.
Shortly after these lectures, students gather in discussion groups to develop their first
self-reflective account, an essay that identifies objectives and suggests strategies for
the coming year. Groups are allocated by pathway and principal study and are often led
by principal study professors.
Towards the end of the autumn term, students attend a whole-cohort lecture on
Performing Knowledge, exploring the relationship between tacit and explicit knowledge
and musicianship.
In the final week of the autumn term, students attend a second discussion group
meeting to receive additional formative feedback on their self-reflective account and to
engage in peer discussion and support of their strategies.
The School year begins with workshops introducing the musician as producer, paying
particular attention to the current blended performance environment. Students create a
project pitch as part of these workshops and may be invited for further mentoring to
develop particularly innovative projects Discussion groups provide formative
assessment on the students’ engagement with the whole-cohort activities of the first and
second terms. Students are also invited to attend BMus 4 Professional Practice
seminars that develop the administrative skills required by a freelance musician.
Students who are deemed by their mentor to be not sufficiently engaged with the
process, whether through attendance and/or participation in the discussion group, will
be required to attend a viva voce with senior members of the Academic Studies and/or
complete equivalent written work.
The summer term offers support as required by each group as they prepare for their
summative self-reflective account. The summative account develops ideas formulated in
the autumn assessment through an evaluation of musical and personal progress and
artistic exploration, supported by relevant secondary research.

Part-time students
The self-reflective process is continuous; students who are part-time are expected to
engage with the taught parts of the programme in both years. Assessment is split
across two years. In their first year students submit the autumn SRA and the spring
project pitch. In their second year students submit the summer SRA.
Extended Guildhall Masters
The self-reflective process is continuous; students who undertook the Graduate

Certificate year are expected to refer to their development from that year to Part 1 of
GAM in their SRAs.

12. Module Pattern

Type Contact hours
Lectures 9
Discussion groups 5
Individual tutorials 1
b) Assessment
Written assignment Self-reflective account (1350- KCW 37 50
1650 words)
Written assignment Self-reflective account (2250- KCW 63 50
2750 words)
Project output Project pitch (1-2 pages) KCW n/a Pass/Fail
d) Total student learning hours 200
Research in Music: Theory,
Criticism, Practice
Learning journals: a Moon, J.A. London: 2006
handbook for reflective Routledge


development
Mentorship: the meaning of Hays, T., Minichiello, V. Research 2000
the relationship for and Wright, P. Studies in
musicians Education 15,
p.3-14
Strategies and Techniques
Music, Thought and Feeling: Thompson, William F. Oxford University 2009
Understanding the Press
Psychology of Music
Practice-led Research, Smith, Hazel and Roger T Edinburgh 2009
Research-led Practice in the Dean (EDs) University Press
Creative Arts
Understanding and Woody, R. Press
The influence of deliberate Ericsson, Anders In The 2006
practice on the development Cambridge
of superior expert Handbook of
performance Expertise, CUP
Odam G Guildhall School
of Music &
Drama
Research for the Music
Listener
Performance: Studies in University Press
Books
Johari window Johari window

18.3 Critique of Personal Development
1. Module Title Critique of Personal Development
2. FHEQ Level 7
3. Credit Value 30
4. SITS module code CON4033

Senior Postgraduate Tutor (Mentoring

Groups)
Part 2 of the Guildhall Artist Masters allows the student to bridge the divide between
formal study and a professional career. The Critique of Personal Development module
(CPD) supports this process by developing self-reflective techniques that allow the
student to acquire the resilience expected of a professional musician. In particular, CPD
will:
• develop a comprehensive understanding of, and demonstrable capacity for, the

research and self-reflective skills involved in preparing and processing their
artistic and professional projects.
• encourage students to be innovative and self-challenging within their field of
expertise.
• enable students to demonstrate self-direction in tackling and solving challenges
related to their specialisms.
• provide academic support for the students as they progress through Part 2 of the
programme.

The Critique of Personal Development reinforces concepts from the Part 1 Reflective
Practice module. Like Principal Study, the Part 2 module encourages independent
learning whilst offering opportunities for peer support and structured learning.
Students attend two lectures at the beginning of the year, the first suggesting methods
for a deeper reflective practice than in Part 1 and the second refreshing ideas
concerning the musician as producer, offering support as students begin to plan their
Part 2 portfolio.
These lectures are reinforced by an initial discussion group meeting.
Throughout the first two terms, students are required to attend at least three seminars,
organised by the School’s (e.g. ResearchWorks, String Lab, or similar) or at external
musical events (e.g. conferences or Study Days). Students also attend two whole-
cohort lectures in the Spring term reflecting on different approaches to music, form the
basis of the students’ first peer-presentations during the Spring term reflecting on
different approaches to music. Students’ responses to the seminars and lectures form
the basis of their Spring term peer-presentations. Delivered to small, ad-hoc groups
according availability, and led by a senior member of the Academic Studies team, these
sessions offer students the opportunity to share and discuss new musical ideas and
receive formative feedback.
Support during the Spring and Summer terms is offered on an on-request basis;
students are expected to take up the opportunities to develop their ideas and prepare
for their summative Critique of Personal Development. Further formative feedback is
provided by a second peer-presentation in the Summer term, in which students are
invited to share their developing work for the Critique.
Assessment
The assessment consists of one written submission comprising 100% of module grade:
Critique of Personal Development (4500-5500 words). Approaches will vary and
guidance from tutors and peer-presentations will be valuable in determining the most
appropriate way of structuring this submission.

12. Module Pattern

Lectures 6
Discussion groups 1

12. Module Pattern
Individual tutorials Variable

Peer presentation 4
b) Assessment
Written Critique of Personal KCW 100 50
assignment Development (4500-5500
words)
d) Total student learning hours for module in each year of study 300

r
Research in Music: Theory, 5
Criticism, Practice
Learning journals: a Moon, J.A. London: 200
handbook for reflective Routledge 6
development
Mentorship: the meaning of Hays, T., Minichiello, V. and Research 200
the relationship for Wright, P. Studies in 0
musicians Education 15,
p.3-14
Strategies and Techniques 4
Music, Thought and Thompson, William F. Oxford University 200
Feeling: Understanding the Press 9
Psychology of Music
Practice-led Research, Smith, Hazel and Roger T Edinburgh 200
Research-led Practice in Dean (EDs) University Press 9
the Creative Arts
Understanding and Woody, R. Press 7
The influence of deliberate Ericsson, Anders In The 200
practice on the Cambridge 6

development of superior Handbook of

expert performance Expertise, CUP
Odam G Guildhall School 7
of Music &
Drama
Research for the Music 4
Listener
Performance: Studies in University Press 5
Books 3
Johari window http://www.noogenesis.com/game_theory/johari
/johari_window.html
Specific reading lists are given to the students at the beginning of each component.

19. Elective Modules
19.1 Techniques in Composition A & B
1. Module Title Techniques in Composition A
Techniques in Composition B
2. FHEQ Level 7
3. Credit Value Each module: 10
4. SITS module code MST3160A
MST3160B
7. Module Leader Deputy Head of Academic Studies (UG)
• develop abilities in pastiche composition, and apply students’ learning to contexts

such as orchestration and analysis.
• provide a critical and supportive environment where students can produce and adapt
their own scores, whether pastiches, arrangements, transcriptions, or reductions.
• encourage in students a good attention to the technical and artistic detail of music.
• develop an understanding of historical composers’ practices which will aid students’
own performances.
• develop skills that will complement and enhance learning in other elective subjects
such as conducting and historical topics.
• develop skills which may be relevant to students’ later professional practice as
performers, teachers, conductors, arrangers, etc.
There are five pathways, and both A and B modules can be taken following different
pathways for a total of 20 credits. Prerequisites might apply to individual pathways; see
below for details.

Students may choose between five possible pathways:
1) Stylistic Composition: students will study styles and genres such as eighteenth-
century string quartets and nineteenth-century piano works, through analysis and
pastiche composition. Students present sample of previous relevant work to
demonstrate required familiarity with relevant knowledge and skills.
2) Counterpoint: students will study species counterpoint in two and three parts.
The practical study of counterpoint is complemented by the study of its historical
and stylistic contexts, with background reading and listening, score reading and
analysis.
3) Introduction to Fugue: students will learn to write two and three-part fugues in a
tonal idiom broadly ranging from the eighteenth to the nineteenth centuries. The
pedagogical approach is based on relevant repertoire supported by treatises of
Cherubini, Dubois and Gedalge, complemented by other eighteenth-century
sources (Fux, Martini) and current literature (Walker). Students present sample of
previous relevant work to demonstrate required familiarity with relevant
knowledge and skills.
4) Orchestration: this module includes the study of orchestration from the Baroque
to the twentieth century, and will consider issues such as instrumental balance,
blend and layout on a score, tonal colour and contrast, clefs and transposing
instruments. Students present sample of previous relevant work to demonstrate
required familiarity with relevant knowledge and skills.
5) Analysis: the class includes studying a number of analytical approaches,
contrapuntal reduction, the hierarchic interaction of harmony and tonality, and
theories of musical metre. The analytical methodologies are applied through
guided listening to selected pieces from relevant periods of music history.
For all pathways, assessment is comprised of a portfolio of compositional and/or

analytical exercises (100%).

A3, A4, A5, A6, B2, B3, B4, C3, C4, C5, C9, D3
12. Module Pattern (A and B)

Type Contact Hours
Practical classes / workshops 24
b) Assessment (A and B)

KIS Assessment Detail KIS % % Pass Mark

Type code Weighting
Portfolio Compositional and/or KCW 100% 50
analytical exercises
Individual study 76

The Study of Orchestration Adler, S Norton 2002
Instrumentation/Orchestration Blatter, A Longman 1981
Stylistic Harmony Butterworth, Oxford University Press 1994
A
A Guide to Musical Analysis Cook, N Oxford University Press 1987
Analysis through Composition Cook, N Oxford University Press 1996
Harmony in Schubert Damschroder Cambridge University 2010
,D Press
Harmonic Practice in Tonal Gauldin, R Norton 1997
Music
Music in the Galant Style Gjerdingen, R Oxford UP 2007
Orchestral Technique Jacob, G OUP 1986
The Style of Palestrina and the Jeppesen, K Dover 2005
Dissonance
The Technique of Orchestration Kennan, K & Prentice Hall 1983
(4th Edition) Grantham, D
A Generative Theory of Tonal Lerdahl, F & MIT Press 1983
Music Jackendoff,
RS
The Study of Fugue Mann, A (ed.) Dover 1987
Explaining Music Meyer, L University of Chicago 1973
The Dynamics of Harmony: Pratt, G Oxford University Press 1996
Principles and Practice
Sonata Forms Rosen, C Norton 1980
Structural Hearing Salzer, F Dover Publications 1962
Preliminary Exercises in Schoenberg, Faber 1963
Counterpoint A
Structural Functions of Harmony Schoenberg, Williams & Norgate 1954
A (ed. Stein,
L)
A Geometry of Music: Harmony Tymoczko, D Oxford University Press 2011
and Counterpoint in the
Extended Common Practice


Theories of Fugue from the Age Walker, PM University of Rochester 2000
of Josquin to the Age of Bach Press
A Generative Theory of Tonal Lerdahl, F & MIT Press 1983
Music Jackendoff,
RS
The Study of Fugue Mann, A (ed.) Dover 1987
Explaining Music Meyer, L University of Chicago 1973
The Dynamics of Harmony: Pratt, G Oxford University Press 1996
Principles and Practice
Sonata Forms Rosen, C Norton 1980
Structural Hearing Salzer, F Dover Publications 1962
Preliminary Exercises in Schoenberg, Faber 1963
Counterpoint A
Structural Functions of Harmony Schoenberg, Williams & Norgate 1954
A (ed. Stein,
L)
A Geometry of Music: Harmony Tymoczko, D Oxford University Press 2011
and Counterpoint in the
Extended Common Practice
Theories of Fugue from the Age Walker, PM University of Rochester 2000
of Josquin to the Age of Bach Press

19.2 Body Matters
1. Module Title Body Matters
2. FHEQ level 7
3. Credit Value 10 or 20
4. SITS module code ELE4046 (10 credits)
ELE4047 (20 credits)
• Give students the opportunity to study in depth aspects of physiology and

psychology relevant to practice and performance.
• Encourage musicians to adopt a healthy approach to both their bodies and their
minds.
• Promote students’ application of theory to their musical practice.
• Encourage students to identify, investigate and work towards resolving personal
performance-related difficulties.
The module consists of classes and individual study on the interaction between the
psyche and the soma (body) in the context of musicians’ performance and creation. The
taught content of the course includes a range of body and mind issues relevant to
learning, practising, creating, making and performing music. The links between mind
and body is explored. Students have the opportunity to build upon ideas disseminated in
class by choosing, in negotiation with their tutor, a particular focus for their own
research, essay submission and presentation. Examples of study topics are:
a) performance anxiety
b) anatomical difficulties experienced by instrumentalists

c) the prevalence of pain in musicians
d) maintenance of good health and fitness
e) how to perform to maximum potential
f) facilitation and inhibition of musical creativity
g) managing competition in the profession
h) the ‘inner critic’
i) stage presence
The assessment consists of two parts:
a) an essay (1800-2200 words, 10 credits; or 3600-4400 words, 20 credits)

b) a critical reflection; 10-credit students may choose between either a 700-1000
word written submission, or a 7-10 minute presentation (30%), 20-credit students
may choose between either a 1000-1200 word written submission, or a 10-12
minute presentation (30%)

A4, A5, A7, A8, B4, C23, C4, C5, C7, D3
12. Module Pattern

Type Contact Hours
Practical classes/workshops (10 and 20 credits) 24
Seminar (20 credits only) 2
One-to–one class/tutorial 1
b) Assessment
10 credits
Written Essay (1800-2200 words) KCW 60 50
assignment
Written Written reflection (700- KCW 40 50
assignment 1000 words) or
or Presentation (7-10 mins) KPE
Oral assessment
20 credits
Written Essay (3600-4400 words) KCW 70 50
assignment
Written Written reflection (1000- KCW 30 50
assignment 1200 words) or
or Presentation (10-12 mins) KPE
Oral assessment

12. Module Pattern
Personal practice/study
10 credits 71
20 credits 168
10 credits 100
20 credits 200

The Psychology of Deutsch, D San Diego Academic 1999
Music Press
Essentials of Anatomy Martini, FH, Prentice Hall 2000
and Physiology Bartholomew, EF
The Athletic Musician: A Paull, B and Harrison, Scarecrow Press 1997
Guide to Playing without C
Pain
The Musician’s Body Rosset i Llobet, J and Ashgate and Guildhall 2007
Odam, G School of Music &
Drama
The Science of the Sundberg, J Northern Illinois
Singing Voice University Press
The Musician’s Hand Winspur, I and Wynn M Dunitz 1998
Parry, CB

19.3 Chamber Music
1. Module Title Chamber Music
2. FHEQ level 7
4. SITS module code ELE4011N (10 credits)
ELE4024N (20 credits)
7. Module Leader Head of Chamber Music
8. Department Chamber Music
• Develop technical and artistic abilities in chamber music.

• Develop the co-operative skills necessary for the chamber player.
• Develop technical and artistic cohesion within a particular ensemble group.
• Enhance knowledge of the repertoire through study of chamber music.
• Develop students’ capacity for autonomy and efficiency in work practice, in
preparation for the nature of later experience in the outside world.
The module may be repeated in a subsequent year of the students’ programme (module
B), in which case different repertoire is of course prepared.
Groups are formed with support from the Chamber Music faculty. Registered groups
receive lessons, coaching and masterclasses with internal staff and visiting
groups/individuals. Groups are encouraged also to seek external opportunities for
performance as well as internal platforms concerts and competitions.
STRINGS/KEYBOARD: the 10 credit module is assessed in a 20-minute performance

involving a complete work of no less than 20 minutes’ duration, of which the panel will
select movements/excerpts. The 20 credit module is assessed with two minute

performances (or in certain circumstances one 40 minute performance) of two major
chamber contrasting works, each of at least 20 minutes’ duration, of which the panel will
select movements/excerpts. Repertoire cannot be repeated across different
assessments. In addition to the practical assessments, there are additional non-
assessed minimum requirements (coaching/platforms/masterclass etc) which will be
communicated at the start of the year.
WIND/BRASS AND PERCUSSION: the module is assessed in a final 20-minute

performance (10-credit elective), or two 20-minute performances (20-credit elective) or
a 40-minute performance (20-credit elective). The duration of the performances is from
the moment the performers enter the stage, to the last note played.
Repertoire can be either a whole work, or contrasting movements selected from

different works, or smaller complete works, or a combination of any of those.
ALL: repertoire cannot be repeated across different assessments.
The group must present a short printed programme to the assessors listing the
repertoire, and the movements to be played, but programme notes are not required.
The group must also provide the assessors with a copy of each score (or a copy of all
the parts if there is no published score).
In addition to the practical assessments, there are additional non-assessed minimum

requirements (coaching/platforms/masterclass etc) which will be communicated at the
start of the year.

A1, A2, A3, B1, B2, C1, C2, C3, C6, D3, D4, D5
12. Module Pattern

Type Contact Hours
Practical classes/workshops (10 and 20 credits) 24
(20 credits only) 48
b) Assessment
10 credits
Practical skills Performance 20 mins KPE 100 50
assessment
20 credits
Practical skills Performance 40 mins KPE 100 50
assessment

12. Module Pattern
10 credits 76
20 credits 152
10 credits 100
20 credits 200
Principal study teachers and chamber music coaches advise the repertoire. Scores and
recordings for most standard repertoire works and many lesser-known works are
located in the Guildhall School Library. Students are encouraged to use Urtext scores
whenever possible.

19.4 Social Arts Practices
1. Module Title Social Arts Practices
2. FHEQ level 7
4. SITS module code ELE (10 credits)
ELE (20 credits)
6. Applicable in the year of study Part 1 & Part 2
7. Module Leader Pathway Leaders [exact titles tbc]
8. Department Music
9. Aims of Module:
• To foster and support a growing community of socially aware, creative,

collaborative, independent artists within the School.
• For students to gain experience and skills in leading, supporting, creating and
collaborating in music- or sound-based activity in different participative
contexts.
• To develop the capacity to respond creatively, sensitively and openly,
sometimes in complex and unpredictable situations.
• To develop strategies and processes for broadening, repurposing or adapting
existing skills as an instrumentalist, composer, singer or electronic musician.
• To inspire students to develop a personal, enquiry-based approach, with an
appreciation of and engagement with artistic practice as research.
• To develop students’ capacity to critically enquire into the ethical and socio-
political in artistic practice, with an awareness of current interdisciplinary
approaches to socially engaged and experimental arts practices.
• To cultivate an open, enquiry-led approach to teaching, learning and practice
as research.
• To challenge, expand and develop notions of excellence in artistic practice
through being active and visible across a spectrum of social contexts.

The content is delivered through a combination of collaborative projects, group

seminars, practical sessions, 1:1 tutorials, personal practice and research. The
student will select from a list of creative, collaborative projects. Students can take
the Elective as a 10 credit option (one standard project, approx. 18hrs) or a 20 credit
option (two standard projects or one more substantial project, approx. 36hrs).
The exact compulsory attendance for seminars/practical sessions will be confirmed

at the start of the Elective, but is approx. 9hrs total (10 credits) or 12hrs total (20
credits). The intensive nature of the practical projects mean that students may
occasionally need temporary exemption from other aspects of the Programme.
The Elective tutors support the student’s choice of project(s), critical enquiry,
reflective practice and presentation/written work preparation. The project leaders
support the student on the practical work and project evaluation. The project leader
will provide a formative written report which will inform the viva voce.
The module is assessed as follows:
10 credits: Option A – 1 standard project
10 credits: Option B – 1 standard project (2nd Year Part-time students only.)
20 credits: Option C – 1 substantial project or 2 standard projects
Option A:
• Component 1. Viva voce with an assessment panel, taking into account the
student’s participation, learning and development in their project (50%).
• Component 2. A written reflective essay (1800-2000-words), evidencing
development in critical and reflexive thinking and practice, including through
attendance at relevant seminars and practical sessions (50%).
Option B (2nd year part-time students):

Page 95 of 162
Option C:
EITHER
OR
student’s participation, learning and development in their project(s) (50%).
• Component 2. A practical presentation of 15-20 minutes to an assessment
panel, evidencing development in critical and reflexive thinking and practice,
including through attendance at relevant seminars and practical sessions
(50% of component).

A3, A4, A6, A7, B3, B4, C1, C3, C4, C5, C6, C9, D1, D2, D3, D4, D5
12. Module Pattern

Type Contact Hours
Practical projects/tutorials/workshops/seminars 28 (10 credit module)
50 (20 credit module)
b) Assessment
Assessment Detail KIS code % % Pass
Type Weighting Mark
10 credits
Component 1
Option A Viva Voce KPE 50 50
Component 2
1800-2000-word essay KPE 50 50
10 credits
Component 1
Option B (part- Viva Voce KPE 50 50
time students
only)
Component 2 50
1800-2000-word essay KPE 50
20 credits
Component 1
Option C Viva Voce KPE 50 50

12. Module Pattern
Component 2 50 50
3000-3500-word essay KPE
or
15-20min presentation
10 credits 72
20 credits 150
10 credits 100
20 credits 200
The reading list is indicative and students will be guided by tutors as to their
selection of reading materials, including additional references for specific areas
relevant to their study.

r
Noise: The Political Economy of Music (B. Attali, J. University of 198
Massumi, Trans.) Minnesota 5
Press.
Improvisation: its Nature and Practice in Bailey, D. Da Capo 199
Music Press , USA 2
Carnal Knowledge: Towards a ‘New Barrett, E. & I.B. Tauris 201
Materialism’ through the Arts Bolt, B. 3
The role of love in intercultural arts theory Bartleet, B. L. Routledge 201
and practice. (P. Burnard, E. Mackinlay, & 6
K. Powell (Eds.), The Routledge
International Handbook of Intercultural Arts
Research (pp. 91-101).
Introduction: An Overview of Community Bartleet, B. L., Oxford 201
Music in the Twenty-First Century & Higgins, L. University 8
Press.
Women’s Ways of Knowing: The Belenky, M. F., Basic Books 198
Development of Self, Voice, and Mind. Clinchy, B. M., 6
Goldberger, N.
R., & Tarule, J.
M.
The Social Impact of the Arts: An Intellectual Belfiore, E., & Palgrave 200
History. Bennett, O. Macmillan 8
Participation (Whitechapel: Documents of Bishop, C. Whitechapel 200
Contemporary Art) Gallery 6

Page 97 of 162
Ventures
Limited
Texts
The community music practice as cultural Boeskov, K. International 201
performance: Foundations for a community Journal of 7
music theory of social transformation. Community
Music,10(1),
85-99
Intellect
Books
Panic! Social Class, Taste and Inequalities Brook, O., The Arts 201
in the Creative Industries O’Brien, D., & and 8
Taylor, M. Humanities
Research
Council.
‘This Is My Truth, Now Tell Me Yours’: Camlin, D. A. Intellect 201
Emphasising dialogue within Participatory Books 5
Music.
International Journal of Community
Music,8(3), 233–257
‘And they lived happily ever after’: Coffman, D. D. Intellect 201

Community music and higher education? Books 1
International Journal of Community
Music,4(2), 97-104.
Community music and higher education: A Cole, B. Intellect 201

marriage of convenience Books 1
International Journal of Community Music,
4(2), 79-89
Online music collaboration project: Digitally Cremata, R., & Intellect 201
mediated, deterritorialized music education. Powell, B. Books 5
International Journal of Music Education,
35(2), 302-315
Understanding the value of arts and culture: Crossick, G., & Arts and 201
The AHRC Cultural Value Project. Kaszynska, P. Humanities 6
Research
Council.
Why Public Culture Fails at Diversity Graves, J. B. Oxford 201
In The Oxford Handbook of Community University 8
Music (pp. 421-448). Press
Silence Cage, J. Marion 196
Boyars 1
On Listening Carlyle, A. & Uniform 201
Lane, C. Books 3

Audio culture: Readings in modern music Ed. Cox, C. & Continuum 200
Warner, D. Press 4
Inside the Music – Conversations with Ehrlich, D. Shambhala 199
Contemporary Musicians about Spirituality, Publications 7
Creativity, and Consciousness , Boston
Action for Social Justice in Education: Fairly Griffiths, M. Open 200
Different University 3
Press
Sonic Bodies Henrique, J. Continuum 201
1
Rethinking Community in Community Music: Higgins, L. Palgrave 202
The Call, the Welcome, and the ‘Yes’. Macmillan. 0
In B. Jansen (Ed.), Re-Thinking Community:
Towards Interdisciplinary Community
Scholarship (pp. 231-246).
Engaging in Community Music: An Higgins, L. 201

Introduction. Routl 7
edge
Cultural Democracy in Practice Hope, S. & Podcast: 201
Kelly, O. https://www. 8
listennotes.c
om/podcast
s/miaaw/cult
ural-
democracy-
in-practice-
HuSIGwn9g
5a/
Being Alive: Essays on Movement, Ingold, T. Routledge 201
Knowledge and Description 1
The Contemporary Musician and the Impett, J. Leuven 201
Production of Knowledge: Practice, University 7
Research, and Responsibility Press.
In J. Impett (Eds.), Artistic Research in
Music: Discipline and Resistance: Artists
and Researchers at the Orpheus Institute
(pp. 221-238).
Creative Collaboration John-Steiner, Oxford 200
V. University 6
Press
The One and the Many: Contemporary Kester, G. Duke 201
Collaborative Art in a Global Context. University 1
Press.

Page 99 of 162
Background noise - perspectives on sound Labelle, B. Continuum 200

art Press 6
Musical Identities Macdonald Oxford 200
A.R., University 2
Hargreaves, Press
D.J.
& Miell, D.
Music, health, and well-being: A review MacDonald, R. Tayloe & 201
International Journal of Qualitative Studies A. R. Francis 3
on Health and Well-Being,8(1). Online
Restless Art: How participation won, and Matarasso, F. Calouste 201
why it matters. Gulbenkian 9
Foundation
Musics of Many Cultures: An Introduction May, E. Berkeley, 198

University of 1
California
Community music: history and current McKay, G. A., University of 201
practice, its constructions of ‘community’, & Higham, B. Salford 1
digital turns and future soundings.
A Brief Introduction to APhilosophy of Music Regelski, T. A. Routledge 201
and Music Education as Social Praxis 6
Arts Council sparks controversy with Romer, C. Arts 201

‘practical guide’ to cultural democracy. Professional 8
https://www.artsprofessional.co.uk/news/arts
-council-sparks-controversy-practical-guide-
cultural-democracy
Situating knowledges: positionality, Rose, G. Human 199
reflexivities and other tactics Geography, 7
21(3), 305–
320.
Group Genius: The creative power of Sawyer, R.K. Basic books 200
collaboration 7
Together: The rituals, pleasures and politics Sennet, R. Allen Lane, 201
of cooperation Penguin 2
Books
Musicking: The Meanings of Performance Small, C. Wesleyan 199

and Listening. University 8
Press
Music of the Common Tongue. Survival and Small, C. Wesleyan 199
Celebration in African American Music University 8
Press
Ocean of Sound Toop, D. Serpents 199
Tail, London 5

Towards cultural democracy: Promoting Wilson, N., King’s 201

cultural capabilities for everyone. Gross, J., & College 7
Bull, A. London.

Page 101 of 162
19.5 Composition for Media
1. Module Title Composition for Media
2. FHEQ level 7
3. Credit Value 20
4. SITS module code ELE4016
7. Module Leader Head of Academic Studies
• Introduce and develop understanding of compositional techniques appropriate for

producing music for media.
• Generate an awareness of the factors influencing the establishment of
techniques, such as composing to a brief or to picture.
• Equip students with an overall knowledge of landmark films and television
programmes, from a musical perspective.
• Equip students with up-to-date technical skills appropriate for a contemporary
media composer.
The class content includes the study of mainstream techniques (use of sequence,
picture painting, juxtaposition, transition, tempo, synchronization, association, emotive
description) and practical application of these within a simulated professional context
(use of timecode LTC/SMPTE, conducting to picture/click track, synchronising to
picture, industry overview, performing rights, production processes.
The module is assessed through completion of a portfolio of technical assignments

(40%) and a final project (60%).

A3, A5, A6, A7, B2, C1, C3, C4, C7, D1, D3
12. Module Pattern

Type Contact Hours
One-to-one class/tutorial 1.5
Supervised time in studio/workshop/productions/rehearsals 1
b) Assessment
Assessment Type Detail KIS % % Pass Mark
code Weighting
Portfolio Technical KCW 40% 50
assignments
Project output Final project KCW 60% 50
Personal practice/study 172.5

The Reel World : Scoring for Jeff Rona 2006
Pictures
Complete Guide to Film Scoring Richard Davis 2000
Internet Movie Database imdb
The Jazz Singer Alan Crosland Louis Silvers 1927
Gone with the Wind Victor Fleming Max Steiner 1939
Citizen Kane Orson Welles Bernard Herman 1941
Tom & Jerry - Bowling Alley Cat Hanna/Barbera Scott Bradley 1945
The Man with the Golden Arm Otto Preminger Elmer Bernstein 1955
Mission Impossible Various Lalo Schifrin 1973

Planet of the Apes Franklin J. Jerry Goldsmith 1968
Schaffne
2001:A Space Odyssey Stanley Kubrick J.Strauss/R.Strauss/ 1968
Ligeti
Jaws Steven Spielberg John Williams 1975
Blade Runner Ridley Scott Vangelis 1982
American Beauty Sam Mendes Thomas Newman 1999
6 Feet Under (TV Series) Alan Ball Thomas Newman 2001

19.6 Conducting
1. Module Title Conducting
2. FHEQ level 7
3. Credit Value 20 credits
7. Module Leader Head of Academic Studies
• Develop in the student the ability to rehearse and perform with ensembles and
orchestras.
• Equip students with appropriate technical skills which can be used in a broad range
of contexts.
• Ensure the requisite capacities of confidence, independence, self-reliance and self-
reflection.
• Provide some practical experience and opportunity appropriate to their needs.
• Develop appropriate communication and interaction skills.
• Support the student in acquiring some understanding of the supporting materials
available.
There are eight places in this class every year. Students requesting this module are
selected through practical assessment of abilities and potential at the beginning of the
year. The module is taught in classes where students receive group and individual
tutorials.
The content includes conducting technique, score preparation and interpretation; a

knowledge of instruments and style with consideration of historical context;
organisational, management and communication skills.

The assessment consists of one twenty-minute performance platform at the end of the
module. This might be split into two sections: one with an ensemble, the other with
piano.

A2, B2, B4,C1,C3, C4, C5, C6, D3, D4, D5
12. Module Pattern

Type Contact Hours
Technique and Musicianship classes 7
One to one tutorial 0.5
b) Assessment
KIS Assessment Type Detail KIS % % Pass
code Weighting Mark
Practical skills Performance (20 KPE 100 50
assessment mins)
The tutor advises students on repertoire for this elective collectively and where
appropriate, individually. Repertoire usually includes ensemble, orchestral and vocal
music from the baroque to the present.
Conducting and Rehearsing the Instrumental Colson, Scarecrow Press 2012
Music Ensemble: Scenarios, Priorities, JF
Strategies, Essentials, and Repertoire
Anatomy of the Orchestra Del Mar, Faber and Faber 1983
N
Orchestral Technique Jacob, G OUP 1981
Orchestration Piston, W Gollancz 1973
Music as Alchemy: Journeys with Great Service, Faber & Faber 2012
Conductors and their Orchestras T
Art of Conducting: Great conductors of the Teldec Video 2002
past
Art of Conducting: Legendary conductors of a Teldec Video 2002
golden era

19.7 Contextual Studies - The Forbidden Saxophone
1. Module Title Contextual Studies - The Forbidden

Saxophone
2. FHEQ Level 7
3. Credit Value 10
6a. Module Type Class teaching
6b. Applicable in the year of study Part 1
7. Module Leader Head of WBP
8. Department WBP
This module is compulsory for Masters saxophone students in WBP, and open to other
Masters students, up to a maximum of 20. It presents issues which are core to the
learning experience for WBP saxophone students at this level. Charting the narrative of
the saxophone’s development, and as a mirror to developments in 20th century art, the
lectures encompassing subjects including social, racial and gender.
• Convey knowledge of this instrument and its cultural significance, both as cultural
icon and underdog. By charting its people and social history, offering a catalyst
into reading and listening further, to enable students to draw personal vision,
strength and inspiration from the history and innovation of past music and
players, of issues of social and artistic change, of race and gender.
• Inform the professional and creative work that students do in their Masters and in
their professional life thereafter.

Content is delivered via six 2-hour lectures, each supplemented by a 1hr group seminar.
Lectures are as follows:
1. The Saxophone and the Art of Failure - invention and rejection

2. The Forbidden Saxophone - a social history from below
3. Siren Song - the sounds and styles of the saxophone
4. The Jazz Age - ragtime, circus, vaudeville and jazz
5. Classical Blues - factions and frictions
6. The Saxophone, Sex and Euphoria - the saxophone as an icon
Assessment:
The module is assessed by means of a 4750-5250 word essay.

A4, A5, B3, B4, C3, C4, C5, C7, D1, D2, D3
12. Module Pattern

Lecture 12
Group tutorial 6
b) Assessment
KIS Assessment Detail KIS code % % Pass
Type Weighting Mark
Written Essay (4750-5250 KCW 100 50
assignment words)

The Saxophone Stephen Yale University 2012
Cottrell Press
The Saxophone John Harle Faber 2017
The Devil's Horn: The Story of the Steven Segell Picador 2006
Saxophone, from Noisy Novelty to King
of Cool

Audio Culture: Reading in Modern Cox, C. & Continuum 2004

Music Warner, D. Press
The Rest is Noise Alex Ross Farrar, Straus & 2007
Giroux
Birth of the Cool – Beat, Bop and the Lewis Scribner 2002
American Avant-Garde MacAdams
Jazz – the Essential Companion Ian Carr, Digby Harper Collins 1987
Fairweather,
Brain Priestley
Musicking – The meanings of Christopher Wesleyan 1998
Performing and Listening Small University Music
Press

19.8 Electro-Acoustic Music
1. Module Title Electro-Acoustic Music
2. FHEQ Level 7
3. Credit Value 20
• build on an existing levels of understanding and skill in electronic music;

• pursue practical expertise in various instruments of music technology as appropriate
to an individual student’s area of speciality.
• build on students’ use of studio and live electronic technologies such as Logic and
Max/MSP for a current project recording/production studio, and develop their ability
to produce new work where relevant.
• equip students with further technological skills that will enable them to respond
creatively to state-of-the-art developments in electronic music technology.
• develop in students an understanding of the artistic possibilities opened up by
technology.
There are two pathways: 1) Electronic Studio Techniques and 2) Electro-Acoustic Music
and Sonic Art. The former develops students’ general competencies in the studio. The
latter has more emphasis on applying these skills to an artistic project. For both
pathways, students need to demonstrate they have the right level of knowledge and
skills through submission of a portfolio of work at the beginning of the academic year
and discussion with the elective tutor.

The teaching is organised in group sessions (6 to 8 students normally), workshops and

tutorials, and includes presentation and practical demonstration of production
techniques, listening and discussion and practical work.
The content will include areas such as:
• Recording techniques, including microphone technology, microphone placement,

principles of audio recording, field recording.
• Working with audio, including editings, eq, dynamic processing, frequency
processing, pitch processing, time domain processing, mixing
• Live electronics and electronic performance instruments
In addition, students taking Electronic Studio Techniques will cover the physics of
sound, acoustics, synthesis, sampling, computer-based recording.
Students taking Electro-Acoustic Music and Sonic Art will additionally cover the history
and aesthetics of electro-acoustic music and sonic arts, such as musique concrète,
soundscape and sound art.
The assessment consists of submission of a final project; for Electro-Acoustic Music

and Sonic Art this is normally a composition or live performance of between 6 and 8
minutes’ duration or an agreed equivalent (e.g. a sound installation or recording project)
(100%).
An evaluation report of techniques and ideas that the student has employed in their
project (600-800 words) is also required (pass/fail).

A2, A3, A5, A7, B2, C1, C3, C8, D3, D4

Type Contact Hours
Seminar 20
One-to–one tutorial 1.5
b) Assessment (A and B)
KIS Assessment Type Detail KIS % % Pass Mark
code Weighting
Project output Production Project KCW 100 50
Written assignment Project evaluation KCW n/a pass/fail
(600-800 words)


Sound Recording Practice Borwick, J Oxford 2000
University
Press
Audio Culture: Cox, C & Continuum 2004
Readings in Modern Music Warner, D
The Microphone Book Eargle, J Focal Press 2004
Modern Recording Techniques, 6th Huber, D M Focal Press 2005
edition
Mixing Audio: Concepts, Practices Izhaki, R Focal Press 2008
and Tools
Capturing Sound: How Technology Katz, Mark University of 2010
Has Changed Music California
Press
Electronic and Computer Music Manning, P Oxford 1995

University
Press
Soundscape: Our Sonic Environment Murray Schafer, Destiny Books 1994
and the Tuning of the World R
Acoustic and MIDI Orchestration for Pejrol, A & Focal Press 2007
the Contemporary Composer DeRosa R
Advanced Midi Users Guide Penfold, R PC Publishing 1996
In Search of a Concrete Music Schaeffer, P University of 2013
trans. Dack, J & California
North C Press
CD: OHM: The Early Gurus of Various Elipsis Arts 2000
Electronic Music

19.9 Historical Performance: Performance
1. Module Title Historical Performance: Performance
2. FHEQ Level 7
3. Credit Value 10 or 20; Vocal 10
ELE4071
7. Module Leader Head of Historical Performance
8. Department Historical Performance
The Historical Performance: Performance (HPP) elective introduces students to the

practices of historical instruments; it also allows students who have begun to explore
historical instruments to develop their skills as performers in this field.
The elective is also open to vocal students.
Lessons emphasise the innate qualities of historical instruments, how they interact with
our musicianship, and what they can bring to our performance on both historical and
modern instruments.
Ensemble work introduces the importance to an understanding of text to all performers,

and the different relationships between the instruments of historical ensembles.
Vocal (10 credits only)
Vocal students who wish to explore historical performance are able to gain credit
through participation and performance in HP department projects. These are typically
Consort, Baroque Opera Scenes, and the Cantata Project. Availability may be subject to
timetable constraints.
Entry to the elective is by audition on either historical or modern instruments; if

auditioning on modern instruments, the expectation is that the student will commence

study on the historical instrument. A student who has previously studied historical
instruments as part of their Guildhall School BMus degree may use the result of their
HPP exam in lieu of an audition.
The School has a number of historical instruments available for loan; however, a School
instrument cannot be guaranteed.
Vocal students should initially discuss their participation in the elective with the Heads of
Vocal Studies and Historical Performance.
Assessment
10 and 20 credits
Students are assessed on their participation and performance in a Historical

Performance Department project or projects as appropriate to their instrument.
20 credits
In addition to project participation, students should also present a recital containing a

maximum of 30 minutes of music. This may include ensemble work that sutaibly
showcases the idioms of the instrument. Instruments whose solo repertoire is by nature
limited are actively encouraged to present ensemble works.

A3, A4, A5, B2, B3, B4, C3, C4, C5, C6, C7, D1, D2, D3, D5
12. Module Pattern

Individual/ group lessons 15
Practical classes/ workshops 24
b) Assessment
KIS Assessment Detail KIS % Weighting % Pass
Type code Mark
10 credits
Practical skills HP department KPE 100 50
assessment performance
project
20 credits
Practical skills Recital (30 KPE 50 50
assessment minutes)

12. Module Pattern
Project output HP department KCW 50 50

performance
project
Personal practice/study 85 (10 credits)
161 (20 credits)
d) Total student learning hours for module in each year of study 100 (10 credits)
200 (20 credits)

Baroque Music Today: Music as Nikolaus Amadeus Press 1982
Speech Harnoncourt
Primary and secondary sources as appropriate to the instrument

19.10 Interpretation through Improvisation
1. Module Title Interpretation through Improvisation
2. FHEQ level 7
3. Credit Value 20
7. Module Leader Head of Centre for Classical

Improvisation and Creative Performance
8. Department Centre for Classical Improvisation and

Creative Performance
• Introduce students to the art of extemporisation in general (independent of

repertoire-related constraints) as well as stylistic improvisations (baroque, classical,
romantic and post-romantic styles). Elements covered include embellishments,
fermata points, eingänge, preludes and interludes, cadenzas, variations and
fantasies. Post-tonal styles are also introduced and practiced.
• Introduce an improvisational state of mind while practicing repertoire by searching
for a fusion in real time between structural, harmonic and stylistic awareness and
spontaneous gestures of individual expression, while working on solo and chamber
music repertoire (as well as extemporising independently of repertoire).
• Develop presence, empathy and active listening between performing partners, as
well as the ability to lead and to follow in an ensemble situation.
• Encourage inner listening, and the development of tools for pursuing an individual
search for interpretation.

The work proceeds through fortnightly classes for small groups (4 to 5 students per
group in order to ensure active participation of every student as well as supporting
working ambience). Content is approached as class workshops in which students
interact in performance with the tutor and with other students. The teaching/learning
process normally includes also analysis of video and audio recordings of lessons.
Students are encouraged to have access to some relevant theoretical knowledge, but
no writing is formally required. Students who express interest in researching relevant
elements further are supported in this.
The work is practical and normally covers the following areas:
• improvised dialogues and counterpoints against an unprepared harmonic

background, later developed to small ensemble improvisations in forms such as
ABA, rondo and sonata.
• improvised dance forms in baroque and classical styles.
• Baroque preludes.
• Developing structural reductions for solo and chamber music repertoire in real time,
elaborating these in more than one way; using these tools for ‘hearing forward’,
enhanced listening, and learning by heart.
• Where appropriate, elaborating fermata points, repeats, eingänge, cadenzas,
preludes and interludes.
• Participation in one of the Music & Drama collaborative projects (Circus or Story
Telling projects). Each one of the two projects lasts one term and includes a
performance.
The module is assessed with one practical examination weighted at 70% of the final
mark. This covers: improvised baroque prelude or embellished dance form; classical
rondo and theme and variations or short sonata-form movement; developing
harmonic/structural reductions of a chamber-music or solo work in real time, elaborating
these reductions in more than one way and extemporising on them; fermata points,
eingänge, fantasias and cadenzas. The remaining 30% of the mark comes from a
progress report on the student’s work during the year.
A4, A7, B4, C1, C3, C4, C6, D3, D4, D5

12. Module Pattern

Type Contact Hours
Supervised time in studio/workshop/productions/rehearsals 42
b) Assessment
KIS Assessment Detail KIS code % % Pass
Type Weighting Mark
Report Tutor’s report KPE 30 50
Practical skills Practical examination KPE 70 50
assessment

Essay on the True Art of Bach, C.P.E. New York: W.W. 1948
Playing Keyboard Norton and Co.,
Instruments
“Improvisation”, The New Badura-Skoda, E., 1980
Grove Dictionary of Music Colling, M., Horsley, I.,
and Musicians, Vol.9, Libby, D. Jairazbhoy,
pp.31-56 N.A.
‘Back to the future: Dolan, D Ashgate 2005
Towards the revival of
extemporisation in classical
music performance’. In G.
Odam & N. Bannan (eds.),
The Reflective
Conservatoire: Studies in
Music Education
‘The improvisatory Dolan, D., Sloboda, J., Music Performance 2013
approach to classical Jeldroft Jensen, H., Research
music performance: an Crüts, B., Feygelson, E.
empirical investigation into
its characteristics and
impact’
Chopin: Pianist and Eigeldinger, JJ Cambridge 1986
Teacher Shohet, N University Press
Osostowicz, K Howat,
R

A Generative Theory of Lerdhal, F. and MIT Press, 1983

Tonal Music Jackendoff, R.S. Cambridge, Mass.
‘Thoughts on Nettl, B Musical Quarterly 1974
Improvisation: A 124
Comparative Approach’
‘Schenker and Rink, J. Journal of Music 1993
Improvisation’ Theory, 37(1), 1-
54. 
Structural Hearing Vols.1 Salzer, F Charles Boni, NY 1952
and 2 Faber & Faber,
London
‘Comparative analysis of Sapp, C. S. Proceedings of the 2007
multiple musical International
performances’ Conference on
Music Information
Retrieval, 497-500.
Structural Functions of Schoenberg, A Clarendon Press, 1983
Harmony Oxford,
The Musical Mind: The Sloboda, J.A Norton, New York 1985
Cognitive Psychology of
Music
Schnabel’s Interpretation of Wolff, K. 1972
Piano Music

19.11 Jazz Composition & Arranging (Jazz students)
1. Module Title Jazz Composition & Arranging (Jazz

students)
2. FHEQ level 7
3. Credit Value 20
7. Module Leader Head of Jazz
8. Department Jazz
• Develop practical skills used in the composition and arranging of traditional and
contemporary jazz.
• Encourage and develop skills in both standard styles and forms, and those styles
and forms generated by the student.
• Develop awareness of instrumental ranges, tone colour, character, and
orchestration.
• Familiarise students with models and schools of composition and arranging.
• Enable students to question the boundaries of traditional practice.
Content includes melody writing, harmonic development, chord voicing, counterpoint,

orchestration, style, and presentation of scores and instrumental parts.
The class uses a variety of teaching and learning methods, including presentation of
examples and techniques by the tutor, group analysis of musical examples, and the
realisation and analysis of the students' own compositions and arrangements.
The first half of the module concentrates on techniques employed in small ensembles
whilst the second half concentrates on arranging for larger forces. Arrangements are

rehearsed and recorded both for the purposes of assessment and for formative
feedback.

A3, A4, A5, B3, B4, C4, C5, C7, D2, D3
12. Module Pattern

Type Contact Hours
b) Assessment
Portfolio Arrangement 1 KCW 50 50
Portfolio Arrangement 2 KCW 50

A Guide to Jazz Arranging Coker, J Rottenberg: Advance 2005
and Composing Music
Arranging and Composing for Baker, D Alfred Pub Co 1988
the Small Ensemble
Birth of the Cool Collection of Milwaukee: Hal Leonard
scores
Changes over time: the Sturm, F Rottenberg: Advance 1995
evolution of jazz arranging Music
Composing for the Jazz Russo, William Chicago University Press 1961
Orchestra
Inside the Score Wright, Raymond Develan: Kendor 1982
Inside the Score Wright, R. New York: Kendor 1982
Jazz Arranging and Dobbins, B Advance Music 1986
Composing: A Linear
Approach
Jazz arranging techniques: Lindsay, G Miami, FL: Staff Art 2005
from quartet to big band Publishing
Sounds and Scores Mancini, H Wise Publications 1962
The Gil Evans Collection Ed. Muccioli, J. Milwaukee: Hal Leonard
The Swing Era Schuller, Gunther New York: Oxford 1989
university
Twentieth Century Harmony Persichetti, London: Faber 1978
Vincent

19.12 Jazz Improvisation (Jazz students)
1. Module Title Jazz Improvisation (Jazz students)
2. FHEQ level 7
3. Credit Value 20
7. Module Leader Head of Jazz
8. Department Jazz
• Develop practical improvisational skills: design, linear detail and independence,

(both harmonic and rhythmic), improvisational processes, stylistic awareness and
depth of artistic intention.
• Develop problem-solving skills related to improvisational practice.
• Encourage artistic curiosity and an open-minded approach to improvised music.
The teaching and learning strategies are experiential, employing a range of

environments including improvisation within forms (with specific skills and applications)
through to free improvisation. Topics covered include:
• Design and motivic development

• Linear independence; rapid cadential movement; rhythm as an improvisational
resource; improvising within non-functional harmony; constructive dissonance; "time-
no-changes"; the relationship between language, form, concept and spirit
• Awareness of factors affecting the practice of improvisation
The module is assessed with the following two components:
Assessment A: Spring-term, normally week 4: Mid-elective presentation - 50%

Assessment B: Summer Term, normally week 3: Completion of elective presentation -
50%
In each presentation, students perform a 25-minute programme. The repertoire is to be

derived from coursework and agreed with the improvisation teacher and performed from
memory.

A1, A2, A3, B1, B2, C1, C2, C3, C6, D3, D4, D5
12. Module Pattern

Type Contact Hours
b) Assessment
code Weighting Mark
Practical skills Assessment A: KPE 50 50
assessment 25-minute programme
Practical skills Assessment B: KPE 50 50
assessment 25-minute programme

A Chromatic Approach to Liebman, D. Rottenburg: Advance 1991
Jazz Harmony and Melody
A Creative Approach to Jazz Dobbins, B. Rottenburg: Advance 1994
Piano Harmony
A Creative Approach to Baker, D. New Albany: Jamey 1994
Practicing Jazz Aebersold Jazz, Inc.
Accelerated Learning Alistair Smith Network Press 1996
Beyond Time and Changes Crook, H. Rottenburg: Advance

Building a Jazz Vocabulary Steinel, M. Milwaukee: Hal Leonard 1995
Creative Rhythmic Concepts Guilfoyle, R. Dublin: Newpark Music 1999
for Jazz Improvisation Centre
Drawing On The Right Side Betty Harper Collins 1993
Of The Brain Edwards
Forward Motion Galper, H. Available online: 2003
http://www.forwardmotionpdf
.com

Free Play - Improvisation in Stephen Tarcher/Putnam 1990

Life and Art Nachmanovit
ch
Hearin’ the Changes Coker, J. et al Rottenburg: Advance 1997
How to Comp Crook, H. Rottenburg: Advance
How to Improvise - A Guide Hal Crook Advance 1991
to Practising Improvisation
How To Practice Jazz Jerry Coker Aebersold 1990
Inside Improvisation 1-7 Bergonzi, J. Rottenburg: Advance
Performance Ear Training Mixon, D. Rottenburg: Advance 1998
Practical Jazz Lionel Stainer & Bell 1992
Grigson
Ready, Aim Improvise! Hal Crook Rottenburg: Advance 1999
Exploring the Basics of
Improvisation
The Jazz Theory Book Mark Levine Sher Music 1989
Thinking in Jazz Berliner, P. Chicago: The University of 1994
Chicago Press

19.13 Music, Philosophy and the Arts
1. Module Title Music, Philosophy and the Arts
2. FHEQ level 7
3. Credit Value 20
This module is for students who wish to gain a wider and more systematic
understanding of musical practices in relation to the arts as a whole. Besides studying
key texts in contemporary and historical aesthetics, participants will consider subjects
such as the meaning of artistic activity, the social and cultural value of music, and the
relation of aesthetic value to ideas of truth and goodness.
• broaden students’ awareness of the place of music in the wider context of culture
and society.
• develop techniques of philosophical analysis and critical reading, thinking and
writing.
• encourage reflection on the value of musical performance in the context of
contemporary society.
• give a substantial grounding in the history and contemporary practice of the
philosophy of art.
The course consists of 18 group lectures/seminars (1hr lecture 30min discussion), 4

specialist group tutorials (1hr) and 2 one-to-one tutorials (0.5 hr).
There are two assessed projects: one spoken presentation to be delivered in class (15
mins + 5 mins questions); one essay (3600-4400 words) written in response to a set
question.

A4, A5, B3, B4, C3, C4, C5, C7, D1, D2, D3
12. Module Pattern

Type Contact Hours
Lecture 27
Seminar 4
One-to-one class/tutorial 1
b) Assessment
KIS Assessment Detail KIS % % Pass Mark
Type code Weighting
Oral assessment In class presentation KPE 20 50
(15 mins + 5 mins
questions)
Written Essay (3600-4400 KCW 80 50
assignment words)

‘Who Cares if You Listen?’ Milton Babbitt
[1958]
‘The Work of Art in the Age Walter Benjamin
of Mechanical
Reproduction’ [1936]
Aesthetics: A Steven M. Cahn & Blackwell 2008
Comprehensive Anthology Aaron Meskin
Aesthetics of Music: Stephen Downes Routledge 2014
Musicological Perspectives (ed),
The Imaginary Museum of Lydia Goehr Oxford University 2007
Musical Works: An Essay in Press
the Philosophy of Music
Postmodernism in Music Kenneth Gloag Cambridge University 2012
Press
Music in German Stefan Lorenz University of Chicago 2010
Philosophy Sorgner & Oliver Press
Fürbert (eds.)
Adorno’s Aesthetics of Max Paddison Cambridge University 1993
Music Press

19.14 Opera and Theatre A & B (Singers)
1. Module Title Opera and Theatre A (singers)
Opera and Theatre B (singers)
2. FHEQ level 7
4. SITS module code ELE4027N (A)
ELE4029N (B)
7. Module Leader Head of Vocal Studies
8. Department Vocal Studies/Opera
This elective is available to singers only, to familiarise students with the performance of
repertoire designed for the stage. It is structured so that experiences may be derived
from drama, movement, opera chorus, opera scenes and/or cover roles. It aims to:
• Develop in the singer a considerable capacity for individual and ensemble

performance in music-dramatic contexts.
• Equip singers with appropriate expertise which could be used in a broad range of
• Provide dramatic experience and opportunities which correspond to the
development of the individual singer’s artistic and professional needs.
• Develop appropriate communication and interaction skills in relation to audiences,
performance partners, stage directors, music directors, repetiteurs and stage
management.
Students may take both modules in one FT academic year, or Module A in PT year 1
and Module B in PT year 2.

Teaching and learning is through class activities, ensemble rehearsals and

performances both in directed and undirected groups and personal practice and
research.
Assessment by tutors and the creative teams on particular performance projects is

based on class/rehearsal/performance work throughout the project.
Teaching & Assessment:
Module A: one project in drama, movement, opera chorus, opera scenes, cover roles
Module B: one project in drama, movement, opera chorus, opera scenes, cover roles or
the summer term of professional work (role, cover or chorus) with an approved Opera
company: Glyndebourne Opera; Garsington Opera; Holland Park Opera; Grange Park
Opera; other professional opera companies approved by Head of Vocal Studies.

A1, A2, A3, B1, B2, C1, C2, C3, C6, D3, D4, D5
12. Module Pattern

Type Contact Hours
Practical classes/workshops per module 37.5
b) Assessment
code Weighting
Module A
Project output Performance KPE 100 50
project
Module B
Project output Performance KPE 100 50
project
Personal practice/study per module 62.5
d) Total student learning hours per module 100

Teachers advise repertoire and reading lists to students according to individual

projects. Possible supporting texts include:
Voice
The Right to Speak Patsy Rodenburg Methuen Ltd 1992
Care of the Professional Dr Garfield Davies & A.C.Black 2004
Voice Anthony F. Jahn
The Moving Body Jacques Lecoq Methuen 2000
The Singing Voice: An Pat Wilson Currency Press 1997
Owner’s Manual
The Muscle Book Paul Blakey Bibliotek Books 1992
Opera
A Short History of Opera Grout, Donald Jay New York: 1965
Columbia UP
The Complete Book of Light Lubbock, Mark London: Putnam 1962
Opera
A Concise History of Opera Orrey, Leslie London: Thames & 1972
Hudson
The Oxford Illustrated History Parker, Roger, ed Oxford: OUP 1994
of Opera
Operetta: A Theatrical Study Traubner, Richard London: Gollancz 1984
Acting & drama
The Invisible Actor Yoshi Oida & Lorna Methuen 2002
Marshall
The Empty Space Peter Brook Penguin 1990
Performance
Presence Patsy Rodenburg Penguin 2007
True & False – Heresy and David Mamet Faber & Faber 1998
Common Sense for the Actor
Psychology for Performing Glenn D Wilson Whurr Publishing 2001
Artists: Butterflies &
Bouquets

19.15 PianoWorks A & B (Pianists)
1. Module Title PianoWorks A (pianists)
PianoWorks B (pianists)
2. FHEQ level 7
4. SITS module code ELE4062 (A)
ELE4063 (B)
7. Module Leader Deputy Head of Keyboard Studies
8. Department Keyboard
• develop expertise in preparing and performing contemporary scores

• encourage curiosity and a level of familiarity with this area of repertoire and its
• cultural background
• nurture teamwork and mental focus during a limited rehearsal period
• enable pianists to develop appropriate communication and interaction skills
• both with composers and in relation to audiences and performance partners
• prepare concerts for public performance
Pianists choosing this module can choose between a number of extant projects, each of
which would be worth 10 credits. These include the New Music Ensemble, VoiceWorks,
Composer Workshops, BBC Total Immersion events and the various opportunities for
developing & performing new works written by the postgraduate composers.

The projects on offer will vary from year to year, but there will always be at least three to
choose from. Each will have its own schedule of classes, coaching and rehearsal, and
each will culminate in a performance, usually open to the public.
Assessment:
Each module will be assessed both through engagement with the project (40%), and
through the final performance (60%).

A1, A2, A3, B1, B2, C1, C2, C3, C5, D3, D4, D5
12. Module Pattern

Type Contact Hours
b) Assessment
code Weighting
Practical skills Final KPE 60 50
Continuous Project KPE 40 50
assessment engagement
Library-based study 5
Teachers advise repertoire and reading lists to students according to individual

projects. Possible supporting texts include:
New music at Darmstadt: Nono, Martin Iddon CUP 2013
Stockhausen, Cage and Boulez
The New York Schools of music Edited Steven Routledge 2002
and the visual arts: John Cage, Johnson
Morton Feldman Edgar Varese,
Willem de
Kooning, Jasper Johns, Robert
Rauschenberg.
The Cambridge Companion to Edited David CUP 2002
John Cage Nicholls

Silencing the sounded self: John Christopher Shultis Northeastern 1998

Cage and the American University Press
experimental tradition.
Composer to composer: Andrew Ford London, Quartet 1993
conversations about contemporary
music
Silence: lectures and writings John Cage Wesleyan 1973
University
Press

19.16 Research Project
1. Module Title Research Project
2. FHEQ level 7
4. SITS module code
7. Module Leader Deputy Head of Academic Studies

(Undergraduate)
• develop further students’ appreciation of and engagement with their chosen fields
within musicology and artistic research.
• foster curious, creative and innovative musicians through research and reflection on
their own practice and musical context.
• become aware of key practitioners, texts and debates in their chosen fields within
musicology and artistic research.
• promote students’ independent study and increase their confidence in this work by
developing their research skills.
• promote students’ critical faculties in reading, thinking, discussion and writing on
topics related to musicology and creative practice.
• develop a critical and sophisticated understanding of the relevance of musicological
study to the practice of performance artists.
• effectively communicate their ideas through presentation, writing and (where
relevant) performance.
• encourage and aid the development of a research culture within the postgraduate
student body.

Pre-requisite
Students who wish to take this elective must submit a piece of academic written work
which they have completed as part of their previous studies (e.g. essay / dissertation),
at the beginning of the academic year. This should be at least 3000 words and in
English. (The student’s own translation of an essay previously written in another
language is acceptable, provided it is wholly the student’s own work).
Students have a free choice of topic within the field of music research, with advice from
their tutor. Teaching is through a flexible combination of one-to-one tutorials and group
seminars, with individual programmes of study tailored to suit the project and research
training needs of the student. The majority of time is devoted to individual study, though
tutors will advise students on relevant research events taking place within the School
and externally, and how students can develop their own research and professional
networks.
Students may choose between three possible pathways, in consultation with their tutor:
1) Research through Artistic Practice: students will devise a research enquiry based
on their own artistic practice and key debates in related fields. Teaching will
focus on research methodologies for artistic research and students will have the
option of demonstrating their research enquiry through their practice.
2) Discovering Neglected Repertoire: students will explore a range of repertoire
which for various reasons is generally little played and heard, and investigate the
reasons for this. Where numbers allow, occasional seminars will provide the
focus of these discussions. Students will have the option of demonstrating their
research enquiry in a lecture recital / illustrated lecture.
3) Personal Research Project: students have a free choice of research topic within
the field of musicology, with advice from their tutor. The work is mostly carried
out individually, with regular one-to-one tutorials, and assessment is usually
through a written research paper and/or a lecture recital / illustrated lecture.
For 20 credits, assessment comprises:
EITHER
a 20-minute mid-year presentation to peers on the progress of their chosen specialist

topic (25%)
a written research paper of 8,000-10,000 words (75%)
OR

topic (25%)
a lecture recital or illustrated lecture of 20-25 minutes which evidences the research
enquiry (35%)
For 40 credits, assessment comprises:
EITHER

topic (20%)
attendance at School research events as well as relevant seminars in the doctoral

training programme, written up in the form of a reflective journal of 900-1,100 words
(10%)
OR

topic (20%)
a lecture recital or illustrated lecture of 45-50 minutes which evidences the research
enquiry (30%)
attendance at School research events as well as relevant seminars in the doctoral

training programme, written up in the form of a reflective journal of 900-1,100 words
(10%)

A4, A5,B3, B4, C4, C5, C6, C7, D1, D2, D3
12. Module Pattern

Type Contact Hours
Seminar 12* (20 credits)
20* (40 credits)
One-to-one tutorial 12* (20 credits)
30* (40 credits)

12. Module Pattern
b) Assessment
KIS Assessment Detail KIS Weighting % Pass
Type code % Mark
20 credits
Oral assessment Presentation 20 mins KPE 25% 50
Written 8,000-10,000 word research KCW 75% 50
assignment paper,
or
4,000-5,000 word research 40%
paper with lecture recital
option
Practical skills Lecture Recital: 20-25 mins 35%
assessment
40 credits
Oral assessment Presentation 20 mins KPE 20% 50
Written 900-1,100 word journal of KCW 10% 50
assignment seminar attendance and
learning
Written 12,000-15,000 word KCW 70% 50
assignment research paper
or
7,000-8,000 word research 40%
paper with lecture recital
option
Practical skills Lecture Recital: 45-50 mins 30% 50
assessment
Library-based study 176 (20 credits)
350 (40 credits)
d) Total student learning hours for module 200 (20 credits)
400 (40 credits)
* there will be a minimum of 24 / 50 contact hours but the balance may alter to reflect
the number of students taking the module, and the pathways chosen.

Musicology: The Key David Beard & Kenneth Routledge 2005
Concepts Gloag
The Craft of Research Wayne C. Booth, University of 2003
Gregory G. Colomb & Chicago Press
Joseph M. Williams

The Cultural Study of Clayton, Martin, Trevor Routledge, 2003

Music: A Critical Herbert & Richard
Introduction Middleton (eds),
Music: A Very Short Nicholas Cook Oxford University 1998
Introduction Press
Rethinking Music Nicholas Cook & Mark Oxford University 1999
Everist (eds.) Press
Artistic Practice as Mine Dogantan-Dack Ashgate 2015
Research in Music: Theory, (ed.)
Criticism, Practice
Music in Words: A guide to Trevor Herbert Associated Board of 2001
Researching and Writing the Royal Schools of
about Music Music
Constructing Musicology Williams, Alastair Ashgate 2001
Further reading will be centred on the student’s individual research topic.

19.17 Song Accompaniment A & B (pianist)
1. Module Title Song Accompaniment A (pianists)
Song Accompaniment B (pianists)
2. FHEQ level 7
ELE4053 (B)
7. Module Leader Deputy Head of Keyboard Department
8. Department Keyboard Vocal Studies
• Enable the pianist to develop expertise in song accompaniment.

• Give experience in working and performing with a variety of singers and song
repertoire.
• Create consciousness of the demands of song accompaniment as distinct from
instrumental chamber music.
• Encourage and develop the specific pianistic skills which this field necessitates.
• Develop familiarity with the cultural background of the central repertoire in this field
and the importance of textual awareness.
• Develop the supportive skills and insight crucial in this field.
Most pianists will be allocated to one of the Songs at Six projects run by the Vocal
Dept. These will generally have an intensive three-week period leading to an assessed
performance, which will qualify as a 10 credit module. Repertoire and singers will be
decided in advance of the coaching period and duos will be expected to prepare and
rehearse the music before coaching begins.

Those taking a further 10 credits of song accompaniment, or those unable to join one of
the Songs at Six projects (for instance repetiteurs, due to their timetable in the Opera
Dept.), will be asked to prepare a 20 min programme of song repertoire with a singer or
singers of their own choice for 10 credits (or two 20 min assessments for 20
credits). Coaching towards these performances will be available from the Deputy Head
of Keyboard Studies and also from an external song specialist. Pianists will be
encouraged to work with their singers beyond the precise limitations of this module,
taking part in the vocal performance platforms, in song classes, singers’ assessments
and, where appropriate, in master classes taken by internal or visiting professors.
For the latter assessment, the duo should offer repertoire originally written for voice and
piano, as distinct from orchestral transcriptions or works intended for harpsichord. Two
printed programmes and a copy of the music must be provided for the assessment
panel.
Students may take both modules in one FT year, or module A in PT year 1 and module
B in PT year 2.

A1, A2, A3, B1, B2, C1, C2, C3, C5, D3, D4, D5
12. Module Pattern

Type Contact Hours
Practical classes/workshops for each module 12
b) Assessment
code Weighting Mark
Module A
Practical skills 20 mins KPE 100 50
Module B
Practical skills 20 mins KPE 100 50
Self-directed group rehearsal/study for each module 88
d) Total student learning hours for each module 100


The Interpretation of French Bernac, Pierre Gollancz 1970
Song
A French Song Companion Johnson, G & OUP 2000
Stokes R
The Book of Lieder Stokes, Richard Faber 2005
Lieder Line by Line Phillips, Lois London: Duckworth 1979
The Penguin Book of Lieder Prawer, S.S., ed London: Penguin 1969
Ariettes Oubliées Debussy, Claude Editions Durand
Die Schöne Müllerin Schubert, Franz Henle Edition

19.18 Vocal Repertoire A & B (Singers)
1. Module Title Vocal Repertoire A (singers)
Vocal Repertoire B (singers)
2. FHEQ level 7
4. SITS module code ELE4037(A)
ELE4037(B)
7. Module Leader Head of Vocal Studies
8. Department Vocal Studies
This elective module is available to singers only. This module aims to:
• Develop understanding of the distinct technical stylistic demands of vocal

repertoire related to the major sung European languages
• Encourage and develop the specific vocal and linguistic skills which this field
necessitates
• Create consciousness of the wider cultural context of core vocal repertoire
• Encourage the student to gain a body of practical experience in this field
through concert activity
Teaching is in the form of performance projects on key areas of vocal repertoire. In

consultation with the Module Leader, students select from a list of projects that changes
from year to year. This covers a variety of repertoire in different languages, commonly
including song in English, French & German; and song or opera/oratorio in Italian &
Russian.
Students who choose to take one module (Module A) for 10 credits will participate in
one project; students who choose to take two modules (Modules A & B) for 20 credits
participate in two projects, which must be predominantly in different languages. PT

students may take both modules in one PT year, or module A in PT year 1, and module
B in PT year 2.
Each module is assessed with a performance of repertoire up to 20 minutes in length,

assigned by or agreed with the tutor (60%) and through a progress report on
participation in the sessions (40%).
Masters level performance assessment criteria are used for the purposes of
assessment. Attendance at all sessions allocated to a project is expected and the
progress report/grade will reflect the quality and consistency of the student’s
contribution in the sessions.
In addition to working with the tutor towards the performance of allocated songs/arias,
students are expected to contribute to discussion and analysis, as well as to learn from
presentations by the tutor, reading assignments and listening to / critiquing workshop
performances by peers.
Pianists are provided for this elective but singers are encouraged to work with their
regular piano partners where possible.
Student pianists normally participate in this elective and work with singers as assigned
by the project tutor. Where student pianists are not available, pianists will be
organized/assigned by the School.

A1, A2, A3, B1, B2, C1, C2, C3, C6, D3, D4, D5
12. Module Pattern

Type Contact Hours
b) Assessment
Module A
Practical skills 20 mins performance KPE 60 50
assessment
Continuous Progress report KCW 40 50
assessment
Module B
assessment
Continuous Progress report KCW 40 50
assessment

12. Module Pattern

Self-directed group rehearsal/study for each module 88
d) Total student learning hours for each module 100
Students should refer to the reading lists of the Vocal Studies handbook. Teachers
advise repertoire and reading lists to students individually. Possible texts include:
Handbook of Diction for Adams, David New York: Oxford 1999
Singers: Italian, German, University Press
French
Francis Poulenc: The Man Bernac, Pierre London: Gollancz 1977
and his Songs
The Interpretation of French Bernac, Pierre London: Gollancz 1976
Song
Schubert's Winter Journey: Bostridge, Ian London: Faber 2014
Anatomy of an Obsession
Researching the Song Emmons, Shirlee New York: Oxford 2006
& Lewis, Wilbur University Press
Nineteenth Century German Gorrell, Lorraine Pompton Plains: 1993
Lied Amadeus Press
Singing in French: a manual Grubb, T London: 1979
of French diction and French CollierMacmillan
vocal repertoire
A French Song Companion Johnson, G & Oxford: OUP 2000
Stokes R
Gabriel Fauré: The Songs Johnson, Graham Aldershot: Ashgate; 2009
and their Poets London: Guildhall
School of Music &
Drama
Franz Schubert: The Johnson, Graham New Haven: Yale 2014
Complete Songs University Press
A French Companion Johnson, Graham Oxford: Oxford 2000
and Stokes, University Press
Richard
Lieder Line by Line Phillips, Lois London: Duckworth 1979
Journal de mes Mélodies Poulenc, Francis London: Gollancz 1985
The Songs of Robert Sams, Eric Methuen 1969
Schumann
The Songs of Johannes Sams, Eric New Haven: Yale 2000
Brahms University Press
The Songs of Robert Sams, Eric London: Eulenberg 1975
Schumann

The Songs of Hugo Wolf Sams, Eric London: Faber 1992

An Interpretive Guide to Singher, Martial Pennsylvania: 1983
Operatic Arias Pennsylvania University
Press
The Book of Lieder Stokes, Richard London: Faber 2005
Rachmaninoff’s Complete Sylvester, Richard Bloomington: Indiana 2014
Songs: a companion with D. University Press
texts and translations
Tchaikovsky’s Complete Sylvester, Richard Bloomington: Indiana 2002
Songs: a companion with D. University Press
texts and translations
Sing English Song Varcoe, Stephen London: Thames 2000
Heinrich Heine and the Lied Youens, Susan Cambridge: Cambridge 2007
University Press
Hugo Wolf and his Mörike Youens, Susan Cambridge: Cambridge 2000
Songs University Press

19.19 Voiceworks A & B (Singers)
Singers may opt to take either or both modules
Composers participate only on Voiceworks A. This constitutes one of the five main PS
projects and may be submitted in their final portfolio.
1. Module Title Voiceworks A (Singers)
Voiceworks B (Singers)
2. FHEQ level 7
ELE4056 (B)
7. Module Leader Head of Vocal Department
Associate Head of Composition

(Postgraduate)
8. Department Vocal Studies, Composition
These modules are only available to postgraduate singers, and enables creative
collaboration between them, pianists, composers and writers from the School. This
module aims to:
• Enable singers, composers/writers, and pianists to work together in creating and

performing new song repertoire.
• To offer singers the opportunity to develop a specialism in contemporary song
repertoire, with or without piano.
• Work on concentration and mental focus, to generate and communicate music
and text with clarity, intelligence and meaning.

• Develop appropriate communication and interaction skills both between
composers, writers and performers and in relation to audiences and performance
partners.
• Prepare concerts for public showing.
Module A - Wigmore Voiceworks (10 credits)
New song repertoire for voice(s) and piano or instrumental chamber ensemble is
produced in collaboration between Guildhall singers, composers and writers from the
MA in Opera Making. This is written with the specific acoustic and space of London’s
Wigmore Hall in mind and performed at a Voiceworks concert in Wigmore Hall. For
composition students, this is assessed as a component of their final portfolio. For
singers this is assessed with a performance (60%) and continuous assessment of
workshop/seminar participation (40%).
Module B - New Song Voiceworks (10 credits)
This module explores the wealth of new song repertoire composed in recent decades
through special projects designed each year to illuminate particular areas of this
repertoire. Appropriate repertoire is selected in consultation with course tutors and
coached in a series of group and/or individual workshops, leading to performances of up
to 20 minutes of music. The assessment involves the performance (60%) and
continuous assessment of workshop participation (40%).
N.B. As numbers are limited for each project, auditions are likely to be required.

A1, A2, A3, B1, B2, , C1, C2, C3, , D1, D2, D3, D4
12. Module Pattern
a) Scheduled Teaching & Learning hours –

Type Contact Hours
b) Assessment
Wigmore Voiceworks
Practical skills Performance/composition KPE 60 50
assessment
Continuous Participation and KCW 40 50
New Song Voiceworks

12. Module Pattern

assessment
Continuous Participation and KCW 40 50
Personal practice/study per module 88

New Vocal Repertory: An Jane Manning Oxford: OUP 1994
Introduction, Vol 1
Introduction, Vol 2
Introduction, Vol 3
‘Text and music: some new Lawrence Kramer Contemporary Music 1989
directions’ (Contemporary Review
Music Review, Volume 5,
Issue 1, pp. 143-153)
Exploring Twentieth-Century Sharon Mabry Oxford: OUP 2002
Vocal Music

19.20 Wind, Brass & Percussion Solo Recital
1. Module Title Wind, Brass & Percussion Solo Recital
2. FHEQ level 7
3. Credit Value 20
7. Module Leader Head of WBP
8. Department WBP
This module provides students, whose professional and artistic focus is normally
chamber or ensemble performance, with the opportunity to develop further the
repertoire, and the artistic and professional skills for recital performance.
There are no additional PS hours allocated to this module, but students can allocate, in
negotiation with their HoD, up to 15 hours of their normal PS lesson allocation towards
the specific preparation for this module.
The module is assessed with one performance of 40-minute (total on-stage time, with a
minimum of 25 minutes of music) of contrasting repertoire. Copies of the music and a
printed programme must be supplied on the day for the panel.

A1, A2, A3, A7, A8, B1, B2, B4, C1, C2, C3, C6, C8, C9, D1, D2, D3, D4
12. Module Pattern

Type Contact Hours
One- to –one class/tutorial (up to) 15
b) Assessment
Practical skills Performance (min. 25 KPE 100 50
assessment minutes of music)
Students should refer to the reading lists of the principal study modules. Professors
advise repertoire and reading lists to students individually.

20. Assessment Criteria
20.1 Performance, Level 7
Technique and knowledge Performance and /or Communication and artistic values Professional
creative output Protocols
Instrumental/vocal Musical Variety of sound and Communication Ensemble Professional
control awareness and imagination communication standards
understanding
Performance displaying genuine mastery and integration of artistic insight, technical command and communicative conviction
90-100
comparable to a world-class performance standard.
An exceptionally An exceptionally An exceptionally An exceptionally An exceptionally An exceptionally

compelling level of compelling level of compelling level of compelling level of compelling level of compelling level
control and mastery command of quality of sound, a communicating ensemble of awareness
of instrument/voice stylistic detail and captivating sound with the audience, communication and upholding of
musical insight palette projecting subtle with a strong and immediacy, professional
and individual musical integration of producing a standards of
intentions musical insight and unified and presentation
80-89
technical original and manners

command interpretation
An excellent level of An excellent level An excellent level of An excellent level An excellent level An excellent
control and mastery of command of quality of sound, an of communicating of ensemble level of
of instrument/voice stylistic detail and attractive sound palette with the audience, communication awareness and
musical insight projecting individual with a strong and immediacy, upholding of
70-79 [dist.]
musical intentions integration of resulting in an professional

musical insight and integrated and standards of
technical engaging presentation
command performance and manners

understanding
A good level of A good level of A good level of quality A good level of A good level of A good level of
security and convincing of sound engaging the collaborative awareness and
sophistication in the musical communicating a wide audience, clear ethos between upholding of
control of the understanding range of musical and convincing members of the professional
60-69 [merit]
instrument/voice and style intentions communication ensemble, standards of

resulting in an presentation
engaging and manners
performance
A satisfactory level A satisfactory A satisfactory level of A satisfactory level A satisfactory A satisfactory
of control of the level of quality of sound, with of engaging the level of ensemble level of
instrument/voice awareness of evidence of variety to audience communication, professional
50-59 [pass]
aspects of style project musical with evidence of standards of

and musical intentions awareness of presentation
understanding aspects of and manners
ensemble playing
A generally A generally A generally unreliable A generally A generally A generally
unreliable level of unreliable level of level of quality of unreliable level of unreliable level of unreliable level
control of the awareness of sound, with limited engaging the interaction with of professional
instrument/voice stylistic detail and variety to project audience ensemble standards of
that limits the of musical musical intentions members and of presentation
40-49 [fail]
projection of musical understanding engagement with and manners

intentions shared musical
ideas

understanding
An unsatisfactory An unsatisfactory An unsatisfactory level An unsatisfactory An unsatisfactory An
level of control of level of stylistic of quality and variety of level of engaging level of interaction unsatisfactory
the instrument/voice awareness, sound to project the audience with ensemble level of
that seriously limited and musical intentions members professional
impinges on the inconsistent standards,
projection of musical musical systematic
intentions understanding failures in
0-39
professionalism
20.2 Composition, Portfolio submission (Level 7)

Technique & knowledge Creative Imagination Professional protocols
Work displaying genuine mastery and integration of artistic insight, technical command and communicative conviction comparable
90+
to a world-class creative and artistic standard.

Exceptionally compelling and Exceptionally compelling and imaginative An exceptionally compelling awareness
sophisticated control of structure, work projecting a sophisticated aesthetic and upholding of professional
materials and forces. sensibility and communicating both subtle presentation standards of presentation
and individual musical intentions with and notation, communicating the
70- 80-89
clarity. composer’s intentions with clarity and

elegance.
Excellent and highly impressive control Excellent and highly imaginative work An excellent awareness and upholding of
of structure, materials and forces. projecting a consistent and coherent professional standards of presentation
79

20.2 Composition, Portfolio submission (Level 7)
aesthetic sensibility and communicating and notation, communicating the
subtle musical intentions with clarity. composer’s intentions with sophistication
and fluency.
Good and generally convincing control of Good and consistently imaginative work A good awareness and upholding of
structure, materials and forces. projecting generally coherent aesthetic professional standards of presentation
aims and generally communicating and notation, communicating the
(merit)
60-69
musical intentions with clarity. composer’s intentions with detail and

accuracy.
Satisfactory work with some control of Satisfactory work shows some A satisfactory awareness of professional
structure, materials and forces. imagination and some ability to project standards of presentation and notation,
aesthetic aims, and communicates but with some inaccuracies and errors.
(pass)
50-59
musical intentions with some degree of

clarity.
Recognisable but limited control of Work shows limited but acceptable A generally unreliable level of awareness
structure, materials and forces. degrees of imaginative engagement and of professional standards of presentation
basic aesthetic awareness; some musical and notation, with consistent inaccuracies
40-49
intentions are projected with a limited and errors.

(fail)
degree of clarity.
Very inconsistent and inadequate control Inadequate imaginative engagement and An unsatisfactory level of awareness of
of structure, materials and forces. little or no aesthetic awareness. Musical professional standards of presentation
intentions are not communicated clearly. and notation, with inadequate standards
0-39
of notation.

20.3 Reflection (Level 7)
Technique and knowledge Content and /or Communication and academic values Professional
Questions Experiences Development Reflection Language Presentation
(required or
chosen mode)
An outcome displaying unique developmental insight though integration of rigorous reflection on individual artistic
90-100
experiences, mastery of reflective tools and imaginative supporting contexts. Practical results and critically appraised and
communicated in a most compelling and fluent way.
An exceptionally An exceptionally An exceptionally An exceptionally An An exceptionally
compelling level compelling level of compelling level of compelling level of exceptionally compelling level
of acquisition and synthesis of the rigour, insight and compelling level of presentation
resourcefulness, internalisation of dynamics of artistic persuasiveness in of standards ready
relevance and experiences and personal the pursuit of self- communication, for publication
depth of development, awareness stylish, fluent
questioning, showing strong and personal
showing imagination and
exceptional and individuality
methodical use of
.80-89
appropriate
reflective tools
An excellent level An excellent level of An excellent level of An excellent level of An excellent An excellent
of acquisition and synthesis of the rigour, emerging level of level of
resourcefulness, internalisation of dynamics of artistic insight, and communication; presentation
70-79 [dist.]
relevance and experiences and personal persuasiveness in stylish and standards which
depth of development, the pursuit of self- fluent enhances the
questioning, showing imagination awareness reader’s
showing good and and individuality

(required or
chosen mode)
methodical use of appreciation of
appropriate the material
reflective tools
A good level of A good level of A good level of A good level of A good level of A good level of
resourcefulness acquisition and synthesis of issues clarity and communication; presentation
and relevance of processing of of artistic and persuasiveness in fluent and clear, standards, laying
60-69 [merit]
questioning, experiences personal the pursuit of self- with a broadly out material with
showing generally development, awareness correct use of clarity
consistent use of showing some language
reflective tools individuality
A satisfactory A satisfactory level A satisfactory level A satisfactory level A satisfactory A satisfactory
level of relevance of acquisition and of interest in of clarity and level of level of
of questioning, processing of considering issues of conviction in the communication, presentation
showing some experiences artistic and personal pursuit of self- fluent and standards,
50-59 [pass]
evidence of non- development, with awareness mostly clear, showing an

casual use of an attempt at with an awareness of the
reflective tools individuality understandable School’s Style
use of language Guide
A generally A generally A generally A generally A generally A generally
unreliable level of unreliable level of unreliable level of unreliable level of unreliable level unreliable level
questioning, with acquisition of self- engagement with clarity or conviction of of presentation
some but awareness, with issues of artistic and in the pursuit of self- communication; standards,
40-49 [fail]
inconsistent use some but un- personal awareness, showing a limited and showing limited
of reflective tools processed elements development, with a limited attempt at mostly awareness and
of value reflection implementation

(required or
chosen mode)
some limited confused use of of the School’s
elements of interest language Style Guide
An unsatisfactory An unsatisfactory An unsatisfactory An unsatisfactory An An unsatisfactory
level of level of acquisition of level of engagement level of clarity or unsatisfactory level of
questioning, self-awareness, with with issues of artistic conviction in the level of presentation
showing very little very few elements of and personal pursuit of self- communication; standards
awareness of value development with awareness, showing very confused showing very
reflective tools very few elements of a very limited and poor use of limited skills
0-39
interest attempt at reflection language

20.4 Academic (Level 7)
Technique and knowledge Content and/or Communication and academic values Professional
Research Understanding Content Critical discussion Language Presentation
(required or
chosen mode)
An outcome displaying distinctive academic mastery, showing a thorough command of both the specific topic and the wider
90-100
contemporary academic field. The submission integrates rigorous critical insight with original thinking, and is communicated
with an effectiveness comparable to standards for publication or presentation to an expert audience
An exceptionally An exceptionally An exceptionally An exceptionally An exceptionally An exceptionally
compelling level of compelling level of compelling level compelling level of compelling level of compelling level
resourcefulness, acquisition and of synthesis of rigour, insight and communication; of presentation
relevance and depth, internalisation of complex persuasiveness in stylish, fluent, and standards, ready
showing exceptional knowledge information, the handling of personal for dissemination
knowledge of the concepts and concepts and to a specialist
wider contemporary material, showing material audience
academic field strong
80-89
imagination and
individuality
An excellent level of An excellent level An excellent level An excellent level of An excellent level An excellent level
resourcefulness, of acquisition and of synthesis of rigour, emerging of communication; of presentation
relevance and depth, internalisation of complex insight, and stylish and fluent standards, which
showing excellent knowledge information, persuasiveness in enhances the
knowledge of the concepts and the handling of reader’s
70-79 [dist.]
wider contemporary materials, concepts and appreciation of

academic field showing material the material
imagination and
individuality

(required or
chosen mode)
A good level of A good level of A good level of A good level of A good level of A good level of
resourcefulness, acquisition and synthesis of clarity and communication; presentation
relevance and range, processing of information and persuasiveness in fluent and clear standards, laying
acknowledging the knowledge materials, the processing of with a broadly out material with
wider contemporary showing some ideas and correct use of clarity
60-69 [merit]
academic field individuality information, with language

some evidence of
critical appraisal of
sources
A satisfactory level ofA satisfactory level A satisfactory A satisfactory level A satisfactory level A satisfactory
relevance and range, of acquisition and level of of clarity and of communication; level of
although not processing of information, conviction in the fluent and mostly presentation
demonstrating knowledge, mostly derivative, processing of clear with an standards, at a
engagement beyond although not but with an information, with understandable minimum
50-59 [pass]
class material demonstrating attempt at limited evidence of use of language adhering to the
understanding individuality critical appraisal of School’s Style
beyond class sources Guide for
material referencing
A generally unreliable A generally A generally A generally A generally A generally
level of engagement unreliable level of unreliable level of unreliable level of unreliable level of unreliable level of
40-49
with source material acquisition, with information, with clarity or conviction communication; a presentation
[fail]
with some limited some limited in the consideration limited and mostly standards

(required or
chosen mode)
material of research misunderstandings elements of of information, confused use of showing limited
value of class material relevance showing little critical language awareness and
appraisal of sources implementation of
the School’s Style
Guide
An unsatisfactory An unsatisfactory An unsatisfactory An unsatisfactory An unsatisfactory An unsatisfactory
level of engagement level of acquisition, level of level of clarity or level of level of
with source material with serious information with conviction in the communication; presentation
of very limited misunderstandings very limited consideration of very confused and standards
research value and flaws elements of information, poor use of
relevance showing very little language
critical appraisal of
0-39
sources

20.5 Artistic (Level 7)
Technique and knowledge Content and /or creative Communication and academic values Professional
output Protocols
Skills Models Output Originality Communication Presentation
An outcome displaying a unique creative output, showing integration at the highest level of skills, internalisation of context and
90-100
parameters, and originality and insight. An outcome that also shows a mode and power of communication completely integral
to the values and significance of the output.
An An exceptionally An exceptionally An exceptionally An exceptionally An exceptionally
exceptionally compelling level compelling level of compelling level compelling level compelling level of
compelling of acquisition integration of specific of originality and of persuasion in presentation
level of and artistic context and risk-taking, the projection of standards in line with
acquisition of internalisation of individual imagination accomplished artistic content artistic and
creative skills relevant artistic with rigour and and values professional contexts
and of models and insight
resourcefulnes contexts
.80-89
s of creative
means
An excellent An excellent An excellent level of An excellent level An excellent level An excellent level of
level of level of integration of specific originality and of persuasion in presentation
acquisition of acquisition and artistic context and risk-taking, the projection of standards in line with
creative skills internalisation of individual imagination accomplished artistic content artistic and
70-79 [dist.]
and of relevant artistic with rigour and and values professional contexts
resourcefulnes models and insight
s of creative contexts
means

output Protocols
A good level of A good level of A good level of interplay A good level of A good level of A good level of
creative skills acquisition and of general artistic issues personal ideas communicative presentation
60-69 [merit]
and means processing of and individual ideas pursued with tools for standards, effective
general artistic clarity and expressing for general public
models interest artistic ideas display
A satisfactory A satisfactory A satisfactory level of A satisfactory A satisfactory A satisfactory level of

level of level of interplay of general level of personal level of presentation
50-59 [pass]
creative skills acquisition and artistic issues and some ideas pursued communicative standards, broadly
and means processing of individual ideas with clarity and tools for effective for general
general artistic interest expressing public display
models artistic ideas
A generally A generally A generally unreliable A generally A generally A generally
unreliable level unreliable level level of engagement with unreliable level of unreliable level of unreliable level of
of creative of acquisition of artistic issues, with some personal ideas, communication; a presentation
skills, with artistic models, limited elements of showing limited limited and standards, showing
some but with some but interest attention to mostly confused limited scope for
40-49 [fail]
inconsistent un-processed details projection of public display

use of relevant elements of ideas
tools value
An An An unsatisfactory level of An unsatisfactory An unsatisfactory An unsatisfactory
unsatisfactory unsatisfactory engagement with artistic level of personal level of level of presentation
level of level of issues and very few ideas, showing communication; standards showing
creative skills, acquisition of elements of interest very limited very confused very limited scope for
0-39
showing very artistic models and poor public display

output Protocols
little use of with very few attention to projection of

relevant tools elements of details ideas
value

21. Breakdown of Principal Study Hours
Breakdown of Principal Study 1-2-1 hours and classes/supervised activities hours (in bracket) by Department and Part of
Programme
Graduate Certificate Part 1 Part 2
Composition 30 (82) 30 (75) 30 (100)

Historical Performance 45 (187) 45 (300) 45 (187)
Jazz 40 (187) 40 (300) 40 (187)
Keyboard 60 (110) 60 (100) 60 (104)
Piano Accompaniment 30 (110) 30 (100) 30 (104)
Strings 45 (187) 45 (300) 45 (187)
Strings (Orchestral Artistry) n/a 55 (156) 45 (167)
Vocal 45 (187) 45 (300) 45 (187)
Wind Brass & Percussion 45 (187) 45 (300) 45 (187)

Wind Brass & Percussion (OA) n/a 45 (156) 45 (167)

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Guildhall Artist Masters

Programme & module specifications & assessment criteria for

GAM Gold Copy 2021/22 Page 1 of 162

2. Programme Accredited by (if applicable)................................................................ 6

3. Final qualification and level of award...................................................................... 6

4. Exit awards (where relevant) .................................................................................. 6

5. Relevant QAA subject benchmarking group(s) ...................................................... 6

6. SITS code .............................................................................................................. 6

7. Approved for the year of study ............................................................................... 6

8. Head of Programme ............................................................................................... 6

9. Pathway Leader (where relevant)........................................................................... 6

10. Aims of the Programme........................................................................................ 7

11. Criteria for admission to the Programme .............................................................. 8

11.1 Selection Process ........................................................................................... 8

11.2 Standard Requirements .................................................................................. 9

11.3 English Language requirements ..................................................................... 9

11.4 Non-standard entry ......................................................................................... 9

11.5 Age of entry .................................................................................................. 10

12. Programme learning outcomes .......................................................................... 11

13. Programme Structure ......................................................................................... 12

13.1 Programme Duration (years) ........................................................................ 12

13.2 Mode of Delivery (full/part-time/other)........................................................... 12

13.3 Total student learning hours ......................................................................... 12

13.5 Guildhall Artist Masters ................................................................................. 13

13.6 Extended Guildhall Artist Masters Programme ............................................. 13

GAM Gold Copy 2021/22 Page 2 of 162

14.1 General Approach......................................................................................... 14

14.2 Teaching & Learning methodologies ............................................................ 14

14.3 Guildhall Artist Masters Modules .................................................................. 16

14.4 Extended Guildhall Artist Masters Modules .................................................. 17

15. Curriculum map relating programme learning outcomes to modules ................. 18

16. Assessment Regulations .................................................................................... 21

16.1. Requirements to pass a module .................................................................. 21

16.2 Requirement to pass a year/part and to progress ......................................... 22

16.3 Award regulations ......................................................................................... 23

16.4 Resit charges ................................................................................................ 25

16.6 Fail Withdraw ................................................................................................ 26

16.7 Periods of registration ................................................................................... 26

16.8 Parts of the programme and mode of attendance......................................... 26

16.9 Scheduling of Assessment ........................................................................... 27

16.10 General Assessment Principles .................................................................. 27

16.11 General assessment regulations for recitals and submissions ................... 27

16.12 Assessment Procedures ............................................................................. 28

16.13 Feedback to students after assessments ................................................... 30

17. Principal Study Modules ..................................................................................... 31

17.1 Graduate Certificate: Principal Study in Performance................................... 31

17.2 Principal Study in Performance (Part 1)........................................................ 34

17.3 Performance Portfolio (Part 2) ...................................................................... 37

Guildhall Artist Masters Gold Copy 2021/22

17.5 Graduate Certificate: Principal Study in Composition ................................... 46

17.6 Principal Study in Composition (Part 1) ........................................................ 49

17.7 Composition Portfolio (Part 2) ....................................................................... 52

17.8 Performance Practice I & II ........................................................................... 56

17.9 Graduate Certificate: Principal Study in Electronic Music ............................. 59

17.10 Principal Study in Electronic Music (Part 1) ................................................ 63

17.11 Principal in Electronic Music (Part 2) .......................................................... 67

18. Reflective Practice Modules ............................................................................... 72

18.1 Reflective Practice (GC) ............................................................................... 72

18.2 Reflective Practice (Part 1) ........................................................................... 76