Psic. 2

1.
INTRODUCTION: OVERALL PROGRAMME AIMS AND

OBJECTIVES
1.1
Programme Aims
The BMus(Hons) programme aims to prepare you for as broad as possible a choice of
musical career/careers, in recognition of the portfolio career pattern of the professional
musician and the career ambitions that you will develop over the four years of your
studies at the College. The structure of your degree seeks to balance breadth of study
with depth of study and to promote a philosophy of choice and flexibility.
The distinctive aims of the RCM BMus(Hons) degree are to
1.2
provide specialised musical education and professional training at the highest

international level for instrumental and vocal performers and for composers,
bringing them to the threshold of professional standards;
provide a challenging, up-to-date and vocationally relevant programme that

attracts advanced performers and composers, reacts flexibly to changing
professional expectations and demands, and educates within broader musical,
cultural and economic perspectives;
develop your knowledge and understanding within a flexible structure to enable

the acquisition of the individual skills and specialist interests that will help you
establish yourself in the profession;
offer you close links with the music profession in its widest sense;
develop a sense of individual and collective responsibility.
The Learning Environment

The College aims to provide
a stimulating musical environment within a lively, friendly and supportive

atmosphere
staff highly regarded within the profession who are resourceful and committed
teachers
experiences which enable students and staff to keep abreast of developments

within the profession and to anticipate future needs, demands and opportunities
opportunities and advice which will encourage you to develop the skills and
personal attributes you need in order to establish yourself professionally
instruments, other learning support materials and physical resources of a quality

appropriate to the nature and level of the work
efficient administrative and support services
1.3
The BMus Programme Specification

At Appendix A at the back of this programme handbook you will find what is known as a
Programme Specification. This is a summary of your BMus(Hons) degree programme,
written in a standard format to be used by all UK universities, including conservatoires.
You may find this a useful portrait of your studies: on graduating, it will also enable you
to show someone unfamiliar with the RCM BMus programme what you had to do in
order to gain your degree and what kinds of qualities they should expect to find in you.
2.
PROGRAMME DESIGN
2.1
What sort of study does the RCM BMus(Hons) degree involve?

Your development as a performer or composer lies at the heart of our degree programme, so the
acquisition of high level practical skills is central to your studies. You are encouraged to develop these
through individual tuition, through work in ensembles and orchestras, through performing yourself
and through hearing others perform in concerts, masterclasses, workshops and faculty performance
classes.
Taking an active role in your own development as a musician is a central part of this process, which
explains why recording and evaluating your own achievements through Study Plans is important. (You
will find more information on Study Plans later on.) Another key factor of your training is that you
develop as someone who is flexible, well-rounded and well-informed about music and musical
experiences, qualities that will enhance your career prospects. So, to complement your experiences in
the Individual Studies unit (a unit combining your Principal Study with any Second or Related Study
that you follow) you will find a supporting range of units in this programme: core (ie compulsory) in
the first two years and optional thereafter. These add intellectual breadth and depth to your study
and help you develop the key attributes expected of todays graduates.
As you become more familiar with this handbook and work your way through the BMus(Hons)
programme with support of the programme team you will realise that choice (making your own
decisions about what you want to do) and flexibility (being able to try out different things at different
stages of the programme) are central to the way in which your degree has been designed. Making
choices starts from Year 1. Once you have completed core, complementary units in Years 1 and 2 you
will be able to specialise through options, which span a wide range of theoretical, technological and
practical subjects, according to your personal interests and future professional needs.
Conservatoires train their students for the profession. The music profession is now extremely diverse
and makes ever-increasing demands on those who work in it. In all aspects of your work at the RCM
you will come into contact with experienced professionals who have valuable insights to offer. Some of
these insights are channelled into our Professional Skills units which are incorporated into all four years
of the programme. In the first year, the Professional Skills unit promotes health awareness and wellbeing issues to equip you to meet the demands of practice, performance and professional schedules. In
the second year the focus switches to creative outreach work and instrumental/vocal teaching. In the
final two years of the programme, options are available in creative educational work and in
instrumental/vocal teaching.
The following sections outline the structure of your BMus in more detail and explain a number of
the terms that are used in higher education degree programmes, such as levels, credits,
prerequisites and progression.
2.2
The Design of Your BMus(Hons) Programme

Table 1: The BMus(Hons) programme structure at a glance
YEAR 1
* Individual Studies
* Faculty Studies
* Historical Studies
* Practical
Musicianship
(*) Aural
Level 1
60 credits
Level 1
Level 1
Levels 1 or 2
20 credits
20 credits
20 credits
Levels 1, 2 or 3
10 credits
Individual Studies includes Principal Study,

Second Study and Related Study. Students
must audition for Second Study.
Level taken determined by result in the
start-of-year Placement Test
Students opt to take their preferred level
during the course of the year
* Professional Skills
Level 1
10 credits
Overall credits 140
Units marked * are prerequisites for Year 2 units and must be passed.
Students must pass in Level 1 Aural by the end of Year 2 in order to progress to Year 3.
YEAR 2
Individual Studies
Faculty Studies
Historical Studies
Stylistic Studies
Aural
Aural in Professional
Contexts
Professional Skills
Level 2
Level 2
Level 2
Level 2
Levels 2 or 3
Level 3
60 credits
20 credits
20 credits
10 credits
10 credits
10 credits
As for Level 1
Choice of courses available
Choice of courses available
Taken by students who gained at least
Level 2 Aural unit in Year 1
Level 2
20 credits
Overall credits 140
120 credits required for progression to Year 3.
Students must pass in Level 1 Aural by the end of Year 2 in order to progress to Year 3.
Students must pass in either Level 2 Aural or Level 2 Stylistic Studies in order for the BMus(Hons)
to be conferred
YEAR 3
Individual Studies
Level 3
Options
Levels 2 and 3
6080
credits
6040
credits
Overall credits 120
120 credits required for progression to Year 4.
YEAR 4
Individual Studies
Options
Graduation
Level
6080
credits
Levels 2 and 3
Individual Studies includes Principal Study,

Second Study, Related Study. Students
may choose whether to weight this unit at
80, 70 or 60 credits
Students choose 10, 20 and 30 credit units
from a range of Level 2 and 3 options
Individual Studies includes Principal

Study, Second Study, Related Study.
Students may choose whether to weight
this unit at 80, 70 or 60 credits
Students choose 10, 20 and 30 credit units
from a range of Level 2 and 3 options
6040
credits
Overall credits 120
120 credits must be completed in Year 4 for award of BMus(Hons).
2.3
Levels of Study
There are four different levels of study within the BMus programme. While, initially, it is helpful to
think of Year 1 as meaning Level 1, you will find that units do not always need to be linked to your
year of study (except in the case of the Principal Study element within the Individual Studies unit).
In your Principal Study work, Level 1 indicates the standard of performance you are expected to
demonstrate after one year of study at the RCM, Level 2 the standard expected after two years of
study, and so on through to Graduation Level, a term used only with RCM to indicate the level of
performance we expect you to have achieved in your Final Recital at the end of your undergraduate
training.
In all other units, Level 1 indicates the standard of work introduced in the first year of an
undergraduate programme. Level 2 units build on skills acquired at Level 1, developing and extending
your abilities. You will study a number of Level 2 units in your second year and can opt to take more
Level 2 units in your third and fourth years. If you show sufficient competency either in Placement
Tests at the start of the first year (in Practical Musicianship) or during classes in your first year (in
Aural) you will be able to take units at higher levels in the first year of the programme. Some faculties
also allow this system of fast-tracking in Principal Study Technical examinations. Level 3 units are
substantial, in-depth units which refine your skills and understanding/application of ideas largely
through independent work with some supervisory guidance. These are usually available only in the
final two years of the BMus programme.
2.4
Credits and Progression

Each unit you take is assigned a specific number of credits and each years work requires you to
accumulate at least 120 credits in order to progress onto the next year of the degree programme or, in
the case of the final year, to graduate. This credit rating system is used through the higher education
system in the UK to facilitate comparability between different degree programmes. It helps any
student who wishes to complete their degree elsewhere to have relevant prior learning taken into
account.
For every unit that you pass you will receive all the credits associated with that unit (ie pass = all
credits; fail = no credits). Credits are a measure of the volume of your achievement, not its quality.
2.5
Core Units and Prerequisites

All the units outlined in Years 1 and 2 are core (ie compulsory) units. Year 1 units are prerequisites for
Year 2 units, which means that they must be passed in order to progress to Year 2. Prerequisites are
units at lower levels which you need to pass in order to demonstrate that you have developed the
skills and knowledge necessary to pursue more advanced work successfully. In Year 2 you need to gain
120 credits in order to progress to Year 3 and must pass in those units that are prerequisites for any of
the options that you wish to follow.
2.6.
Options in Years 3 and 4

The tables below list all the options that are available to students in their third and fourth years of the
programme. There are three important things to remember about options:
Options are offered at Levels 2 and 3 very often a Level 2 option leads on to a Level 3 option
and is usually a prerequisite for it. Prerequisites are listed in the table.
Options are available in different credit sizes either as 10, 20 or 30 credit units. Sometimes
the same option is available as (for example) either a 20 or 30 credit unit. Where this is the
case, the difference lies in the nature and scope of the assessment you will be asked to
undertake in order to complete the unit.
2.7
Options are divided into two categories. Category A options are historical, theoretical,
technological or vocational modules which incorporate written work into their assessment.
Category B options are practical courses assessed through practical examinations (usually,
though not always, on your Principal Study). In order to receive the BMus degree you must
complete at least 20 credits of Category A options in the final two years of the programme. It
does not matter whether these are at Level 2 or Level 3; nor does it matter whether you take
these in your third or fourth year (in practice, most students do so in their third year).
Creating your Individual Programme of Study in Years 3 and 4

Section 3 goes into more detail about the Individual Studies units in BMus1BMus4 and how many
credits these are allocated. In Years 1 and 2 these credit levels are fixed; in Years 3 and 4 you may
choose the number of credits to allocate to Individual Studies. If you opt for the maximum number
(80 credits) you will have 40 credits remaining each year from which to choose your options. If you
allocate the minimum number of credits to Individual Studies (60) you will have more credits (60) for
options. You do not have to keep the credit allocations that you make between Individual Studies and
option choices the same in both years.
This structure allows you to create your own individual pathway through the third and fourth years of
your BMus, and the range of options enables you to devise a particular focus. Likewise it enables you to
maintain breadth to your study if you wish. Many Level 2 options are prerequisites for Level 3 options
so, if you are interested in taking an option to a higher level, you would need to factor this into your
planning. However, as Table 2 indicates, a number of Level 3 options are available to you from Year 3
onwards because their prerequisites are courses you have completed in Year 2.
To help you make your choices we run Options Meetings each Spring Term for second and third year
students. It is important that you plan ahead and discuss with members of staff what you would like to
do. The Head and Deputy Head of Undergraduate Programmes give tutorial advice in relation to
option choices. Your Head of Faculty, in conjunction with your Principal Study professor, will also be
able to offer you further guidance about how to structure and sequence your studies.
2.8
Unit Descriptions
Section 9 of this handbook includes descriptions of all the units we offer at the different levels. Each
level starts with a synopsis of the units available and includes information about:
2.9
the learning outcomes (what you will be expected to be able to demonstrate on successful
completion of the unit)
the broad content of the unit
the assessment requirements
Calculating your Final Degree Result

A well-designed degree is one which strikes a balance between rewarding particular excellence in some
areas with consistency across the board, and one which is genuinely demanding but allows some scope
for parts of your study to be less successful than others. Designing a scheme which achieves this is a
challenging exercise: the procedures we use are explained here, in general terms, and in more detail in
the regulations section of this handbook (Section 10).
2.9.1
Which units count towards my final degree result?
Only units at Level 2 and above count towards your degree. Therefore, your work in Year 1 does not
count towards your overall degree result unless you take units at Level 2 or above in this year.
(Remember, though, that you do need to pass all of these units in order to progress to Year 2.) From
Year 2 onwards, providing you pass all the units that you take, you will accumulate 380 credits (more if
you have taken units at Level 2 in your first year). The best 340 of these are used to create the profile
on which your final degree result is calculated.
6
Table 2: Options at a Glance
Category B
Category A
LEVEL 2 OPTIONS
Option
Alexander Technique
Classical CD Production
Composing with the Sequencer
Composition
Electroacoustic Music
Historical Studies
Jazz Harmony & Arranging
Score Processing with Sibelius
Music Therapy
Orchestration & Transcription
Psychology of Music
Accompaniment (Piano, Organ,
Guitar)
Chamber Music
Conducting
Duo Performance
Improvisation
Keyboard Continuo Playing
Organ Improvisation
Studio Musicianship
10 credit
20 credit

Prerequisite
L1 Professional Skills
L2 Aural
L2 Stylistic Studies
L2 Historical Studies (core)
L2 Principal Study
L2 Principal Study
L2 Aural
L2 Principal Study
L2 Principal Study
L2 Principal Study
L2 Aural

LEVEL 3 OPTIONS (units marked * have prerequisites obtained by the end of Year 2)
Option
10
20
30
credit
credit
credit

Category A
* Advanced Stylistic Studies

Alexander Technique
Composition
Composition for Screen
* Research Project
Electroacoustic Music
* Historical Studies
Jazz Arranging & Composition
Orchestration & Arrangement
Pop Song Writing & Production

Category B
* Professional Skills (Outreach)

* Professional Skills (Instrumental &
Vocal Teaching)
* Psychology of Performance
* Repertoire Project
Accompaniment (Piano, Organ,
Guitar)
* Aural
* Aural in Professional Contexts
Chamber Music
Conducting
* Contemporary Music
Duo Performance
* Historical Performance
Keyboard Continuo Playing
Opera, Acting & Movement
* Song Class

Prerequisite
the Year 2 L2 or L3 Stylistic Studies

L2 Alexander Technique
L2 Composition
L2 Composing with the Sequencer; or
L2 Second Study and interview
L2 Historical Studies
L2 Electroacoustic Music
L2 Jazz Harmony or comparable skills
L2 Orchestration & Transcription
L2 Composing with the Sequencer or
comparable skills
L2 Psychology of Music or L2
Historical Studies & interview
L2 Accompaniment
L2 Aural
L3 Aural
L2 Chamber Music
L2 Conducting
L2 Principal Study
L2 Duo Performance
L2 Faculty Studies
L2 Keyboard Continuo Playing
Level 3 Principal Study (Singers only)
Level 2 Principal Study (Singers only)
2.9.2
What is a profile?
Your profile is the overall pattern of your results and how these distribute across the classification
system currently used in UK higher education (Class 1 = 70% and above, Class 2i = 6069%, Class 2ii =
5059%, Class 3 = 4049%). With profiling, we look at the class of mark you achieve in a unit, rather
than the actual percentage mark.
2.9.3
How is my final class of degree calculated?
This is calculated in two steps, and by looking at the overall profile of your results across a range of
units:
Step 1: your best 180 credits at Level 3 and above (at least 60 of these must be at Graduation
Level: ie your Principal Study work in Year 4)
Step 2: your best 340 credits at Level 2 and above
In order to achieve a particular degree class, half of your units at Step 1 (90 credits) must be within that
class (or higher) and the remaining units must not be more than one class lower. The same pattern
must also apply at Step 2: half of your units (170 credits) must fall within the class of degree to be
awarded (or higher) and the remaining units must not be more than one class lower. Some credit
deficits are tolerated: for example, if you are aiming for a Class 2i degree it is possible to achieve this
even if, within your best 340 units, some are within Class 3 (ie more than one class lower than Class 2i).
Normally, the maximum credit deficit permitted is 20 credits.
The explanation above works for students with straightforward profiles (ie those whose results have
fallen consistently within two adjacent classes). Some students will have less straightforward profiles:,
and where this is the case it would probably be helpful for you to discuss your likely overall degree
result. You can do this with the Head or Deputy Head of Undergraduate Programmes at any time
during your studies most usefully as you move into the final year of your programme and,
particularly, once your Final Recital result is known.
2.9.4
How important are Principal Study units in calculating my final degree?
Table 1 (in section 2.2 above) shows you how many credits are allocated to Individual Studies
(Principal Study, Related Study, Second Study) across the four years of the programme. The maximum
number of Principal Study credits you can accumulate from Level 2 and above is 220; the minimum is
180. Principal Study therefore accounts for between half to two-thirds of your overall degree result.
2.10.
Failing a unit
If you fail a unit, you first need to check whether you have still successfully completed sufficient units
to progress to the next year. If you have, you will then need to find out whether the failed unit is a
prerequisite for another unit that you either need or want to study in subsequent years (for example,
one years Principal Study unit is always a prerequisite for the next). If it is a prerequisite, you will
normally be offered a reassessment opportunity by the Board of Examiners. If it is not, you may regard
the unit as one of the extra units lying outside the 340 credits on which your degree overall is
calculated. Remember that:
Level 1 units are prerequisites for Level 2 units only, and do not count towards the final degree
result
you study for units worth 380 credits at Level 2 and above but have your degree class calculated
on only 340 of these, which gives you some leeway
any Level 3 unit (except your Principal Study) is an option, so it is very likely that you will have
selected these because you feel your work is strong in these areas
3.
THE INDIVIDUAL STUDIES UNITS
3.1
Composition of the Individual Studies units in Years 1 and 2

As Table 1 earlier indicated, 60 of the 140 credits in Years 1 and 2 are assigned to the Individual Studies
unit. Individual Studies comprises:
Principal Study your main study (instrument, composition or voice)

Related Study an instrument related to your main study (eg piccolo for flautists, baroque
violin for violinists, jazz trumpet for trumpeters)
Second Study a secondary study (whether instrument, composition or voice) for which you
must audition at the start of the BMus programme. A set number of places is available in both
years and progression from Level 1 to Level 2 depends on the Level 1 examination result.
In Years 1 and 2 it is possible to follow either a Second Study or a Related Study in conjunction with
your Principal Study. Alternatively, you may just take Principal Study. This results in the following
credit combinations:
Principal Study only (60 credits)

Principal Study (50 credits) and Related Study (10 credits)
Principal Study (40 credits) and Second Study (20 credits)
Principal Study is examined through a Technical Exam (for all instrumentalists) and a Repertoire
exam/submission of Composition portfolio. The overall mark for your Principal Study credits is based
on your Repertoire exam alone in Years 1 and 2. Your Technical exam (where this is prescribed by your
faculty) receives a mark, but no separate credits: you must pass this element in order to pass in
Principal Study.
In Year 1 your Repertoire exam/Composition portfolio is set at Level 1 and in Year 2 it is set at Level 2.
The level of Technical exam that you take is usually linked to your year of study, though some faculties
allow you to fast-track in this element. For example, an orchestral string player may opt to take the
Level 2 Technical exam in their first year and the Level 3 Technical exam in their second year, thus
completing all the technical requirements after two years rather than three.
Your individual syllabus provides you with full details of examination requirements, including exam
lengths and any set repertoire, across all levels. Additionally, the College publishes an annual guide for
examiners and students which sets out the procedures for practical examining.
30 hours tuition in Principal Study is provided in Year 1 and in Year 2 of the programme.
3.2
Second Study
A set number of Second Study places is available across Years 1 and 2 for students wishing to follow a
Second Study. To be awarded a Second Study place you must be able to demonstrate, at audition in
September of your first year, a standard appropriate to following a Second Study successfully while also
maintaining progress in your Principal Study. Some students may be permitted to upgrade from
Related Study to Second Study as they move from the first to second year, if potential has been shown
on the Related Study (usually at Level 2).
15 hours tuition in Second Study is provided in Year 1 and in Year 2 of the programme.
3.3
Related Study
Heads of Faculty make allocations in relation to Related Study. At Level 1, this may be delivered
through tuition in groups (especially when the student is new, or relatively new, to the instrument).
Where the student is able to demonstrate prior experience woodwind students most particularly
it may be possible for you to follow your Related Study at Level 2. You should discuss this with your
9
Head of Faculty.
5 hours tuition is provided for Level 1 Related Study and 10 hours for Levels 2 and 3. Level 1 is deemed
a taster course and therefore attracts no credits. However, Related Study at Levels 2 and 3 attracts 10
credits.
3.4
Developing Related and Second Studies into Joint Principal Study

Second Study and Related Study are both available at three different levels (Levels 13). If you wish to
continue with a Second Study beyond Level 3 you would need to convert this into a Joint Principal
Study (and such conversion is dependent on your achieving certain standards in both studies). If you
wish to continue with a Related Study beyond Level 3 you would need to convert this into a Second
Study.
Not all combinations of Related, Second and Joint Principal Studies are possible, though we try to be as
accommodating as we can to any serious requests. If you are serious about developing a Second or
Related Study into a Joint Principal Study, you should read the Case Studies at the end of this section.
Here, we have tried to anticipate some of the most likely patterns to help guide you through these
choices.
Highlighting equivalences in syllabuses will help you understand how, potentially, a Related Study
might grow into a Second Study, which in turn might grow into a Joint Principal Study. Syllabus
equivalents are shown horizontally, below: for example, the requirements of a Level 2 Related Study
exam are exactly the same as those for a Level 1 Second Study exam:
Same syllabus
Same syllabus
Same syllabus
Same syllabus
3.5
Level 3 Second Study

Level 3 Related Study

etc
Level 2 Principal Study
Level 1 Principal Study
Composition of the Individual Studies units

units in Years 3 and 4
In the third and fourth years of the programme, the combinations of Principal, Second and Related
Study may be continued as outlined in the table below. You can choose to allocate up to 80 credits to
your work within the Individual Studies unit and you must follow a minimum of 60 credits. Credit size
of the Principal Study unit is linked to hours of tuition available across the year, as well as to the
combination of studies you wish to follow. The maximum number of hours available for tuition in the
Individual Studies units in Years 3 and 4 is 45 hours each year.
Credit weighting
chosen
80 credits allocated to
Individual Studies
Individual Studies
Individual Studies
Choice Combinations possible
Hours tuition available
(i) Principal Study (80 credits)
40 hours PS tuition
(ii) Principal Study (70 credits) and Level 2 or

Level 3 Related Study (10 credits)
(iii) Principal Study (60 credits) and Second
Study (20 credits)
(iv) Principal Study (60 credits) and two Related
Studies at Level 2 or Level 3 (10 + 10 credits)
35 hours PS tuition
10 hours RS tuition
30 hours PS tuition
15 hours 2S tuition
45 hours maximum
allocated between PS
and RS
35 hours PS tuition
30 hours PS tuition
10 hours RS tuition
30 hours PS tuition

(ii) Principal Study (60 credits) and Level 2 or
Level 3 Related Study (10 credits)
10
3.6
Joint Principal Studies

Developing two Principal Studies to the same high level is a challenging programme of study.
Therefore, Joint Principal Studies (JPS) is offered at audition only to exceptional students. A small
number of students may convert to JPS at a later stage in the BMus, if considered suitable. Being
approved for JPS is always subject to your performance in key practical assessments.
JPS in Years 1 and 2: in Years 1 and 2, the marks you obtain in the Repertoire exams for both Principal
Studies will be amalgamated in equal proportion to arrive at an overall mark in the 60-credit Individual
Studies units. JPS students receive 30 hours tuition in each instrument and do not follow Related or
Second Studies. Where the Principal Studies are located in two different faculties, you are expected to
contribute to the activities described within both Faculty Studies units (in other words, to show that
you are an active member of both faculties) though you will be assessed formally in only one of these.
JPS in Years 3 and 4: in Years 3 and 4, a JPS student must allocate 80 credits to Individual Studies and,
since Level 3 and Graduation Level units have a significant impact in calculations of overall degree
result, this unit breaks down into two separate 40-credit Principal Study elements.
3.7
Assigning you to a Principal

Principal Study Professor
When you accept a place to study at the RCM, you are asked to indicate a first, second and third
choice of Principal Study professor. We try to accommodate your preferences as far as possible.
Understandably, many individual teachers are extremely popular and, given their commitment to the
students they already teach and their performing careers, they may have very few hours available.
Professorial allocations are made during the summer prior to the start of each academic year, although
some adjustments are made after Induction Week when the exact number of students continuing or
joining the College is finally confirmed.
3.8
Changing your Principal Study Professor

There may come a time when you or your Principal Study professor decides that it would be better if
you studied with another professor. Perhaps you want the opportunity of having another viewpoint
on your development; or it may be that the two of you are no longer getting on sufficiently well, either
personally or musically.
Changes of professor are usually only permitted at the end of a term or a year, except where
circumstances demand immediate action. There is never a good time to change but there are
certainly some bad times to do so, for example too early in Year 1 or too close to any important
instrumental exam. It is important to be sure in your mind that a change really would be for the best.
Whatever the reason for a possible change, you should first have an honest and open discussion with
your professor. This is never an easy thing to do but is an essential first step. Frequently such
discussions will highlight points about your training and development from both perspectives and
then a satisfactory way forward can be agreed. However, if this is not the case, you should then see
your Head of Faculty. They will usually wish to consult with various colleagues in order to ensure the
best possible route forward for you, before authorising a change of professor.
You are allowed one free consultation lesson during your undergraduate studies with another
professor before applying to change to him or her. Never do this without speaking to your present
professor first. If you feel you need further consultation lessons, you will need to pay for these
yourself. Any change of professor is, of course, dependent upon a particular professors availability and
his/her willingness to teach you. Any decision on changes of professor is notified to you directly by the
Registry.
No RCM student is permitted to have lessons with any external teacher while concurrently being
taught by their RCM professor. This does not preclude vacation courses, which are often
complementary to your training and offer alternative perspectives, but you should always discuss your
plans in advance with your professor.
11
Case Studies for Developing a Secondary Instrument to a Higher Level

during the Course of the Degree
Case Study 1:
1: This student comes to the College requiring some remedial work on technique. It is felt best
not to dilute the Principal Study work in Year 1 so Related Study work starts in Year 2 and develops into
Level 2 Second Study by the final year. This student needs to ensure that they have at least 180 credits at
Level 3 and above by the end of their degree.
Year 1
L1 Principal Study
(30 hours pa)
Year 2
Year 3
Year 4
L2 Principal Study
(30 hours pa)
L3 Principal Study
(30 or 35 hours pa)
GL Principal Study
(30 hours pa)
L1 Related Study
(5 hours pa)
L2 Related Study
(10 hours pa)
L2 Second Study
(15 hours pa)
Case Study 2:
2: This student starts related study work in Year 1 and progresses through to Second Study
Level 3 in their final year. Choosing this option means that all other credits in Year 3 and all credits in Year 4
must be at Level 3 so that a total of 180 credits is accumulated at Level 3 & above by the end of the fourth year.
Year 1
Year 2
Year 3
Year 4
L1 Principal Study
(30 hours pa)
L2 Principal Study
(30 hours pa)
L3 Principal Study
(30 hours pa)
GL Principal Study
(30 hours pa)
L1 Related Study
(5 hours pa)
L2 Related Study
(10 hours pa)
L2 Second Study
(15 hours pa)
L3 Second Study
(15 hours pa)
Case Study 3:
3 Here, the student is already assessed as having prior experience on the related instrument
and upgrades to Second Study in Year 2. It enables the student ultimately to undertake a Joint Principal
Study combination at Graduation Level.
Year 1
Year 2
Year 3
Year 4
L1 Principal Study
(30 hours pa)
L2 Principal Study
(30 hours pa)
L3 Principal Study
(30 hours pa)
GL Joint Principal Study

(30 hours pa)
L2 Related Study
(10 hours pa)
L2 Second Study
(15 hours pa)
L3 Second Study
(15 hours pa)

(30 hours pa)
Case Study 4:
4: A variant of Case Study 3. Here the student performs sufficiently well in Level 2 Second
Study to be permitted to undertake a Joint Principal Study at Level 3 as well as at Graduation Level.
Year 1
Year 2
Year 3
Year 4
L1 Principal Study
(30 hours pa)
L2 Principal Study
(30 hours pa)
L3 Joint Principal Study

(30 hours pa)

(30 hours pa)
L2 Related Study
(10 hours pa)
L2 Second Study
(15 hours pa)
L3 Joint Principal Study

(30 hours pa)

(30 hours pa)
12
4.
THE FACULTY STUDIES UNITS
4.1
Faculty Studies in Years 1 and 2

20 of the 140 credits in Years 1 and 2 are assigned to the Faculty Studies unit. You will find that this
area of the BMus programme is tailored specifically to the work and focus of individual faculties.
Your Faculty Studies syllabus provides full details of the content, delivery and assessment within
this unit, including examples of the continuous assessment reports that are used by professors in
determining your mark for a particular area of work.
4.2
Assessment strategies in the Faculty Studies unit

It is important that you are aware, from the start of your programme, about how you are to be
assessed in this unit and what you need to do in order to do well. Much of this is a mixture of
continuous assessment and selfself -assessment
assessment. On-going assessment by your peers and, later, by
your employers is something that professional musicians have to live with and it is never too early
to grasp this fundamental reality of life. Permanent, honest self-assessment is an absolute necessity
in the life of every successful performer and a skill that you should acquire from an early stage of
your training. A realistic understanding of where you are at enables you to bring direction and
clarity to your work.
The reports in the Faculty Studies syllabus show you how RCM professors will assess you in your
work in this unit. Your own self-assessment, as documented in your Study Plan,
Plan will provide
further evidence on which your overall assessment is based. For more information about your
Study Plan, see section 5.3 below.
4.3
Faculty Studies at a glance

Outlined below is a synopsis of the work you will undertake within your own faculty and how you
will be assessed.
Level 1 content
assessment
Level 2 content
assessment
Orchestral Strings (Violin, Viola, Cello, Double Bass, Harp)

(i) orchestral training programme
(ii) chamber music or duo (student choice: default option = duo)
(i) continuous assessment, within sectional rehearsals, of preparation of individual
part, technical proficiency and accuracy, attendance/punctuality and self-evaluation of
work and progress
(ii) continuous assessment: duo accompanists assessment of work in coaching sessions
/ chamber coachs report on the groups work and progress throughout the year,
ability to work together and evaluate development as a team (this may be further
informed by an assessed performance within a faculty class), supported by the Study
Plan
(i) orchestral training programme
(ii) chamber music
(i) start-of year orchestral audition and continuous assessment, within sectional
rehearsals, of preparation of individual part, technical proficiency and accuracy,
attendance/punctuality and self-evaluation of work and progress
(ii) continuous assessment: coachs report on the groups work and progress
throughout the year, ability to work together and evaluate development as a team
(this may be further informed by an assessed performance within a faculty class),
supported by the Study Plan
13
Level 1 content
assessment
Level 2 content
assessment
Level 1 content
assessment
Level 2 content
assessment
Level 1 content
assessment
Level 2 content
assessment
Guitar
(i) Guitar Ensemble
(ii) Faculty Class
(i) assessment of preparation/readiness for rehearsal, and performance of, an ensemble
piece (parts given out in advance)
(ii) continuous assessment of progress in performance (as demonstrated in faculty
class performances), verbal contribution to/attendance at these classes throughout
the year and self-evaluation of work and progress
(i) Guitar Ensemble
(ii) Faculty Class
(i) assessment of preparation/readiness for rehearsal, and performance of, an ensemble
piece (parts given out in advance)
Orchestral
Orchestral Woodwind
(i) Year 1 Woodwind Class
(ii) Faculty Class
(i) continuous assessment of preparation of individual part, technical proficiency and
accuracy, attendance/punctuality and self-evaluation of work and progress
(i) Chamber Music
(ii) Faculty Class
(i) continuous assessment: coachs report on the groups work and progress
Saxophone
(i) Faculty Class
(ii) Chamber Music
(i) continuous assessment of progress in performance (as demonstrated in faculty class
performances), verbal contribution to/attendance at these classes throughout the year
and self-evaluation of work and progress
(i) Faculty Class
(ii) Chamber Music
14
Level 1 content
assessment
Level 2 content
assessment
Level 1 content
assessment
Level 2 content
assessment
Level 1 content
assessment
Level 2 content
assessment
Recorder
(i) Recorder Consort
(ii) Faculty Class
(i) Recorder Consort
(ii) Faculty Class
Brass
(i) Brass Technical Class
(ii) Chamber Music
(i) continuous assessment of preparation/presentation of technical work (scales,
studies etc), attendance at and contribution to Technical Classes, self-evaluation of
work and progress
(i) Brass Technical Class
(ii) Chamber Music
(i) continuous assessment of preparation/presentation of technical work (scales,
studies etc), attendance at and contribution to Technical Classes, self-evaluation of
work and progress
Piano
(i) Faculty Class
(ii) Harpsichord/Fortepiano Related Study classes
(ii) continuous assessment of preparation and progress in performance; short classbased performance
(i) Faculty Class
(ii) Duo/Accompaniment
(ii) continuous assessment of preparation and progress in performance; self evaluation
through the Study Plan; short class-based performance
15
Level 1 content
assessment
Level 2 content
assessment
Level 1 content
assessment
Level 2 content
assessment
Level 1 content
assessment
Level 2 content
assessment
Level 1
assessment
Level 2
assessment
Organ
(i) Harpsichord Related Study classes
(ii) Keyboard Skills / Improvisation (offered on a two-yearly cycle)
(i) continuous assessment of preparation and progress in performance; short classbased performance
(ii) examination and continuous assessment of application and self-evaluation of work
and progress
(i) Keyboard Skills / Improvisation (offered on a two-yearly cycle)
(ii) Duo/Accompaniment
(i) examination, continuous assessment of skills, self-evaluation of work and progress
Composition
Composition
(i) Level 1 Composing with the Sequencer
(i) coursework submission and self-evaluation of work and progress
(i) either Level 2 Score Processing with Sibelius option or Level 2 Electroacoustic Music
option
(i) coursework submission and self-evaluation of work and progress
Percussion
(i) Orchestral Participation
(ii) Faculty Class (this change is subject to approval by the Undergraduate Programme
Committee in the Autumn term. Students will be notified of the outcome of this)
(i) continuous assessment of preparation of individual part, awareness of role in
relation to others, technical proficiency and accuracy, ensemble and teamwork skills,
attendance, punctuality and professional etiquette, and self-evaluation of work and
progress
(i) Orchestral Participation
(ii) Duo Performance
(i) continuous assessment of preparation of individual part, awareness of role in
relation to others, technical proficiency and accuracy, ensemble and teamwork skills,
attendance, punctuality and professional etiquette, and self-evaluation of work and
progress
Voice
(i) Italian
(ii) German
(i) end-of-year examination and continuous
work and progress (including self-evaluation)
(ii) end-of-year examination and continuous
(i) Italian
(ii) German
(i) end-of-year examination and continuous
(ii) end-of-year examination and continuous
16
assessment of application, attendance,


5.
LEARNING, TEACHING AND ASSESSMENT
5.1
Some general information on learning and teaching strategies

At the RCM you will encounter a wide range of learning and teaching experiences which are
designed to create a stimulating interaction between professorial staff and students and
promote learning as an individual and collective activity. One-to-one tuition in Principal,
Second and Related Study is provided throughout the programme. Tuition of this nature is
regarded as essential in order to develop your individual abilities and to identify and review
your personal learning needs. At Levels 1 and 2 you will also experience teaching in small classes
(from five to eight for Practical Musicianship, Professional Skills, Aural) and in larger lecture
groups (for Historical Studies and Stylistic Studies). Most options (Levels 2 and 3) are taught in
groups of between five and ten students. Masterclasses, practical workshops, orchestras,
ensembles and choirs add to the range of contexts for learning and teaching, very often in
cross-year groupings.
5.2
Learning Outcomes: What should I be able to do by the end of my degree?

An individual awarded an honours degree in music is expected to be able to demonstrate a
range of skills and each unit of your programme has been designed to develop these. This is
why the individual units you follow outline their learning outcomes: what you are effectively
demonstrating you can do so that you pass the unit. There are three particular types of skills:
Subject Skills:
Skills those specific to your subject: music
General Skills:
Skills (sometimes less obvious though implicit in what you do): those that you
can transfer and put to good use in day-to-day life, whether in professional, personal or
social contexts
Key Skills:
Skills those that all degree programmes should seek to address
During your time at the RCM, and once you have left, you will market yourself most effectively
by being aware of what these skills are, how you match up to these, what prospective
employers are looking for and how you can most effectively articulate your strengths. Your
career will span a number of decades, during which time you are likely to be employed in a
wide variety of ways.
It is important that you are aware, too, of the significant transferable skills you acquire as part
of your development and training at the College. The preparation of a successful public solo
recital, for example, requires detailed planning, a considerable degree of self-motivation and
critical self-awareness during the preparation stages, and the ability to present and deliver such
a project with confidence and assurance. Chamber music and ensemble work call for similar
skills and, in addition, the ability to work well as part of a team. In developing your technical
and performing skills to a high level, you have already shown commitment and dedication,
long-term focus and the desire to achieve and maintain high standards and professionalism in
your work.
Table 3 on the next page lists the subject, general and key skills that the RCM BMus(Hons)
programme in music aims to develop. The unit descriptions in Section 9 of this handbook list
the skills particularly developed in that unit (eg A1, B1, B3) so you should cross-refer back to
this table for the full explanations.
17
Table 3: Summary of Skills Developed within the RCM BMus(Hons)

AE: Subject Skills
A1
A2
B1
B2
B3
A Aural/analytical skills
recognising and identifying the components of music and underlying structures (understanding how music is put
together)
memorising and reconstructing sound/ patterns in music
B Performance skills
physical and technical skills
communication
application of personal research/analysis/reflection/listening to the process of performing (thinking about performing)
C Compositional skills
C1
conception/manipulation/development of musical ideas (working on and developing ideas)
C2
creation of these in relation to/combination with other art forms (using other art forms in composition)
C3
application of aesthetic/stylistic principles to composition/improvisation
C4
communication of musical intentions

D KnowledgeKnowledge-based skills
D1
D2
D3
D4
D5
E1
E2
relation of theory to practice through understanding of theoretic/aesthetic systems (understanding how ideas relating
to music inform performance)
assimilation and relation of relevant scholarly literature to the practice and experience of music (reading around your
subject to inform your development as a musician and performer)
critical assessment of concepts/hypotheses and application of insights/discoveries in one area of study to another
(making links between your work across all areas)
relation of music to wider contexts (historical, social, cultural, political, philosophical, economic), to multi-cultural
environments and in a multi-disciplinary context (making links with wider issues)
confrontation/assimilation of unfamiliar musical sounds/concepts/repertoires (challenging yourself through
exploring new repertoire/ ideas/ techniques)
E Technological skills
understanding of design/construction/care of acoustic musical instrument (knowing about your instrument and how
to look after it)
use of analogue/digital/software equipment for creating/recording/editing music
FG: General Skills

F1
F2
F3
F4
F5
G1
G2
G3
F Intellectual
research and exploration: gathering, synthesis and evaluation of evidence (being able to locate, put together and
evaluate sources of information)
critical examination of assumptions in light of evidence (drawing your own conclusions from these sources)
use of reasoning/logic to analyse material and form/express relevant arguments/hypotheses (using information to
articulate ideas orally, in writing)
synthesis of materials/knowledge to generate a personally-owned product/performance (preparing written
assignments, spoken presentations, programme notes etc)
exercising judgement and applying artistic/intellectual perspectives (using your knowledge and experience in rehearsal
and performance)
G Personal
enhanced powers of imagination/creativity: (i) flexibility/openness of thought; (ii) curiosity and imaginative
engagement with different cultures and historical periods
skills of communication and interaction: (i) IT skills; (ii) teamwork; (iii) leadership; (iv) taking spontaneous
decisions and responding to decisions of others; (v) ability to improvise, manage risk and cope with the unexpected
personal management skills: (i) self-motivation/discipline; (ii) self-presentation/-promotion and entrepreneurship;
(iii)self-critical awareness; (iv) understanding of learning styles/needs and work regimes/professional protocols; (v)
ability to work independently; (vi) time management skills; (vii) problem-solving skills; (viii) project management
H: Higher Education Key Skills

Communication
Application of number
IT
Working with others
Improving own learning and performance
Problem solving
B2, C4, F4, G2

H1
(C2), (D5), E1
E1 E2 , F4, G2(i)
(B1
(B1 B3), (C1
(C1 C4), G2, G3(iv)
B1, B3, C1, D1
D1D5, E1
E1E2, F1
F1F5, G1
G1G3
A1
A1 A2, B1, B3, C1
C1 C3, E1
E1 E2, F3
F3 F5, G2(ii/iii/iv/v), G3(vi/vii/viii)
18
5.3
Study Plans (Personal Development Planning)

The transition to higher education requires you to adapt to many new musical, intellectual, social,
administrative and domestic circumstances. Most important among these is your ability to
develop skills that help you become self-reliant and able to plan your work independently. Styles of
teaching from Year 1 of the programme will show you how to work towards this goal, but part of
this process also involves you in organising your own schedule, setting your own targets and
reflecting on the progress you make. The individual Study Plan that you will complete each year is
one means of helping you to achieve these goals.
The idea of personal development planning which the RCM calls Study Plans has been
introduced across all of the UKs universities and colleges to help students in higher education
develop their capacity to reflect on their learning and achievement and to plan for their own
career development. They are an important part of the process of helping you to become more
confident, effective, independent and self-directed as a learner. Study Plans not only help guide
your studies but also build into a valuable record of the profile of your activity.
The sequence for completing Study Plans is structured in the following ways across the four years
of your BMus programme:
Year 1
The Autumn Term is viewed as a transitional term and the first formal stage does not begin
until your return after the Christmas vacation
Early Spring Term: student meets with Head/Deputy Head of Undergraduate Programmes
or Area Leader. Interview questions online for students to prepare
During course of year: student completes the sections in the online Study Plan on repertoire
coverage, performance activity and the reflective statement
Summer Term: student meets with Head of Faculty to discuss their year, their work in
Individual and Faculty Studies and allocations for Principal/Related Study the following year
Later Summer Term: Head of Faculty, and other RCM staff, complete assessment in Faculty
Studies unit based on work across the year and students reflection of progress and
achievements as recorded in the completed Study Plan
Your Study Plan needs to be completed in order for assessment in the Faculty Studies unit to
take place
Year 2
Later Autumn Term: student meets with Head/Deputy Head of Undergraduate Programmes
or Area Leader. Interview questions online for students to prepare. Previous years Study
Plan reviewed.
coverage, performance activity and the reflective statement
Individual and Faculty Studies and allocations for Principal/Related Study the following year
Later Summer Term: Head of Faculty, and other RCM staff, complete assessment in Faculty
Studies unit based on work across the year and students reflection of progress and
achievements as recorded in the completed Study Plan
Your Study Plan needs to be completed in order for assessment in the Faculty Studies unit to
take place
Year 3
Mid Autumn Term: student meets with Head/Deputy Head of Undergraduate Programmes
or Area Leader. Interview questions online for students to prepare. Previous years Study
Plan reviewed.
19
coverage, performance activity, programme notes (in preparation for the third-year recital)
and the reflective statement
Individual Studies and allocations for Principal/Related Study the following year
Later Summer Term: feedback provided on programme notes and on the completed
reflective statement
Programme Notes and Reflective Statement both need to be completed in order to fulfil the
assessment requirements in Principal Study
Year
Year 4
Early Autumn Term: optional meeting with Head/Deputy Head of Undergraduate
Programmes to discuss likely final degree result and future plans
During course of year: student completes the sections in their online Study Plan on
repertoire coverage and performance activity
5.4
Organisation of the RCM Timetable

The RCM timetable ringfences certain times in the week for different activities in order to help the
planning activities of different areas within College and to minimise timetable clashes for students.
These zones do not mean that, for example on Tuesday mornings only string or woodwind faculty
classes take place, simply that we bear this factor in mind when scheduling other activities at this
point in the week.
Keyboard
Strings
Woodwind
Brass
Vocal
Composition
FACULTY ZONES
Tuesday (10.0012.00)
Monday (15:0017:00): Faculty Studies (Orchestral Training/String Band)
Tuesday (10:3013:00): Faculty Performance Classes
Friday (14:3017:00)
Refer to faculty noticeboard for full details
Monday (15:0017:00): Year 1 Woodwind Rep Class
Tuesday (10:0013:00): Faculty Performance Classes
Friday (14:0017:00): Masterclasses
Refer to faculty noticeboard for full details
Monday (15.0017:00) and Friday (14:0017:00) but not every week
Mondays & Fridays are used for a variety of activities (Clubs, performance classes,
masterclasses. Check the Brass Noticeboard for exact termly details and note that
Rep sessions will generally take place on Tuesday or Wednesday afternoons
Wednesday (14:0017:00)
Wednesday (14:0017:00)
ACADEMIC ZONES
Academic Zones operate at the following times (NB: the timetabling of academic classes is not
exclusively sited within these zones because of the volume of classes involved. You may be scheduled
for lectures and seminars at any point within the week):
All years
Monday: 9:0015:00; Thursday: 14:0017:30; Friday 9:0013:00
PERFORMANCE ZONES
Monday, Tuesday and Wednesday afternoons and Thursday mornings (which are the main
rehearsal times for projects culminating in concerts on either Thursdays or Fridays).
20
5.5
Average Weekly Hours

The Tables in Appendix D list the average weekly hours (during term time) that we expect your
RCM studies to involve. These will differ from year to year and from faculty to faculty, but are
useful as a general guide, particularly when balancing full-time study with part-time employment.
5.6
English Language Classes

The College provides English Language Support classes in study skills, listening, pronunciation,
vocabulary building and academic writing for students whose first language is not English. These
classes will be compulsory for some students.
5.7
Learning Agreements
Students with particular learning difficulties (such as dyslexia or dyspraxia, for example) may create
a Learning Agreement in conjunction with the Head of Student Services and the Head or Deputy
Head of Undergraduate Programmes. This is best done at the start of each academic year as it is
possible, as part of this agreement, to determine the most suitable teaching approaches for the
individual in practical and other work, a pattern of extended deadlines for the submission of
coursework and (where necessary) adjustments to the structure and conduct of examinations.
5.8
Attendance
If you are unable to attend College
Coll ege because you are ill you should phone one of these numbers
at the earliest possible opportunity (leave a clear message if you get through to the Voicemail
system):
020 7591 4310 / 020 759
75 91 4867 Registry Assistants
Assistants
020 7591 4318 / 020 7591 4389 Registry
Regi stry Programmes Team
Attendance at instrumental lessons, at the lectures, classes and seminars shown on your timetable,
and at orchestral/ensemble rehearsals organised by the Performance Management Team are
compulsory unless specifically advertised otherwise. If you need to rearrange individual lessons
you must ensure that these do not clash with regular classes or rehearsals. Any difficulties over
timetabling should be referred to the Deputy Head of Undergraduate Programmes. Principal Study
singers also attend classes as prescribed by the Opera Department as part of their degree
timetable, and any difficulties here should be referred to the Opera Department Administrator as
well as to the Deputy Head of Undergraduate Programmes.
Regular attendance is also expected at Faculty Performing Classes and at masterclasses arranged
for your instrument and related study. Your Head of Faculty will explain specific attendance
requirements to you in more detail at the start of each academic year. Where absences are
unavoidable you must inform your Head of Faculty in advance: remember that this is
your responsibility.
Students whose attendance patterns give cause for concern may find themselves disadvantaged in
various ways, for example through:
the loss of opportunities to compete in Concerto Competitions

the loss of scholarship (if you are an award holder)
ineligibility for consideration for a scholarship at the end of Year 1
the withdrawal of opportunities to participate in special projects organised by the College
the withdrawal, for singers, of opportunities for performance in operatic roles or as a
soloist in choral concerts
21
a questionable commitment to studies being taken into account by the Board of

Examiners (for example when considering whether to permit reassessment opportunities
or to retake years)
the loan of a College instrument
Poor attendance is also likely to be mentioned in references.
5.9
Requesting a Leave of Absence

If you wish to be absent from College for any period of time you need to obtain permission by
completing a Leave of Absence form which is available from the Student Area of the RCM website ,
from the Registry and from Performance Management/Opera Department (for Singers).
Singers: complete the form and obtain the signatures required (including final sign off from
your Head of Programme)
All other students: completed forms should be submitted to Louisa Stanway (Performance
Management). These will then be considered by the Release Committee comprising Heads of
Faculty, Heads of Programmes and Performance Management.
Where your reasons for absence are valid, where you have communicated these effectively in
advance, and where you have also made the contributions expected by the College to
performance projects, permission will not normally be withheld. Students who absent themselves
from their studies without prior permission will be called to the Release Committee and may, in
some cases, find that certain privileges are withdrawn (as outlined in the section above).
5.10
Overview of Assess
Assess ment
ment Methods
As degree programmes at the RCM have evolved, different approaches to assessment have been
developed to support learning, and the philosophy remains to explore diversity in the range and
style of student assessment. Tasks range from the individual practical examination and unseen
written examination to written project, take-away pastiche assignment, concert performance,
concert review, self-assessment, reflective diary, case study, round-table discussion, individual or
group oral presentation, peer assessment, fieldwork, Research Project and portfolio submission.
Each unit of the programme is assessed, and the unit descriptions in Section 9 of this handbook
provide you with full details of patterns and expectations.
5.11
Assessment Criteria; Syllabuses

Syllabuses
(i)
Assessment in Individual Studies:
The College publishes, each year, a booklet entitled Practical Examinations Procedures at the Royal
College of Music: a Guide for Students and Examiners. This is available on the RCM website. It
contains important information on the assessment criteria that are used in your Principal Study
examinations, as well as on the construction of examination panels and general examination
procedures and requirements. In addition, each Principal, Second and Related Study has a syllabus
that is updated annually, outlining the examination requirements for each level and the
examination dates for the current year.
(ii)
Assessment in Written Coursework
All core units and most optional units have a syllabus that is updated yearly. These syllabuses
provide full details of the assessment requirements and submission deadlines, alongside the criteria
that will be used in the marking of written and oral assignments.
22
All assessment at the College follows the classification system used widely throughout UK higher
education:
First Class Honours
Upper Second Class Honours
Lower Second Class Honours
Third Class Honours
Fail
5.12
70% 100%
60%69%
50%59%
40%49%
39% and below
Presentation of Written Work

At Appendix C of this handbook, you will find the RCMs Guide to the Presentation of Written Work.
This provides you with all the information you need to know about preparing written essays: how
to lay out your essay; how to incorporate footnotes; how to compile the bibliographies expected
in academic writing; how to credit your sources. It also explains what plagiarism is, how to avoid
this and the steps that the College takes where it suspects that a student has plagiarised a piece of
work. The Guide to the Presentation of Written Work is a bible which you should consult regularly
throughout your RCM studies.
Notated musical assignments should be presented in a legible format.
5.13
Submission of Coursework
The deadlines for written work are:
included in the syllabuses prepared for individual units

posted on the Year Noticeboards as the Undergraduate Assessment Calendar
Some coursework will be submitted electronically. All other coursework should be submitted to
the Registry postbox. When you submit your work you should also complete a cover sheet
(available on the RCM website) which is a signed declaration that what you are submitting is your
own unaided work. Written work must be submitted by the published deadlines and no
extensions are offered. If you miss the deadline you will receive a maximum (ie capped) mark of
40%. However, if you have had genuine difficulties in meeting the deadline you should read section
5.15 below on mitigating circumstances.
Coursework deadlines and examination dates are planned prior to the start of each
academic year and around performance activities, in order to avoid excessive bunching of
activity as far as possible (see Table 5 on page 36 below). Inevitably, however, there will be
some busy periods, particularly during the Summer
Summer Term. If you leave your preparations to
the last minute you may feel more pressurised than you need be: act, now, on the
information provided to you at the start of the year by noting important dates in your diary
and developing the habit of planning appropriately around these.
5.14
Marking of Written Work

Written coursework is marked by your unit lecturer. This process of first marking is then
scrutinised by the rest of the course team in countermarking meetings supervised by the Area
Leader for the unit. This is to ensure that all markers are interpreting the assessment criteria in
ways that are comparable with each other. We aim to have completed the marking and
countermarking process after three teaching weeks of the submission date (excluding P&R Weeks,
vacations etc). Written feedback is provided to you in the form of a report on your work.
23
5.15
Written Examination Week

The 2010 Written Examination Week is 1721 May. Exams are scheduled in the following units:
Year 1: Historical Studies, Aural, Practical Musicianship
Year 2: Historical Studies, Aural (final Stylistic Studies exam takes place in class, in Fabruary)
5.16
Submission of Late Coursework and Mitigating Circumstances

If you have had genuine difficulties in meeting the published deadline for any coursework
submission (written work/oral presentation) or practical exam, you should submit a written
explanation of your mitigating circumstances to the Head of Undergraduate Programmes.
Alternatively, if you are receiving counselling from the RCM Counsellor, you may ask her to submit
mitigating circumstances on your behalf so that these remain private to you. All mitigating
circumstances are considered in confidence by the Mitigating Circumstances Committee (a small
sub-group of the Undergraduate Board of Examiners). If these are deemed valid, the capped mark
applied on submission of your completed late work will be lifted and your original mark restored.
You will be notified of decisions in relation to mitigating circumstances in early July, after the final
meeting of the Undergraduate Board of Examiners.
Students offering compelling mitigating circumstances in advance of coursework submission
deadlines may be given the opportunity to revise deadlines with the Head of Undergraduate
Programmes. In all other circumstances, late work must be handed in within two weeks of the
original deadline, otherwise it is not eligible for marking and will receive a mark of 0%.
5.17
Requesting a Deferral of a Practical Assessment/Examination

Practical Exams include all 1:1 exams (Principal Study, Second and Related Study) and exams
scheduled as part of the assessment requirements in both core and optional units (including, for
example, Accompaniment, Chamber Music, Conducting and Duo Performance). To request a
deferral, you must submit a Leave of Absence, providing the College with as much notice as
possible. Absence will usually be approved only conditionally, on the understanding that:
the College cannot guarantee to accommodate this absence within the examination
schedules (where these are still in preparation)
a charge is likely to be made to offset the cost of rescheduling your examination and
reconvening the examiners
You will be notified of the level of charge shortly after the end of the Spring or Summer Term
Exam Periods, once the Mitigating Circumstances Committee has met to consider these matters.
5.18
Appealing an Examination Decision

The General Regulations (published on the RCM website) outline the steps that a student should
take if they wish to appeal against an examination decision.
5.19
The RCMs Learning Resources

RCM Library
The Library is open from 09:00 to 19:00 (Monday Thursday) and from 09:00 to 17:30 (Friday) and
offers a comprehensive service for advice, lending, reference, listening and research. The Librarys
24
collections comprise over 400,000 items, including books on music and a small amount of related
literature, printed music from the late 15th century onwards, manuscripts and recordings. A wide
range of reference material (dictionaries, encyclopaedias, catalogues, bibliographies, collected
editions and journals) is maintained, and an increasing number of works can be consulted on CDROM or via the internet. There is a reading room for 40, a listening room for 20 and an IT room
with 11 computers (additional computer access is provided in a multimedia room Ziff 3 with
Sibelius score-writing facilities). Audio-visual facilities include CDs, gramophone records, cassettes,
tapes, DAT, mini-disc, videos and DVDs. You are also able to use the excellent general humanities
library in neighbouring Imperial College for wider, interdisciplinary reading, and can join the public
music libraries in Kensington and Westminster.
RCM Studios
The RCM Studios give students access to the latest AV recording and post-production
technologies and are able to record a wide range of performances from soloists and small
ensembles to symphony orchestras. All audiovisual recording and post-production sessions are
facilitated by professional in-house studio engineers and can be booked for a small charge. A large
number of RCM concerts are recorded for the Colleges extensive audio archive and these
recordings are made available for study purposes. As well as the archive recordings it is possible to
record your individual performances from most performance venues within College. If you wish to
make your own recording, portable equipment is available for loan (though private recordings of
College concerts are not permitted).
The Studios also have a number of composition workstations, and a 5.1 production suite, which
are used in conjunction with studio-related courses and the doctoral programme. For information
on which courses provide access to the Studios, and any other details, please visit the Studios
website. The Studio Reception, which deals with bookings, equipment loans and general enquiries,
is open throughout the week during the following times: Monday from 2.00pm to 4.00pm and
Tuesday, Wednesday, and Friday between 10.00am and 12.00pm and from 2.00pm to 4.00pm.
Thursday is between 11.00am to 12.00pm and from 2.00pm to 4.00pm. The Studios can be
contacted via email at studios@rcm.ac.uk or on +44(0)20 7591 4384.
Woodhouse Professional Development Centre

The Woodhouse Professional Development Centre is on the second floor of the RCM's main
building. It provides support and guidance to all RCM students and recent graduates, in
preparation for a lifelong career in music. The WPDC team provides a range of performance
opportunities, including education and outreach work, and supports musicians through these
experiences, encouraging them to develop the initiative, flexibility and imagination required to
thrive in an ever-changing profession. The Department is open from 9.30am to 5.30pm (closing at
2pm on Wednesdays) and the following resources are available:
performance opportunities in a wide range of venues and situations

education and outreach project work; instrumental and vocal teaching experience
advice on self promotion including CV, biography, publicity materials, and photography
guidance and support in making job and trust applications
funding advice including sponsorship, grants and trusts
external competitions and scholarship information
a weekly email jobs bulletin; Library resources and information
25
ICT facilities and services

RCM ICT Services provides Information and Communications Technology services to support
teaching, learning, and research activities at the College. We aim to provide students with a broad
range of essential technology services to aid and enhance their learning experience. Standard
services available include: rcm.ac.uk e-mail and student portal account; wireless network hotspots
at Prince Consort Rd and College Hall; up-to-date student computers with facilities for DVD
burning and a range of standard software titles on all computers (Office, Sibelius, Audacity etc.);
on-line technology training; virtual learning resources and assistive technology provision. All
students receive a free printing allowance of 200 sheets per academic year.
We also have a very wide range of on-line technology training materials available at:
muse.rcm.ac.uk/sites/ictsupport/techtraining. These now cover a multitude of topics from
internet & web design, graphics, multi-media editing packages to the standard Microsoft Office
applications. We also have available schemes for discounted PC/laptop and Microsoft Office
software purchase for students. Get in touch for further details.
Our friendly and knowledgeable team are here to help you during our normal operating hours of
9am to 5pm - via the helpdesk, phone, e-mail and the web. For help or support please send an email to icthelp@rcm.ac.uk or call the ICT Helpdesk on 0207 591 4388. You can find many more
details of services and useful quick start/self help guides in the RCM ICT Support Portal at:
muse.rcm.ac.uk/sites/ictsupport
Last, but not least, if you have a great idea for how we can improve our services we would really
love to hear from you. Please drop in to the Helpdesk or send your suggestions to:
brightideas@rcm.ac.uk. We will be delighted to review them and, if possible, incorporate them into
our future plans to improve student services.
The Centre for Performance History:
This Centre, formed in 2004, incorporates important collections that together offer unique insights
into the history of musical performance. The Museum of Instruments (in the East Quadrangle)
houses an internationally renowned collection of instruments, associated documentation and
some of the most famous images from the Colleges collection of nearly 400 original works of art
relating to music and musicians. The Centres other collections are mostly housed in a new facility
at College Hall, among them 10,000 prints and photographs of musicians, 600,000 concert
programmes from 1736 to the present day, press-cuttings and memorabilia.
The Museum is the venue for a number of concerts, workshops, taster sessions and other events
each year at which RCM students and staff perform on some of the instruments in playable
condition. It is open to staff and students of the RCM and the public on four afternoons a week
(Tuesday-Friday) during term time and the summer vacation, or you may make an appointment to
visit the Museum at other times: the staff will be happy to show you around. You may also book
appointments to consult the collections at College Hall. Specialist members of staff are available to
offer help and advice and during the later stages of your degree you may opt for an elective in
Performance History. For further details of the collections and numerous images, see the CPH web
pages at www.cph.rcm.ac.uk.
Grove Forum
Staff and postgraduate students at the College are involved in a wide range of research activity.
Grove Forum seminars, held on Thursdays throughout term at 17:15, offer an opportunity for all
members of the College to hear the fruits of research by colleagues and by a wide range of highprofile guest speakers. The format of the meetings is flexible including concerts, lecture-recitals,
discussions and scholarly papers and the atmosphere is informal and friendly. Undergraduate
students are most welcome to attend.
26
6.
ORCHESTRAL, CHAMBER AND SOLO ACTIVITIES
Through participation in the Colleges many orchestras and ensembles, you have the opportunity to
develop a professional approach to performance, knowledge of a broad range of music, qualities of
leadership and the entrepreneurial confidence to initiate and follow through projects of your own. As you
progress through the BMus(Hons) programme, we would expect you to contribute increasingly to
discussion and debate on matters of interpretation, and to relate aspects of your supporting studies to
your practical music making.
6.1
Orchestras and Large Ensembles

The College organises projects for the following orchestras and ensembles:
Symphony Orchestra
Sinfonietta
Baroque Orchestra
Big Band
Brass Band
Brass Ensemble
Chamber Choir
Chamber Ensemble
Chamber Orchestra
Chorus
Composers Ensemble
New Perspectives Ensemble
Opera Orchestra
Percussion Ensemble
Prince Consort Percussion
String Ensemble and Year 1 String Band
Swing Band
Wind Orchestra and Wind Ensemble
Instrumental auditions take place at the beginning of each academic year and these form the basis
for orchestral and ensemble placements. The music for these auditions is sent to you during the
summer vacation. Whilst these auditions are important, there is also an element of continuous
assessment throughout the year through your work in the Faculty Studies units, and in ensembles,
Chamber Concerts and Faculty Classes. These all provide you with further opportunities to
demonstrate your development since the initial audition.
Some ensembles are coached by College Professors, and some by external specialists. The RCM has
close relationships with all the London Orchestras, many of whose players are regularly involved in
coaching. All orchestral projects include sectional rehearsals, as well as an intensive schedule of
tutti rehearsals leading up to the concert. RCM orchestras also work regularly with internationally
renowned conductors.
You are expected to come to your first sectional rehearsal fully prepared: your sectional coach
reports back to the Performance Manager and to the Head of Performance. Visiting Conductors
are also asked to comment on students contributions. The Head of Performance and the
Performance Manager keep a record of the quality of each students performance, commitment
and attendance shown throughout the year. Subsequent placement opportunities will reflect the
level of commitment and development you are able to show.
6.2
6. 2
Chamber Ensembles
Students are responsible for forming their own chamber groups at college. Fellow students, your
Head of Faculty and the Chamber Music Co-ordinator are here to advise you. The Chamber Music
Co-ordinator keeps a list of students interested in forming chamber groups so can assist you in
finding members for your particular ensemble.
Once you have formed a chamber group (you can form as many groups as you wish) you must
register your group. To do this, you must complete a Chamber Group Registration form. RCM
chamber groups should normally comprise at least three students currently studying at the
College. Exceptions to this should be cleared by your Head of Faculty before you register. Duos are
not currently categorised as a chamber group and therefore cannot be registered.
You are advised to:
27
Start coaching as soon as possible in the Autumn Term. All RCM groups can receive unlimited
coaching from RCM professors, from the Chilingirian Quartet (RCM Quartet-in-Residence)
and from the Sacconi Quartet (Junior Fellows).
Students are responsible for fixing their coaching with RCM professors. Phone numbers for
professors are provided in the information pack you receive once your group has registered.
College professors and the Chilingirian and Sacconi Quartets will happily work with groups at
all levels and stages of preparation theres no need for your pieces to be concert standard before
being coached on them!
All coaching sessions must be logged by email using the authorisation template emailed to
you once your chamber group has registered
You are responsible for booking all rooms or coaching and rehearsals through the Registry. To
do this email practiceroombookings@rcm.ac.uk or phone 020 7591 4310/4867
Many students in BMus1 and BMus2 (orchestral strings, woodwind, brass) are assessed through
their Chamber Music work as part of their Faculty Studies unit and must form a chamber group
(see the individual Faculty Studies syllabuses for details). Chamber Music is also available as an
option in BMus3 and BMus4. Chamber performance opportunities include:
6.3
6. 3
weekly faculty classes (can be used for exam and competition preparation)
chamber music competitions and masterclasses
numerous chamber concerts throughout the term. Please contact the Chamber Music Coordinator and the External Engagements Manager for further information.
ensembles are also organised by Heads of Faculties and the Chamber Music Co-ordinator as
part of the RCMs regular concert preparation. You will be invited to perform in these
instances.
Solo Performance
The College provides a number of different performing opportunities, starting with the weekly
Faculty Classes, from where you progress to performing in lunchtime concerts held on weekdays.
In addition to these concerts, you can perform in masterclasses and competitions. For singers,
there are also regular Song Classes and Opera Scenes.
Your Principal Study Professor and Head of Faculty can advise you about which competitions you
are eligible to enter. Details of the requirements for these and the closing date for entries are
posted on the Competition Noticeboard. You can obtain application forms for competitions from
the International and Awards Officer in the Registry. All students in BMus3 and BMus4 are eligible
to apply for the Concerto Competition which takes place each term. You can also apply for this as
in BMus2 if you achieved a First in your Level 1 Principal Study. Year 1 students are not eligible.
6.4
6. 4
RCM Chorus
All BMus1, BMus2 non-orchestral players, BMus3 Pianists/Organists and all BMus14 Principal
Study singers sing in the RCM Chorus, which prepares one major concert each year (usually in the
Autumn Term). Rehearsals are held on Wednesday mornings (10.3012.30). Participation in
Chorus is compulsory and is seen as an important part of your musical training, since many of you
will become involved professionally with choirs as orchestral players, accompanists and directors.
6.5
Performance of works by RCM student composers

Concerts featuring student compositions are performed by the Composers Ensemble. In addition,
an Orchestral Workshop held in the Spring Term gives student composers an opportunity to hear
sections of their orchestral compositions played by a College orchestra. Composers are
encouraged to submit works for inclusion in Composers Concerts, for internal and external
competitions, and for consideration by the College for performance by its orchestras and
ensembles.
28
7.
PROGRAMME MANAGEMENT
7.1
Whos who at the RCM: the BMus Programme Team

The management of the BMus programme is undertaken by a team of people who report to the
Undergraduate Programmes Committee. Your studies will be overseen by, and you can consult,
several members of staff, depending on the nature of your query or problem.
Head of Undergraduate Programmes
Dr Elisabeth Cook
ecook@rcm.ac.uk
020 7591 4321 (Room 58)
overall management of the BMus

programme
Area Leader: Professional Skills
Semester, Junior Year and BSc
programmes
Area Leader: Practical Musicianship and

Stylistic Studies
David Graham
dgraham@rcm.ac.uk
Deputy Head of Undergraduate Programmes

Dr Natasha Loges
nloges@rcm.ac.uk
020 7591 4371 (Room 66C)
all queries relating to these units

tutorial support for Level 2 Stylistic
Studies
Area Leader: Historical Studies and

Analysis
Gap Year Experience Programme
Options (BMus3 and 4)
Area Leader: Aural/Aural in Professional

Contexts
Miranda Francis
mfrancis@rcm.ac.uk
all queries relating to these units
In addition to these Area Leaders, some specialist units have designated Unit Leaders. You will
find details of these in the unit descriptions later on in this handbook.
Registry Administrator (Undergraduate)
Appointment pending
7.2
submission of written coursework

routine day-to-day queries (eg regarding coursework submission, mitigating circumstances,
requests to defer exams)
planning of practical and written exam schedules
notification of results, production of transcripts and degree certificates
See also the section Whos Who in the Registry on the RCM website
Whos Who at the RCM: Heads of Faculty

Heads of Faculty will advise you on decisions you need to make with regard to Individual and
Faculty Studies units. They also oversee solo performing opportunities and are involved in
chamber music, faculty, ensemble events and orchestral placements. As members of the RCMs
Undergraduate Programmes Committee they are conversant with the programme structure and
requirements. They liase on a regular basis with the Head and Deputy Head of Undergraduate
Programmes and the Head of Performance.
29
Head of Keyboard
Room 66
Assistant Head of Keyboard
Head of Strings
Room 62
Assistant Head of Strings
Head of Woodwind
Room 30
Head of Brass
Room 31
Head of Percussion
Percussion Suite
Head of Vocal Studies
Vocal & Opera Office
Head of Composition
Room Z5
7.3
Vanessa Latarche
Ian Jones
Mark Messenger
Gary Ryan
Janet Hilton
Nigel Black
David Hockings
Nick Sears
William Mival
vlatarche@rcm.ac.uk
020 7591 4304
ijones@rcm.ac.uk
mmessenger@rcm.ac.uk
020 7591 4397
gryan@rcm.ac.uk
jhilton@rcm.ac.uk
020 7591 4354
nblack@rcm.ac.uk
020 7591 4777 (or mobile)
dhockings@rcm.ac.uk
020 7591 4755
nsears@rcm.ac.uk
020 7591 4343
wmival@rcm.ac..uk
020 7591 4391
Whos who at the RCM: Performance Management Department

The Performance Management Team organises most aspects of the Colleges performance
activities and they liaise with Heads of Faculties in carrying out this work. The Head of Performance
is a member of the RCMs Undergraduate Programmes Committee.
Head of Performance
Simon Channing (schanning@rcm.ac.uk; 020 7591 4365)

concert planning
teaching and coaching
Performance Manager
Flo Ambrose (fambrose@rcm.ac.uk; 020 7591 4319 / 07921

057859)
orchestral placement
calendar management
rehearsal scheduling
ensemble rehearsals
Performance CoCo-ordinator
Jess Pearce (jpearce@rcm.ac.uk; 020 591 4311)

booking of performance spaces
concert management
orchestral doubling instruments
keyboard instrument moving/tuning
fixing RCM Stewarding list
To request use of an RCM instrument please email instrumentrequest@rcm.ac.uk
Performance Administrator
Katherine Newman (knewman@rcm.ac.uk; 020 7591 4366)

concert programmes
Events Guide
Concerto Competition
concert proposals
instrument audit
administrative support
Chamber Music CoCo-ordinator

ordina tor
Sonali Banerjee (sbanerjee@rcm.ac.uk; 020 7591 4793)

chamber music coaching
chamber music concerts
putting on your own concert
30
Ensembles Administrator
7.4
St Mary Abbotts concert series

masterclass organisation
Louisa Stanway (lstanway@rcm.ac.uk; 020 7591 4774)

Leaves of Absence
ensemble rehearsals
music distribution
rehearsal schedules
Tutorial support within the BMus programme

Tutorial support is provided for first year students through weekly seminar groups of five or six
students. This support focuses principally on work within the Historical Studies unit and on the
development of key study skills such as using the RCM Library, information gathering, research
methods, essay planning and writing, and oral communication. As you move to Year 2, tutorial
support for your core units is provided by the team of Area Leaders (see above). In Years 3 and 4,
curriculum support in relation to option choices and queries is provided by the Head and Deputy
Head of Undergraduate Programmes.
7.5
Questions and Problems

As a general rule, you can follow these lines of enquiry in order to find solutions to queries or
problems that arise:
1:1 lessons
Classes/lectures
Ensemble
activities
Option choices
General
matters
7.5
(i) first step

Individual professor
Individual lecturer
(ii) if not resolved

Head of Faculty
Area/Unit Leader
Individual
professor/coach
Performance
Management
Administrator
(chamber music only)
(iii) finally
Head/Deputy Head of
Programmes
Head of Faculty (then to
Head of Undergraduate
Programmes)
Deputy Head of
Undergraduate
Programmes
Registry Administrator
(Undergraduate)
College Committees relevant to the BMus(Hons) programme

Four committees are particularly relevant to the way in which the BMus (Hons) programme is
organised.
The Undergraduate
Undergraduate Programmes Committee:
Committee up to four student representatives sit on
this committee
The Undergraduate Board of Examiners:
Examiners there is no student representation on this
committee due to the confidential nature of its business
The Sub Board of Examiners:
Examiners as with the Undergraduate Board, there is no student
representation on this committee
The Mitigating Circumstances Committee:
Committee this has a very limited membership due to
the confidential nature of the information it receives and this does not include student
representatives. This is the forum where mitigating circumstances and requests to defer
31
practical examinations are considered, and where recommendations to the Exam Boards
are formulated.
7.6
Arrangements for Obtaining and Using Student Feedback

We generate student feedback in a number of ways: (i) through the annual Course Evaluation
Questionnaire; (ii) through formal representation on College committees; (iii) through informal
discussion and meetings; (iv) through Study Plans.
Each year you complete a course evaluation questionnaire, usually towards the end of the
academic year. We distribute this questionnaire to students in BMus1 and BMus2 during Written
Examinations. BMus3 students are asked to respond during their Induction Week meeting at the
start of the following academic year. Comments are invited on the quality of teaching and of
performance opportunities, arrangements for tutorial guidance, assessment and timetabling,
resources, administrative support and on any other matters that students wish to raise. We
circulate completed questionnaires widely within the College and have discussions with staff and
student representatives prior to drafting the annual monitoring report. The action plan of this
report often includes points arising from student feedback. A summary report on the comments
made by each year group is then prepared and circulated to students.
The Students' Association elects an Academic Officer who, with other volunteer reps, sit on the
Undergraduate Programmes Committee. Students' Association Faculty Representatives attend
faculty meetings. SA Reps will hold meetings with relevant student groups and bring your views
from these to faculty meetings and to the Undergraduate Programmes Committee. These
committees meet once each term.
The Head and Deputy Head of Undergraduate Programmes meet informally with students and
with SA Reps, and a cross section of students meets with the BMus External Examiners each year.
Additionally, you are advised (via the course evaluation feedback report) that, individually, you
may bring any concerns you might have to the attention of the Head or Deputy Head of
Undergraduate Programmes. Finally, all professors gain valuable additional insight into your
experiences from their regular contact with you in individual lessons, seminars and classes, and any
such feedback acquired may be communicated to programme staff as appropriate.
32
8.
GENERAL INFORMATION
8.1
The RCM Website

Much information previously distributed to students in hard copy has now been transferred to the
Colleges new website. You can access this via the Student Area which will then take you in to:
General documents (General Regulations for Students, the Practical Examinations

Procedures booklet)
Course handbooks
Principal Study syllabuses
Syllabuses for core units and options
Forms (eg Leave of Absence, assignment cover sheets)
How to book a practice room
The Virtual Learning Environment (vle)
It is important that you familiarise yourself with the range of information available to you in this
form.
8.2
College Hours
The College is open from 08:00 to 22:00 (MondayFriday) and on most Sundays (10:0017:00)
during term time. You can book practice rooms during these times on the booking sheets outside
the Registry. Teaching rooms, if not in use, are made available for practice during the day and can
be booked in the Registry for times between 08:00 and 22:00. Most individual practice can only be
booked one day in advance, however brass students, harpsichord, organ, fortepiano and harp
students can book two days in advance due to the limited number of rooms equipped with these
instruments. Double bassists may book two days in advance if it is specifically for the double bass
room, room 46. Chamber groups and duo performers can also book two days in advance to help
organise the necessary players. The Facilities Staff at the Security Desk take over room bookings
from 17:00 during the week and will handle room allocation on a first-come, first-served basis. No
practice is possible on Saturdays in College, because the entire building is used by the Junior
Department.
8.3
Requesting a Reference
References will usually be provided within ten working days of your initial request. Please ensure
that this request is made in good time as your referee needs time to complete this task for you.
8.4
RCM email Accounts

All students should activate their College email accounts at the start of the academic year and use
email as a primary means of communication. Using email generally ensures a prompt response to
any queries you have. Email addresses use the format: initial then surname (no break)@rcm.ac.uk.
8.5
Noticeboards
The College has a range of noticeboards on which important information is posted. You should
locate those relevant to you and consult these on a regular basis.
BMus Programme Noticeboards
Keyboard Faculty
String Faculty
Brass Faculty
Woodwind Faculty
In the Registry corridor (Registry side)

In the Registry corridor (side opposite to Registry)
In the walkway between the 1895 and 1965 buildings
In the walkway between the 1895 and 1965 buildings
33
Vocal Faculty
Composition Faculty
Historical Performance
Percussion Faculty
At the top of the stairs that lead down to the library

In the Percussion Suite
Competition Noticeboards
Chamber Music Noticeboard
Orchestral Office Noticeboard
In the Registry corridor (Registry side)

In the Registry corridor (side opposite to Registry); also
in the Orchestral office corridor
In the 1895 building 2nd floor corridor
In the 1895 building 2nd floor corridor
At the south end of the walkway
Alexander Technique Noticeboard

External Engagements Noticeboard
Students Association Noticeboard
8.6
Student Pigeonholes
All students have a pigeonhole (as well as email accounts). These are situated half way down the
stairs leading to the Library and you should check yours at least once a day whenever you are in
College.
34
Table 4: Examination Schedule 2009

2009/201
/2010
YEAR 1
Spring Term
Week 6
Week 9
Weeks 10
11
Summer Term
Week 5
Weeks 7 & 8
Level 1, 2 and 3 Aural Practical Exams (these take place during your usual class time)
Level 1 and 2 Practical Musicianship Exams (these take place during your usual class time)
SPRING TERM EXAM PERIOD Wed 17 March to Fri 26 March
Year 1 Principal Study Technical Exams
WRITTEN EXAM WEEK The BMus Noticeboard will publicise exact dates and times of exams
Written exams in: Historical Studies, Practical Musicianship, Aural
SUMMER TERM EXAM PERIOD begins Wed 26 May (Week 6); ends Tue 15 June (Week 9)
Year 1 Principal Study Repertoire Examinations
Second Study Exams; Related Study (Level 2 and above) Exams
YEAR 2
Spring Term
Week 6
Week 11
Level 1, 2 and 3 Aural Practical Exams (these take place during your usual class time)
Level 2 Stylistic Studies final assessment (these take place during your usual class time)
SPRING TERM EXAM PERIOD Wed 17 March to Fri 26 March
Year 2 Principal Study Technical Exams
Summer Term
Week 5
Written exams in: Historical Studies, Aural
Weeks 57
Professional Skills Instrumental Teaching Exams (some faculties in Spring Term see
syllabus for full details)
The BMus Noticeboard will publicise exact dates and times
Weeks 7 & 8 SUMMER TERM EXAM PERIOD begins Wed 26 May (Week 6); ends Tue 15 June (Week 9)
Year 2 Principal Study Repertoire Exams
YEARS
YEARS 3 and 4
Spring Term
Week 6
Week 11
Level 3 Aural Practical Exams

(these take place during your usual class time for those taking Level 3 Aural as an option)
SPRING TERM EXAM PERIOD begins Wed 17 March (Week 10)
BMus4 Principal Study Final Recitals for all students (except Composition)
BMus3 Principal Study Recitals for Strings and Brass
BMus3 Principal Study Technical Exams for Woodwind and Percussion
Summer Term
Week 5
Written exams in Historical Studies, Aural (for BMus3 students following these options)
Level 2 CHAMBER MUSIC & DUO PERFORMANCE
PERFORMANCE EXAMS:
EXAMS: 19, 20 and 21
21 May
Week 6
Tuesday 25
25 May: Level 2 options submission deadline
Thursday 27
27 May: Level 3 options submission deadline
Weeks 7 & 8 SUMMER TERM EXAM PERIOD (begins Wed 26 May (Week 6); ends Tue 15 June (Week 9)
BMus4 Principal Study Composition vivas
BMus4 Principal Study mock auditions (Woodwind, Brass & Percussion)
BMus3 Principal Study Recitals for Woodwind, Percussion,
Percussion, Keyboard and Voice
BMus3 Principal Study Technical Exams for Brass and Strings
Practical Exams for Level 2/3 options (eg Accompaniment, Keyboard Continuo, Song Class,
Improvisation)
See also the Assessment Calendar posted each year on the BMus Noticeboard
and listing all other coursework deadlines
35
Table 5: 2009
2009/201
/2010 Plan (Performance Projects / Academic Deadlines / Main Practical Examinations)
Key: SO = Symphony Orchestra; Setta = Sinfonietta;
AUTUMN 2009
2009 (13 weeks)
HS = Historical Studies; PM = Practical Musicians

Musicianship;
ans hip; SS = Stylistic Studies
SPRING 201
2010 (11
(11 weeks)
SUMMER 201
2010 (12
(12 weeks)
1. (14/9) Induction Week
1. (11/1)
1 3 /1 & 15/1 String Band;
Band; 14/1 Big Band
1. (19/4)
21/4 Big Band
2. (21/9)
2. (18/1)
Mon 18/1 (23:59hrs): Y1
Y1 HS Essay 1
Fri 22/1 (13:00hrs) Y2 Prof Skills Teaching Project
2. (26/4)
Mon 26/4 (23.59hrs): Y1 HS essay 2
29/4 S
S etta
3. (3/5) Mon 3 = Bank Holiday
3. (28/9)
1 /10 SO
SO
3. (25/1)
25/26 Setta
4. (5/10)
8/10 Setta
4. (1/2)
5. (12/10)
5. (8/2)
1 1 /2 Setta
6. (19/10)
2 3 /10 SO
SO
6. (15/2)
Aural Practical Exams (in class)

Y2 L2 SS inin -class assessment
7. (26/10) P&R Week
7. (22/2)
All L1 HS presentations completed by 26

2 6 /2
Tues 2 3 /2 (13:00hrs) Y2 L3 SS assignment 2
Y2 Prof Skills Outreach Workshops
8. (2/11)
5/10 Chorus Concert
8. (1/3)
4 /3 S etta
9. (9/11)
15/11 SO
Y2 HS group presentations this week

Mon 9/11 (23:59hrs): L1 HS Research Project
10. (16/11)
Y22 HS group presentations
presenta tions this week
20/11 Big Band; 22/11 SO
11. (23/11)
Tues 24
2 4 /11 (13:00hrs) : Y2 L3 SS Ass
Ass 1
26/11 Wind Ens Fri 27/1
2 7/11
7/1 1 (13;00hrs):
(13;00hrs): Y1 PM Portfolio
P ortfolio 1
12. (30/11) Auditions (Teaching) All Y1 Prof Skills HMHB
30/11 & 2/12 Opera presentations completed by 4/12
Mon 1/2 (13:00hrs): Y2 L2 SS Ass 1
9. (8/3)
11/3 S
S etta
Mon 8/3 (23:
(23:59
3: 59hrs):
59 hrs): Y2 HS essay 2
Y1 Practical Musicianship practical exams (in class)
10. (15/3) Spring Exam Period starts Wed 17/3
11. (22/3)
SPRING EXAM PERIOD (starts Wed 17
1 7/3)
BMus4 recitals: all Principal Studies except Composers
BMus3 strings
strings & brass
BMus1 & 2 Technical Exams
BMus3 Technical Exams (woodwind & percussion)
1pm, Fri 26
2 6 /3 L1 Prof Skills Alexander Diary
13. (7/12) Auditions (No Teaching)

4/12 & 5/12 Opera Mon 7/12 (23:59hrs): Y2 HS Essay 1
Fri 11
1 1 /12 (13:00hrs):
(13:00hrs): Y1 Prof Skills Alexander Diary
36
Tues 20/4 (13:00hrs): Y1 PM Portfolio 2
4. (10/5)
13/5 SO
10/5:
10 /5: Y1 -3 Study Plan Reflective Statements
5. (17/5)
Written Exam Week

Y2 Prof Skills Teaching Exams
6. (24/5)

L2 options deadline:
deadline: Tues 25
2 5 May
L3 options deadline: Thurs 27 May
7. (31/5)
SUMMER EXAM PERIOD (starts Wed 26
26 /5)
Bank Holiday Mon 31/5
BMus3 recitals (woodwind, percussion, piano, voice)
BMus3 Technicals
Techni cals (strings/brass)/BMus
(strings/brass)/BMus 4 auditions
auditions
BMus1 and 2 Repertoire; Second & Related Study
8. (7/6)
Options Practical Exams
9. (14/6)
Exam period ends Mon 15
15/6
10. (21/6)
11. (28/6)
12. (5/7) Graduation Ceremony 9/7
9. UNIT DESCRIPTIONS BY LEVEL
37

Psic. 2

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Psic. 2

Uploaded by

Copyright:

Available Formats

1.

INTRODUCTION: OVERALL PROGRAMME AIMS AND

provide specialised musical education and professional training at the highest

provide a challenging, up-to-date and vocationally relevant programme that

develop your knowledge and understanding within a flexible structure to enable

develop a sense of individual and collective responsibility.

The Learning Environment

a stimulating musical environment within a lively, friendly and supportive

experiences which enable students and staff to keep abreast of developments

instruments, other learning support materials and physical resources of a quality

efficient administrative and support services

The BMus Programme Specification

What sort of study does the RCM BMus(Hons) degree involve?

The Design of Your BMus(Hons) Programme

Individual Studies includes Principal Study,

Individual Studies includes Principal Study,

Individual Studies includes Principal

Credits and Progression

Core Units and Prerequisites

Options in Years 3 and 4

Creating your Individual Programme of Study in Years 3 and 4

Calculating your Final Degree Result

Which units count towards my final degree result?

Table 2: Options at a Glance

* Advanced Stylistic Studies

* Professional Skills (Outreach)

the Year 2 L2 or L3 Stylistic Studies

How is my final class of degree calculated?

How important are Principal Study units in calculating my final degree?

THE INDIVIDUAL STUDIES UNITS

Composition of the Individual Studies units in Years 1 and 2

Principal Study your main study (instrument, composition or voice)

Principal Study only (60 credits)

Developing Related and Second Studies into Joint Principal Study

Level 3 Second Study

Level 3 Related Study

Composition of the Individual Studies units

Choice Combinations possible

Hours tuition available

(i) Principal Study (80 credits)

(ii) Principal Study (70 credits) and Level 2 or

(i) Principal Study (70 credits)

Joint Principal Studies

Assigning you to a Principal

Changing your Principal Study Professor

Case Studies for Developing a Secondary Instrument to a Higher Level

GL Joint Principal Study

GL Joint Principal Study

L3 Joint Principal Study

GL Joint Principal Study

L3 Joint Principal Study

GL Joint Principal Study

THE FACULTY STUDIES UNITS

Faculty Studies in Years 1 and 2

Assessment strategies in the Faculty Studies unit

Faculty Studies at a glance

Orchestral Strings (Violin, Viola, Cello, Double Bass, Harp)

assessment of application, attendance,

assessment of application, attendance,

LEARNING, TEACHING AND ASSESSMENT

Some general information on learning and teaching strategies

Learning Outcomes: What should I be able to do by the end of my degree?

Table 3: Summary of Skills Developed within the RCM BMus(Hons)