Abridged Departmental Handbook 2021-22 ‘The Good Bits’

Abridged Departmental Handbook 2021-22

‘The Good Bits’

BMus with Honours (Traditional Music) BMus with Honours (Traditional Music – Piping)

MA / MMus (Traditional Music)

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Table of Contents

Shape of the Year 3

Curriculum (BMus / MA / MMus) 4

Performance Module Content 5

Performance Folio Options 8

Supporting Studies Synopses 9

Supporting Study Options 12

Performance Assessment 16

Principal Study Syllabus Framework 17

Principal Study Exam Requirements 22

Performance Assessment Benchmarks by Level (Trad) 26

Recital Audition Protocol, Term 1 32

Recital Audition Protocol, Term 2 33

Assessment Calendars, BMus 1-4 34

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Shape of the Year 2021-22

Week Date beginning Activity TE

RM O

NE

1 20 September 2021 Welcome and Transitions Week

2 27 September 2021

Teaching 3 4 October 2021 4 11 October 2021 5 18 October 2021 6 25 October 2021 7 1 November 2021 Reading week for CCS modules; dept. activities continue 8 8 November 2021

Teaching 9 15 November 2021 10 22 November 2021

11 29 November 2021 Year 2 Music Leadership placements; other work-based learning activities; some core module teaching for years 1, 3 and 4

12 6 December 2021 Teaching

Winter Break

TERM

TW

O

1 (Wed) 5 January 2022 Teaching 2 10 January 2022

3 17 January 2022 4 24 January 2022 5 31 January 2022 Mid-session assessments: no core teaching 6 7 February 2022 School of Music Performance Week: no core teaching 7 14 February 2022

Teaching 8 21 February 2022 9 28 February 2022

10 7 March 2022 11 14 March 2022

21 March 2022 Intensive Options Week

Spring Break

TERM

THR

EE

1 11 April 2022

Teaching and assessments

2 18 April 2022 3 25 April 2022 4 2 May 2022 5 9 May 2022 6 16 May 2022 7 23 May 2022

End-of-session performance examinations 8 30 May 2022 9 6 June 2022

13 June 2022 Bridge Week

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The Curriculum: BMus (Traditional Music / Piping)

The Curriculum: MA / MMus (Traditional Music)

Year 1 Performance 1 Core 60 Discourses in Traditional Music Core 20 Creative Skills in Traditional Music 1 Core 20 Introduction to Professional Skills for Musicians Core 10 Learning to Collaborate Core 10 Total 120 Year 2 Performance 2 Core 60 Traditional Music Research Portfolio Core 20 Creative Skills in Traditional Music 2 Core 10 Music Leadership Core 10 Option (from Music/Drama/Dance, any level) Option 20 Total 120 Year 3 Performance 3 Core 60 Traditional Music Research Project Core 10 The Teaching Musician Core 10 The Freelance Musician Core 10 Core Option (any level, School of Music) Core Option 10 Options (from Music/Drama/Dance, any level) Option 20 Total 120 Year 4 Performance 4 Core 80 Core Option (must be Level 10, School of Music) Core Option 10 Options (from Music/Drama/Dance, any level) Option 30 Total 120

Year 1 (MA or MMus 1) Principal Study Scottish Music 1 Core 80 Practice Research Core 10 Negotiated Study Project (MA only) Core 60 Supporting Studies 1 Core 10 or 20 Option (from Music/Drama/Dance, any level) Option 10 or 20 Total 180 (MA)

120 (MMus) Year 2 (MMus 2) Principal Study Scottish Music 2 Core 90 Supporting Studies 2 Core 10/20/30 Option (from Music/Drama/Dance, any level) Option 10/20/30 Total 120

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BMus Trad Performance Module Content

Other:

• Traditional Music masterclasses • Folk Ensemble Performances • Big Band Performances (Celtic Connections; Spring Piping Concert; etc)

Traditional Music: Principal Study and Performance (Supporting) Studies Year 1 1:1 Principal Study lessons Compulsory Performance Studies: Performance Classes (specialist and cross-instrumental) Compulsory Technique and Healthy Practice workshops Compulsory Scottish Traditional Repertoire 1: Song and Sources Compulsory Folk Ensemble 1 Compulsory Folklore Compulsory Supplementary Grade 5 Theory Compulsory Accompanying Song Compulsory Gaelic 1: Pronunciation, Titles and Stage Introductions Compulsory Year 2 1:1 Principal Study lessons Compulsory Performance Studies: Performance Classes (specialist and cross-instrumental) Compulsory Technique and Healthy Practice workshops Compulsory Scottish Traditional Repertoire 2: ‘Ranting Pipe and Trembling String’ Compulsory Folk Ensemble 2 Compulsory Sang Scuil | Sgoil nan Òran Compulsory Ceilidh Skills Compulsory Option Optional Option Optional Year 3 1:1 Principal Study lessons Compulsory Performance Studies: Performance Classes (specialist and cross-instrumental) Compulsory Technique and Healthy Practice workshops Compulsory Scottish Traditional Repertoire 3: The Box, the Fiddle and the Making of the Modern Band

Compulsory

Folk Ensemble 3 Compulsory Option Optional Option Optional Option Optional Option Optional Year 4 1:1 Principal Study lessons Compulsory Performance Studies: Performance Classes (specialist and cross-instrumental) Compulsory Technique and Healthy Practice workshops Compulsory Option Optional Option Optional Option Optional Option Optional Option Optional Option Optional

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Other: • Traditional Music masterclasses • Folk Ensemble Performances • Big Band Performances (Celtic Connections; Spring Piping Concert; etc)

Piping: Principal Study and Performance (Supporting) Studies Year 1 1:1 Principal Study lessons Compulsory Performance Studies: Performance, Technique & Maintenance Compulsory Performing Ceòl Beag of the 20th Century Compulsory The Piobaireachd Pit 1 Compulsory A Concise History of Piping Compulsory Scottish Traditional Repertoire 1: Song and Sources Compulsory Folk Ensemble 1 Compulsory Supplementary Grade 5 Theory Compulsory Folklore Compulsory Accompanying Song Compulsory Gaelic 1: Pronunciation, Titles and Stage Introductions Compulsory Year 2 1:1 Principal Study lessons Compulsory Performance Studies: Performance, Technique & Maintenance Compulsory Performing Ceòl Beag of the 19th Century Compulsory The Piobaireachd Pit 2 Compulsory Scottish Traditional Repertoire 2: ‘Ranting Pipe and Trembling String’ Compulsory Folk Ensemble 2 Compulsory Sang Scuil | Sgoil nan Òran Compulsory Ceilidh Skills Compulsory Option Optional Year 3 1:1 Principal Study lessons Compulsory Performance Studies: Performance, Technique & Maintenance Compulsory Performing Ceòl Beag of the 21st Century Compulsory The Piobaireachd Pit 3 Compulsory Scottish Traditional Repertoire 3: The Box, the Fiddle and the Making of the Modern Band

Compulsory

Folk Ensemble 3 Compulsory Option Optional Option Optional Option Optional Year 4 1:1 Principal Study lessons Compulsory Performance Studies: Performance, Technique & Maintenance Compulsory Spring Piping Concert arrangement and leadership Compulsory Option Optional Option Optional Option Optional Option Optional Option Optional Option Optional

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MMus/MA Trad Supporting Studies Module Content The following table outlines the range of supporting studies offered by the department. The studies ‘Scottish Music in Context’, ‘Masters Professional and Artistic Skills’ and ‘Principal Study Independent Project Tutorials’ are exclusive to MMus/MA Traditional Music students. The remaining supporting studies are shared with one or more additional undergraduate levels.

Supervised / Taught Principal Study Group Activity (indicative)

• RCS Trad @ Celtic Connections festival rehearsals and performance • RCS Trad @ Celtic Colours festival rehearsals and performances • Sang Scuil | Sgoil nan Oran intensive final week rehearsals and performance • Evenings of Traditional Music concert(s) • Spring Piping Concert • Participation masterclasses or visiting artist workshops

MMus Stage 1, or MA 1:1 Principal Study lessons Compulsory Discipline-specific 10 credit minimum: Scottish Music in Context Compulsory Cross-disciplinary Masters Professional Skills Compulsory Cross-disciplinary Performance classes Compulsory Discipline-specific Technique and Healthy Practice workshops Compulsory Discipline-specific For 20 credits, choose two additional studies from among ‘Supporting Studies Synopses’ and ‘Supporting Studies Options’ below. For 30 credits, choose four. MMus Stage 2 1:1 Principal Study lessons Compulsory Discipline-specific 10 credit minimum: Masters Professional Skills Compulsory Cross-disciplinary Principal Study Independent Project tutorials Compulsory Cross-disciplinary Performance classes Compulsory Discipline-specific Technique and Healthy Practice workshops Compulsory Discipline-specific For 20 credits, choose two additional studies from among ‘Supporting Studies Synopses’ and ‘Supporting Studies Options’ below. For 30 credits, choose four.

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Performance Folio Options

In consultation with the Head of Department as part of the Student Contract, one or more significant performances from the range of folio options below can be selected for assessment. Recordings of pub session performances are not eligible. The options below are all subject to adaptation based on Covid-19 restrictions that may continue in 2021.

BMus and MMus/MA: Performance Folio indicative assessment options

• Participation in Celtic Connections RCS Trad Showcase and/or other formal, staged Celtic Connections performances

• Participation in Trad @ the Chimp gigs • Participation in collaborative RCS performances in-house or external • Participation in National Piping Centre’s Spring Piping Concert • Participation in a non-RCS external gig, tour or other festival performance(s), e.g Niel

Gow Festival, Celtic Colours Festival or Piping Live • Accompaniment (esp guitar or piano) in other students’ Principal Study recital

performances

Also open to students in BMus Years 3 and 4 and MMus/MA:

Lecture-Recital of 30 minutes on the principal study discipline and/or additional performance study if appropriate and approved by the Head of Dept. Candidates should submit full programme notes of the repertoire chosen and the live presentation should include evidence of research into the repertoire’s historical, social and/or artistic contexts. The chosen specialist content should be discussed and approved by HoD. Live Recorded Performance on the Principal Study instrument and/or other discipline if appropriate and approved by HoD. An ‘uncut,’ live studio recorded* performance (video or audio) of circa. 20 mins plus detailed programme notes should be submitted, comprising repertoire appropriate to the specialisms of the student and NOT featuring in their Performance A programme (to be approved in discussion with the HoD). Students using Studio A for this project must book recording time with the Conservatoire’s engineer at least two weeks in advance of the agreed submission deadline. Typically two hours of studio time will be required to record 20 minutes of material, or more if an ensemble. Studio Recorded Performance on the Principal Study instrument and/or other discipline if appropriate and approved by HoD. An edited studio recording of performance of circa 20 mins, comprising repertoire appropriate to the specialisms of the student and NOT featuring in their Performance A programme (to be approved in discussion with the HoD). To be accompanied by detailed programme notes and documentation noting edit points, take numbers and reasons for edits, assessed on both the performance and the quality of engagement with the recording and editing process.

Students opting for this submission mode should have completed the Music Technology and Sound Recording 1 module or should study the supporting video resources on Moodle.

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Supporting Studies Synopses The following descriptions summarise the content of compulsory Supporting Studies listed in the tables above. Content is indicative and subject to alteration year to year.

Performance Class

These sessions focus on discipline-specific performance skills in a tutor- and peer-led context and are divided according to specific instrument. In Term 3, these classes become cross-instrumental.

Technique and Healthy Practice

These workshops survey technical/postural/anatomical aspects to idiomatic performance practice and link them explicitly to physical and mental wellbeing (e.g. wrist issues among fiddlers, vocal control and development among singers, effective and safe practice strategies). This includes comparing and contrasting with technique in other genres such as jazz, classical or other folk music, where applicable and possible, in order to inform personal artistic development.

Sang Scuil | Sgoil nan Òran

The title of this Supporting Study translates as ‘Song School’ in Scots and Gaelic. It is compulsory for BMus Trad Year 2, continuing the practical focus on Scots and Scottish Gaelic song repertoire established in Year 1’s Scottish Traditional Repertoire 1: Song and Sources. As such it is your primary locus for encountering Scots and Scottish Gaelic language in the curriculum in Year 2 but the song traditions of related cultures can be explored as well. Through it you develop vocal musicianship and collaborative music-making, build a common canon of traditional Scottish song repertoire and develop language skills through performance.

Folk Ensemble

These sessions are the primary locus for developing contemporary folk and traditional repertoire and musicianship in a group context vis-à-vis a wide range of sub-genres: from the informal session, scratch band or pipe quartet to the professional ceilidh band or orchestrated and PA-supported ensemble.

Scottish Traditional Repertoire

The aim of this series (Levels 1-3) is to provide you with a genuine common foundational and practical understanding of the root traditions/repertoires in Scottish music, supporting the Principal Study syllabus at the individual level. Each lecture-workshop is an illustrated overview of the subject with specific repertoire that the tutor leads you in, in class, regardless of instrument. The classes culminate in a collective selection of repertoire for a 15-20 minute recorded performance supported by staff-supervised rehearsals and the writing of contextual programme notes.

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Accompanying Song

In keeping with the thematic focus on song and sources among BMus Traditional Music 1’s Supporting Studies, you will undertake a short series of workshops dedicated to the early development of the tasteful and idiomatic accompaniment of traditional songs. Led jointly by Scots and Gaelic singers and top accompanying instrumentalists, these workshops develop your understanding of mode, shape, dynamic and the importance of the song as the primary musical voice.

Gaelic 1: Pronunciation, Titles & Stage Introductions

Knowing how to pronounce Gaelic tune or song titles is of fundamental importance when addressing audiences as a traditional musician. You are not just performing the music: you are conveying its culture and context – its meaning. These sessions core to BMus Year 1 guide you through the basics of Gaelic pronunciation of tune and song titles and nurture your ability to introduce Gaelic music to an audience confidently and competently.

Folklore

This Supporting Study is designed to develop your appreciation and understanding of major aspects of Scottish folklore and folk culture, e.g. childlore, folksong, custom and belief and material culture as an essential foundation to traditional music performance. Supplementary Grade 5 Theory

A knowledge of western music theory adds greatly to the traditional musician’s already-highly developed aural, expressive and compositional skills. These online classes and personal study therefore require incoming BMus Traditional Music students to demonstrate an applied knowledge and understanding of music theory equivalent to ABRSM Grade 5 by the end of Term 1.

Ceilidh Skills (BMus Year 2)

Through practical workshops and rehearsing, you work with staff to consolidate and extend your knowledge of popular traditional dances typical of the Scottish ceilidh; their ancillary musical repertoire, both historical and contemporary; the issues that commonly arise in organising a ceilidh, and how to resolve them; and your ability to call the dances in a manner conducive to audience engagement. This work will culminate in a public ceilidh event for which you must set up PA, collectively devise the dances and repertoire, call the dances and perform throughout.

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Piping

Performance, Technique and Maintenance

A core feature of Supporting Studies for pipers across all levels of study, this class runs through the year and is sequenced in blocks of several weeks each, including Technique & Healthy Practice, Bagpipe Maintenance & Sound Production and Performance Classes.

Performing Ceòl Beag of the 20th Century / 19th Century / 21st Century

Appearing in BMus Years 1, 2 and 3, these sessions explore in detail the repertoire and stylistic qualities that characterise the development of light music since the late 18th - 19th centuries.

The Pìobaireachd Pit, Levels 1-3

This Supporting Study is devoted to the development of repertoire, technique and interpretive skills in relation to ceòl mór, or piobaireachd. A wide range of sources, periods, techniques and styles are explored through performance in all four levels of study, drawing widely from sources spanning the 18th, 19th and 20th centuries.

A Concise History of Piping

A fixed feature of the Year 1 curriculum, this is a short series of lectures mapping the history and development of the Highland bagpipe through its musical functions, its role in multi-faceted Scottish society and its links to aristocratic (and later military) patronage.

Spring Piping Concert Arrangement and Leadership This Supporting Study is compulsory to Honours-year pipers and requires students to apply their learning in pibroch, light music and ensemble over the previous three academic years creatively toward the artistic direction of the annual Spring Piping Concert. This process is largely independent but supported by National Piping Centre supervision through the year.

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Supporting Study Options The following Supporting Study options involve varying hours of tutor contact, and can be taken again in subsequent years unless otherwise indicated, as the content is subject to potential updating every year.

BMus / MA / MMus Traditional Music BMus Traditional Music – Piping

Introduction to Gaelic Song

Gaelic 2: Feisean and Teaching

Gaelic 3: Conversation and Grammar

Scots Language and Song

The Groove Studio

Cross-Instrumental Duo Arranging and Performing

Playing for Dancing (Y3+)

Peak Performance Training 1


Gaelic for Pipers

The Major Piping Dynasties

Border & Smallpipe Style and Repertoire

Regional Highland Piping Traditions

Interpretation of Pibroch Songs (Y3+)

Comparative European Piping Traditions (Y3+)

Piping for Dancing (Highland/Step) (Y3+)

The Piobaireachd Pit 4: Mavericks, Dissidents and Innovators (Y4)

Pipe Band Musicianship (Y4)

Please note: non-pipers can access the piping-specific options with approval from the Head of Traditional Music and/or Head of Piping Studies, and the non-piping options are similarly open to pipers.

Option Synopses

Introduction to Gaelic Song

These seminars pick up where Year 1’s Scottish Traditional Repertoire on Song and Sources left off. They are designed to review the repertoire of traditional Gaelic song and approaches to its interpretation through performance, language and literary studies in greater depth. It is an excellent companion to Sang Scuil | Sgoil nan Oran.

Gaelic 2: Fèisean and Teaching

These seminars are open to those who have passed BMus Trad Year 1’s Gaelic 1 study of pronunciation, tune/song titles and stage introductions. At this level students are introduced to the level of Gaelic expected for teaching at fèisean and provided vocabulary and nomenclature they are likely to encounter in such environments.

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Gaelic 3: Conversation & Grammar

These seminars are open to those who have passed the first two levels. At this level, students encounter a more systematic review of Gaelic grammar and cultivate more advanced conversational skills.

Scots Language and Song

Like its Gaelic counterpart, these seminars pick up where Year 1’s Scottish Traditional Repertoire on Song and Sources left off. They are designed to review the repertoire of traditional Scots song and approaches to its interpretation through performance, language and literary studies. In so doing it aims to inform the accompanist's knowledge of musical idiom and tonality no less than the singer’s. It is an excellent companion to Sang Scuil | Sgoil nan Oran.

The Groove Studio

The Groove Studio takes a very practical approach to issues of rhythmic fluency: locking in between melody players or singers and accompanists, exploring different rhythmic approaches in different areas of the tradition, and analysing the rhythmic styles and experience of the musicians in the class and the wider traditional music community. It is also a good opportunity to consider how to diversify and enhance one’s own practice in order to maximise versatility.

Cross-Instrumental Duo Arranging and Performing

Taking up where BMus Trad 1’s Accompanying Song left off, these workshops delve into cross-instrumental duo accompaniment, arranging and performing based on multiple instrumental perspectives, both chordal and melodic (e.g. guitar, piano, harp, fiddle).


These workshops are led by RCS-based performance and mindfulness coach Lee Holland.

Through training, it is possible to learn the techniques to cultivate the necessary mind-set skills to perform at an optimal level. These workshops provide supported work in the form of exercises and structured learning for each individual to create a personalised tool-kit to access their potential.


Like PPT1, these workshops are led Lee Holland. They are open to those who have taken the first level.

These workshops continue to develop structured learning for each individual to create a personalised tool-kit to access their potential in a public performance environment.

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Playing for Dancing

This option builds on the foundations of Year 2’s Ceilidh Skills by honing the craft of providing musical accompaniment to traditional Scottish dances, led by dance band maestro Ian Muir.

Gaelic for Pipers A survey of the Gaelic nomenclature in light music and piobaireachd in order to better understand piping’s structure, origins, and other cultural connections. Excellent also for those teaching piping in fèis environments.

Interpretation of Pibroch Songs For those who have passed BMus Trad Year 2’s Piobaireachd Pit 2, these seminars extend the exploration of pibroch songs and their relationship to the performance style of the ùrlar or ground historically and currently, taking as its basis a healthy acquaintance with the works of Allan MacDonald and Barnaby Brown.

The Major Piping Dynasties

The ‘classical’ piping families that achieved multi-generational fame in 18th and 19th century Highland Scotland, based on the patronage prevailing under the clan system, included such notable names as the MacCrimmons, the MacArthurs, the Rankins and others. These lectures provide an in-depth overview of these families’ traditional roles and a musical exploration of the repertoire attributed to them.

Border Pipe & Smallpipe Style & Repertoire Professor Fred Freeman delivers a range of heavily illustrated and interactive seminars on the style and repertoire associated with bellows-blown border pipes and lowland small pipes.

Regional Highland Piping Traditions

Having encountered a concise history of piping in Year 1, these seminars explore regional traditions, styles and repertoires in piping, including the West Highlands and Hebrides and elsewhere in Scotland, from Aberdeenshire to Glasgow.

Comparative European Piping Traditions Based on the foundations of studies in Years 1-2, these seminars reach outward to neighbouring European piping traditons, such as those of Galicia, Brittany, Estonia and Serbia, in order to provide a guided review of stylistic, rhythmic and ornamental issues and their connections to Scottish piping.

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Piobaireachd Pit 4: Mavericks, Dissidents and Innovators This study is an optional Year 4 extension beyond The Piobaireachd Pit 3, exploring repertoire, technique and interpretive skills in relation to ceòl mór through a wide range of sources and approaches to style and interpretation.

In this case, we survey the variety of controversial and colourful voices in the late 19th and 20th centuries that have upset the apple cart of the piping world and enriched the living tradition of piobaireachd, including the works of Lt John McLennan, GF Ross, Simon Fraser and George Moss.

Pipe Band Musicianship Exploring the competitive pipe band world of yesterday, today and tomorrow – what is today’s landscape, how has it changed, and what role can we play in its future artistic and competitive directions? What are the skills and competencies necessary to succeed in today’s (and tomorrow’s) pipe band scene?

Piping for Dancing

This option provides teaching in the craft of piping to modern Highland dancing, led by renowned piper Donald MacPhee.

Sang Scuil | Sgoil nan Oran

Students in BMus Trad Year 3 and above can opt continue with these classes.

Folk Ensemble 4/M

These classes are compulsory in BMus Trad Years 1-3 but can be continued as an option in Year 4 or at Masters level.

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Performance Assessment Assessment up to the stage from which the Honours classification is calculated (that is, Years 1 and 2) is on a pass/fail basis; the emphasis being placed on quality and clarity of teacher, examiner, peer and self-evaluation. Principal Study Recital: Recitals must be performed from memory. Printed music (including song lyrics) may not be used in exams except by accompanists to the candidate or unless approved ahead of time by HoD and the Principal Study tutor. At least half of your recital programme must be of a soloist nature on your Principal Study instrument/voice (unless indicated otherwise by the nature of the discipline). If you wish to perform on an instrument additional to your Principal Study during Performance A (for example, to demonstrate exploration of musical opportunities and aspirations undertaken within the course this year through Related or Additional Performance Study), you may do so for one or two sets in your programme, in either a soloist or collaborative context, or a combination of the two. All repertoire for your recital is by mutual agreement with the teacher and student and must comprise only material covered in lessons in the current year of study. Full programme notes should be provided. Spoken introductions should be factored into your programme timing. Plan for around 5 minutes of ‘chat’ in a 30-minute recital and a maximum of 10 minutes in a 45-minute recital. Principal Study Recital Auditions are a purely formative assessment mechanism in service to your end-of-year recital. They are formal, but not credit-weighted; rather, they are an aspect of module content that provides constructive ‘checkpoint’ moments at intervals through the academic year leading to and informing the year’s summative performance assessment event.

Recital Auditions take the form of two observed lessons, each taking place on the occasion of a Principal Study lesson: one in the final week of Term 1 (the last prior to Winter Break), and the other in the final teaching week of Term 2 (the last prior to Intensive Choice Week and Spring Break).

On these occasions the student and the tutor are joined by an additional full-time or pro-rata member of departmental staff. The tutor and additional staff member together assess the student’s progress and application in relation to their syllabus requirements (see Principal Study Exam Syllabus Requirements and Syllabus Framework). This involves constructive discourse in the context of syllabus requirements and the student’s own artistic vision and objectives.

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Principal Study Syllabus Framework This framework, to be used internally within the Department of Traditional Music, unifies conceptually the Principal Study journey of all Traditional Music students on the BMus and MMus/MA pathway regardless of instrument/voice.

General Framework informing ALL lessons in ALL years, delivered through all three pillars of Principal Study where appropriate: 1:1 lessons; Performance Classes; and Technique & Healthy Practice Workshops. This framework should be read in conjunction with the level-based descriptors outlined overleaf. In this way, the syllabus is made bespoke to each student-tutor pairing whilst conforming to shared milestones and outcomes.

A. Identify and work toward own style and personal artistic goals; develop this

alongside basic performance skills, refresh at the first 1:1 lesson of every year and re-visit throughout. Identify any technical or learning areas requiring development such as:

• Practice strategies • Tuning of instrument as well as keys (inc. development of voice) • Breathing / tone / sound projection & production • Position work • Bow or bellows control, etc • Ornamentation • Effective practice techniques • Effective use of the Work Diary

B. Research, to improve awareness and engagement with collections,

resources, repertoires, styles and own practice:

• Documenting own practice and reflection at key points through year (see section on Learning Diary below)

• Books/collections (music and text) • Online sources • CDs • Radio • Peer learning • Outside professional contacts / sessions, etc • Reviewing live performances of any kind, including drama/dance

C. Learning by ear, to help develop:

• Listening skills • Creativity • Expression • Intonation / diction / accentuation / tuning • Dynamics • Phrasing • Rhythm

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• Range of tune or song types and their differences/relationships • Awareness of others • Sensitivity

D. Preparation for recitals, including:

• Content/programming • Challenging • Contrasting • Relevant to instrument / song tradition • Themed or project-based if appropriate (e.g. Years III-IV) • Memorisation skills • Arrangements • Refining of presentation to audience (succinctness, confidence,

rapport) • Ownership of the stage, the performance area (blocking, staging,

lighting, sound, etc) • Addressing nerves and performance anxiety

E. Overall well being

• Healthy practice / posture • Physical well being • Emotional well being • Development of confidence

The role of the teacher in guiding the student through Principal Study should be characterised by socratic guidance, acting as non-judgemental creative catalysts. Learning outcomes throughout study should include a focus on:

A. ownership of the instrument; B. the process of crafting, and realisation of, the student’s own artistic

vision; C. engaging and polished performance, collaboration with peers, quality of

tone/projection of sound and flow of playing, demonstrating stability, creativity and confidence.

All students should be encouraged to build a portfolio of tunes/composers of their choice, to work on, from the very start of the lessons, as well as any provided by tutor. Students should get in the habit of documenting all engagements within and beyond the Conservatoire, building a CV of achievements.

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BMus Year 1 descriptor Research and repertoire in Year 1 should begin with a ‘knowledge and skills audit’ and discussion of your personal artistic goals for the year, using the Work Diary to identify these goals, track work and record progress week to week. The year should focus on a comprehensive grounding in performance contexts and techniques (soloist or accompanist as appropriate) fundamentally relevant to your Principal Study discipline, explored through traditional repertoire, composers and collections (or sources); and a demonstration of how all the above articulate with or inform your growing personal stylistic approach. Consider what ‘style’ means and what goes into it; identify your own stylistic leanings (or lack thereof?); your personal artistic goals as a traditional musician; and what knowledge, understanding and/or technical areas require development in service to those goals. Your work is to be demonstrated in Recital Auditions through the year, allowing you to craft a final recital showcasing this work through a varied programme of traditional repertoire drawn from key composers and collections.

BMus Year 2 descriptor Continuing your own stylistic and technical development from Year 1, research and repertoire in Year 2 should expand to include exploration of different regional, national, period or other styles/repertoires fundamental to your Principal Study discipline (and/or the repertoires of other instruments or song traditions as appropriate), drawn from sources both traditional and contemporary. You should begin with a fresh audit of disciplinary knowledge and technical skills and discussion of both goals and gaps. Your progress should show how your expanding knowledge of regional, period or other styles/repertoires articulates with or informs your own growing personal stylistic approach. This may include, but is not limited to, engaging with two or more such styles / periods / repertoires / other instruments or song traditions, chosen as projects from amongst a list drawn up between you and your tutor. Your work is to be demonstrated in Recital Auditions through the year, allowing you to craft a final recital showcasing this work through a varied programme of repertoire drawn from different regional, national, instrumental, vocal or period styles/repertoires, open to observation by other students and staff. BMus Year 3 descriptor Student-centred, informed by a secure understanding of your musical journey so far, which is maturing in terms of technical and artistic realisation / negotiation of aims / reflection on experiences to date.

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This is to be demonstrated through a major practice-based project culminating in a themed final public concert. The theme is of your own choosing, and may be soloist in nature, but may also involve collaboration with other singers or instrumentalists and focus on aspects of composition, arrangement, accompaniment and/or improvisation. This year may include mentoring a new student for a term, and/or continuing to develop collaborations with peers with regard to, for instance, style / composition / arrangement / fieldwork / improvisation / etc depending on your goals. If appropriate, your tutor may arrange for a fellow student in a different discipline to join you in some lessons this year (e.g. one per term) to help test and develop your ideas for collaboration and arrangement. Your work is to be demonstrated in Recital Auditions through the year, demonstrating examples of project material being developed to date that contribute to the theme of the final public recital. BMus Year 4 descriptor Student-centred, working to achieve a distinct identity and musical voice informed by a secure understanding of the journey, which has now reached a form of excellence / final aims / experiences. A final ‘knowledge and skills’ audit between you and your tutor, captured in your Work Diary and subsequent progress notes, should inform your Honours-year artistic and/or professional goals. Your distinct idiomatic voice should be demonstrated through a major practice-based project culminating in a themed final public concert, making explicit your technical achievement, artistic clarity, maturity of stagecraft and depth of learning in one or more specialisms. This could include, for example, composition, arrangement, improvisation, historical period styles, contemporary cross-genre, exploration of particular canons of repertoire, innovative collaborations, etc (you are free to choose). Your work is to be demonstrated in Recital Auditions through the year, demonstrating examples of project material being developed to date that contribute to the theme of the final public recital. MMus 1/MA descriptor The Principal Study is focused primarily on your individual development as a musician. The role of the lessons will be to help and guide in developing a firm but flexible and open-minded repertoire of technical, musical and performance skills, stemming from and interpreting anew Scottish (or related) traditional music through your unique idiomatic voice. There are two principal areas on which you can focus depending on your goals and discipline: solo performance or ensemble performance. In practice many students

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choose to explore a mixture of the two as this often reflects the profession. You will decide in negotiation with your Principal Study tutor and the Head of Traditional Music (or Head of Piping Studies) to concentrate on one or both of these areas, with the freedom to develop your knowledge and skills through live performance, studio recorded performance and/or the composition of new traditional-idiom works. MMus 2 descriptor The principal areas within Stage 1 on which you focused depending on your goals and discipline – solo performance, collaborative performance or a mixture of the two – continue in Stage 2, with the addition of the requirement to undertake a substantial, self-defined specialist area of practice-based research in the form of an Independent Project. This project culminates in live performance supported by written critical commentary, demonstrating clear synthesis of different kinds of knowledge in-and-through practice. You will decide in negotiation with your Principal Study tutor and the Head of Traditional Music the theme of your Independent Project and will receive supervision as it progresses. Your work at this stage should be crafted mindfully to allow you to:

• foster advanced technical and expressive mastery in your chosen specialist area within Scottish (or related) traditional music;

• develop a mature and individual musical personality and take opportunities to project it in-and-through practice;

• expand a knowledge base that supports understanding and facilitates the solving of complex musical problems in Scottish traditional music; and

• consolidate the skills to sustain fulfilling, lifelong interpretation of Scottish (or related) traditional music, leading to informed performance at a professional level and potentially leading to further higher degrees and research.

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Principal Study Exam Requirements (BMus) Traditional Music and Piping, Year 1: Performance A (Recital) Internal recital, 30 minutes in duration, consisting of a varied programme of traditional repertoire developed over the course of the academic year and drawn from key composers and collections/sources. Traditional Music and Piping, Year 1: Performance B (Recital Auditions) Indicative Content Two in-lesson recitals (Last week of T1 and of T2) in which you should prepare a programme of 10-15 minutes duration, demonstrating evidence of progress in performing traditional repertoire from composers and collections/sources fundamental to your Principal Study discipline. In your programme you should articulate how they are informing your own personal stylistic approach. Material demonstrated in these lessons will be performed formally on the occasion of Performance A. Traditional Music and Piping, Year 2: Performance A (Recital) Internal recital, 30 minutes in duration, consisting of a varied programme of repertoire drawn from different regional, national, period or other styles/repertoires (or similar), developed over the course of the academic year and open to observation by other students and staff. Traditional Music and Piping, Year 2: Performance B (Recital Auditions) Indicative Content Two in-lesson recitals (Last week of T1 and of T2) in which you should prepare a programme of 10-15 minutes duration, demonstrating evidence of progress in performing different regional, national, period or other styles/repertoires fundamental to your Principal Study discipline, drawn from appropriate sources (both traditional and contemporary). In your programme you should articulate how they inform your own personal stylistic approach. Material demonstrated in these lessons will be performed formally on the occasion of Performance A. Traditional Music and Piping, Year 3: Performance A (Public Recital, 90%) Public recital, 45 minutes in duration, that articulates a specific theme developed over the course of the academic year. Your theme may be soloist in nature or may involve collaboration with other singers or instrumentalists, accompaniment and (if appropriate) improvisation. Your programme may include, or indeed emphasise, your own compositions and arrangements so long as this is in alignment with your recital’s theme and your tutor’s approval. You may involve a maximum of two accompanists in your public recital. Traditional Music and Piping, Year 3: Performance B (Recital Auditions) Indicative Content Two in-lesson recitals (Last week of T1 and of T2) in which you should prepare a programme of 15 minutes duration, demonstrating evidence of progress in performing project material being developed to date that contribute to the theme of the final public recital.

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Material demonstrated in these lessons will be performed formally on the occasion of Performance A. Traditional Music and Piping, Year 4: Performance A (Public Recital, 70%) Public recital, 45 minutes in duration, that articulates your distinct idiomatic voice through a specific theme or project developed over the course of the academic year in collaboration with your tutor(s) and, if appropriate, your peers, making explicit your depth of learning in one or more specialisms. Your programme may focus on, for example, composition, arrangement, improvisation, historical period styles, contemporary cross-genre, exploration of particular canons of repertoire, innovative collaborations, etc (you are free to choose). You may involve a maximum of two accompanists in your public recital. Traditional Music and Piping, Year 4: Performance B (Recital Auditions) Indicative Content Two in-lesson recitals (Last week of T1 and of T2) in which you should prepare a programme of 15 minutes duration, demonstrating evidence of progress in performing project material being developed to date that contribute to the theme of the final public recital. Material demonstrated in these lessons will be performed formally on the occasion of Performance A.

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Principal Study Exam Requirements (MMus/MA) MMus Traditional Music Stage 1 or MA: Performance A (externally assessed, 50%) Ai Solo Performance on the Principal Study instrumental or vocal tradition (can include related study instrumental/vocal tradition if approved by tutor and HoD). Assessed by a public recital of 45 minutes. You may involve a maximum of two accompanists in your recital. Aii Ensemble Performance devised by and featuring the examination candidate, arranged for Principal Study and other instrumental/vocal disciplines in small group or band format. Assessed by a public recital of 45 minutes. You may involve a maximum of two accompanists in your public recital. Aiii Mixed Solo and Ensemble Performance, the ratio of solo to ensemble performance being approximately equal, assessed by a public recital of 45 minutes. You may involve a maximum of two accompanists in your public recital. MMus Traditional Music Stage 1 or MA: Performance B (internally assessed, 50%) Bi Solo Performance on the Principal Study instrumental or vocal tradition (can include related study instrumental/vocal tradition if approved by tutor and HoD). Assessed by an internal recital of 45 minutes. You may involve a maximum of two accompanists in your recital. Bii Ensemble Performance devised by and featuring the examination candidate, arranged for Principal Study and other instrumental/vocal disciplines in small group or band format. Assessed by an internal recital of 45 minutes. You may involve a maximum of two accompanists in your public recital. Biii Mixed Solo and Ensemble Performance, the ratio of solo to ensemble performance being approximately equal. Assessed by an internal recital of 45 minutes. You may involve a maximum of two accompanists in your public recital. Biv Studio Recording – a studio recording of 30 minutes, arranged in collaboration with a Conservatoire studio engineer. Solo, ensemble or mixed solo and ensemble performances may be chosen for this recording. The recording may be accompanied by a written commentary (≈1000 words) on the recording process, chosen repertoire, editorial issues, performance and interpretive decisions, and a self-evaluation of the final recorded product; or, the candidate may elect to address these issues in an oral examination. Bv Home Studio Recording – a recorded performance engineered and produced by the candidate. Minimum length of recorded stems is 30 minutes: the assessment to include a written commentary / oral examination. See briefing paper for further details.

MMus Traditional Music Stage 2: Performance A (externally assessed, 70%) Ai Independent Project in which the student proposes a themed, practice-based research project that will allow them to build on a well-defined area of specialism (eg composition / historically-informed performance / contemporary fusion / folklore / regional style / etc) through which to demonstrate the learning outcomes of the module. Your proposal must include a clear synthesis of different kinds of knowledge in-and-through practice (see LO3). The nature and topic of the project is to be agreed between the student and the Principal Study tutor. A proposal of 300 words, plus indicative source list, should be submitted to the Head of Traditional Music or Lecturer in Traditional Music for approval no later than the mid-term break (Week 7) in Term 1. The Principal Study tutor should thereafter offer artistic and strategic supervision as an integral element of weekly lessons. A dedicated series of group tutorials involving all MMus (Traditional Music) 2 students and led by the Head or Lecturer in Traditional Music will also offer teaching on appropriate artistic research methods and analysis and peer/staff-based feedback as projects progress. Projects must culminate in a public recital of 45 minutes, contextualised through written critical commentary of c. 5,000 words. This commentary must be submitted no later than one calendar month prior to the public recital. You may involve a maximum of two accompanists in your recital. An oral examination will take place after the recital to explore issues including process, performance, repertoire, interpretive decisions and legacy. MMus Traditional Music Stage 2: Performance B (internally assessed, 30%) Bi Solo Performance on the Principal Study instrumental or vocal tradition (can include related study instrumental/vocal tradition if appropriate and approved by HoD). Assessed by an internal recital of 20 minutes. Bii Ensemble Performance devised by and featuring the examination candidate, arranged for Principal Study and other instrumental/vocal disciplines in small group or band format, assessed by an internal recital of 20 minutes. You may involve a maximum of two accompanists in your public recital. Biii Mixed Solo and Ensemble Performance, the ratio of solo to ensemble performance being approximately equal, assessed by an internal recital of 20 minutes. You may involve a maximum of two accompanists in your public recital. Biv Studio Recording – a studio recording of 20 minutes, arranged in collaboration with a Conservatoire studio engineer. Solo, ensemble or mixed solo and ensemble performances can be chosen for this recording. The recording may be accompanied by a written commentary (≈1000 words) on the recording process, chosen repertoire, editorial issues, performance and interpretive decisions, and a self-evaluation of the final recorded product; or, the candidate may elect to address these issues in an oral examination. Bv Home Studio Recording – a recorded performance engineered and produced by the candidate. Minimum length of recorded stems is 30 minutes: the assessment to include a written commentary / oral examination. See briefing paper for further details.

Performance Benchmarks Level 1 Marking criteria A fundamentally secure technique and some expressive ability; confidence in interpretation; demonstrating a basic understanding of structure and style; confident

stage presentation Grade bands Technique Expression Understanding of structure and style;

interpretation; knowledge of repertoire and context

Stage presentation

Excellent An excellent technique at this level. While not seamless, any problems rarely detract from a fluent performance.

Excellent at this level. There is much well-shaped playing or singing and expressive ideas are projected with an overall clarity and sensitivity.

Style and idiom are well understood, and there is a well-projected understanding of musical structures, repertoire and context, with a creative and imaginative approach to interpretation

Confident stagecraft and command of performance. The performer projects a sense of their musical personality with some flair.

Very good A very secure technique at this level, facilitating a high level of accuracy and control in the performance. Occasional slips do not detract from the performance.

Playing or singing is very well shaped for this level. Expressive ideas are projected clearly and with some promising sensitivity.

An understanding of traditional style and of structure, repertoire and context are projected with some creativity and imagination in interpretation although there is still scope for development

A generally confident rapport with the audience. The performer looks comfortable on stage. There is strong command of performance conventions.

Good A good technique at this level. While not seamless, any problems rarely detract from a fluent performance overall.

There is a clear attempt to shape and phrase the music, although this is not consistently successful. Expressive qualities are mostly projected with clarity.

An appreciation of traditional structure and style is projected with a general confidence in interpretation, although at times this is not convincing and/or consistent.

A generally confident rapport with the audience. The performer looks comfortable on stage and errors only very rarely manifest themselves visually. There is appropriate command of performance conventions.

Satisfactory A satisfactory technique at this level which mostly meets the demands of the programme. Occasional slips and errors do not detract significantly from the performance.

Expressive qualities are evident at times, although attention to detail in the shaping of the music is limited.

A basic appreciation of traditional structure and style is projected with some confidence in interpretation, although this is not always convincing or consistent.

The performer looks generally comfortable on stage although errors may sometimes manifest themselves visually. The performer may display an incomplete command of performance conventions.

Unsatis-factory An overall lack of technical security for this level. Technical problems disrupt the performance.

Attempts to shape and phrase are not fully realised and there is a limited sense of expression.

The performer projects only a limited and incomplete understanding of traditional structure and style, and/ or appropriate approaches to interpretation.

The performer does not always appear comfortable onstage, and errors frequently manifest themselves visually. There is a limited command of appropriate performance conventions.

Fail A fundamentally insecure technique. Technical problems significantly disrupt the performance.

Expressive qualities are inadequately projected.

The performer fundamentally lacks an understanding of traditional style and/ or structure. Interpretation is limited.

An uncomfortable manner and/ or one inappropriate to the performance.

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Performance Benchmarks Level 2 Marking criteria Confident technical and expressive ability; creativity and imagination in interpretation, demonstrating some understanding of structure and style; a knowledge of

repertoire and its context; a nascent musical personality; confident stage presentation Grade bands Technique Expression Understanding of structure and style;


Stage presentation

Excellent An excellent technique at this level, facilitating a high level of accuracy and control in the performance. Occasional slips do not detract from the performance.

Excellent at this level. The playing or singing is very well shaped throughout. Expressive qualities are projected with consistent clarity and sensitivity.

Style and idiom are very well understood at this level, and there is a strongly-projected understanding of musical structures, repertoire and context, with a consistently creative and imaginative approach to interpretation.

The performer projects a convincing command of the performance and engagement with the music that projects a very good sense of their musical personality.

Very good A secure and confident technique. If not seamless, any slips do not detract from the performance.

There is much well-shaped playing or singing for this level. Expressive ideas are projected with clarity and sensitivity.

Style and idiom are well understood, and there is a well-projected understanding of musical structures, repertoire and context, with a creative and imaginative approach to interpretation.

Confident stagecraft and command of performance. The performer projects a sense of their musical personality with some flair.

Good A generally secure and confident technique. Occasional slips and errors do not detract significantly from the performance.

Playing or singing is generally well shaped. Expressive ideas are projected clearly and with some promising sensitivity.

A good appreciation of traditional style and of structure, repertoire and context are projected with a degree of creativity and imagination in the approach although there is clear scope for development.

A generally confident rapport with the audience. The performer looks comfortable on stage. There is strong command of performance conventions.

Satisfactory

A generally satisfactory technique. Although there may be some weaknesses apparent in specific areas, slips and errors do not detract significantly from the performance.

There is a clear attempt to shape the music, although this is not consistently successful. Expressive qualities are projected with some clarity.

An appreciation of traditional structure and style is projected with a general confidence in interpretation, although at times this is not convincing and/or consistent.

A generally confident rapport with the audience. The performer looks comfortable on stage and errors only very rarely manifest themselves visually. There is appropriate command of performance conventions.

Unsatis-factory A fundamentally insecure technique. Technical problems significantly disrupt the performance.

Attempts to shape and phrase are not fully realised and there is a limited sense of expression.

The performer projects only a limited and incomplete understanding of traditional structure and style, and/ or appropriate approaches to interpretation.

The performer does not always appear confident onstage, and errors frequently manifest themselves visually. There is a limited command of appropriate performance conventions and little sense of a developing musical personality.

Fail Little semblance of technical control. Many deficiencies that consistently disrupt the performance.


The performer fundamentally lacks an understanding of style and/ or structure, repertoire and context. Interpretation is limited.

An uncomfortable manner and/ or one inappropriate to the performance.

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Performance Benchmarks Level 3 Marking criteria A high degree of technical and expressive ability; an emerging musical personality; confident stage presentation; creativity and imagination in interpretation

demonstrating an understanding of structure and style; a knowledge of repertoire and its context Grade bands Technique Expression Understanding of structure and style;


Stage presentation

A1-A5 Excellent

An excellent technique at this level, allowing a fluent, controlled and accurate performance.

Excellent at this level. Playing or singing is shaped with a refined attention to detail, and expressive qualities are projected with significant clarity and sensitivity.

A strongly-projected musical understanding. A convincingly creative and imaginative approach to interpretation.

Accomplished stagecraft. The performer projects a confident command of the performance and engagement with the music that projects a convincing sense of their musical personality.

B1-3 Very good

A very secure technique at this level, facilitating a high level of accuracy and control in the performance. Occasional slips do not detract from the performance.

The playing or singing is very well shaped throughout. Expressive qualities are projected with consistent clarity and sensitivity.

Style and idiom are very well understood, and there is a well-projected understanding of musical structures, repertoire and context, with a consistently creative and imaginative approach to interpretation.

Confident stagecraft and command of performance. The performer projects a strong sense of their individual musical personality.

C1-3 Good

A good technique at this level. While not seamless, any problems rarely detract from a fluent performance overall.

The playing or singing is well-shaped for this level. Expressive ideas are projected with an overall clarity and sensitivity.

A good appreciation of style and of musical structures, repertoire and context. A generally creative and imaginative approach to interpretation.

A good rapport with the audience and a clear command of performance conventions. The performer projects a sense of their individual musical personality.

D1-3 Satisfactory

A satisfactory technique at this level which mostly meets the demands of the programme. Occasional slips and errors do not detract significantly from the performance.

There is some well-shaped playing or singing. Expressive ideas are projected clearly and with some sensitivity.

A coherent appreciation of traditional style and of structure, repertoire and context are projected with a degree of creativity and imagination in the approach although there is clear scope for development.

A satisfactory rapport with the audience. The performer looks comfortable on stage for the most part. There is clear command of performance conventions.

E1-2 Unsatis-factory

An overall lack of technical security for this level. Technical problems disrupt the performance.

There is some attempt to shape the music, although this is not consistently successful. Expressive qualities are underprojected.

The performer does not project an appreciation of style and/or understanding of structure repertoire and context appropriate to the level. Interpretation is limited.

Stage craft and command of appropriate performance conventions are insufficiently developed for the level. There may be some sense of a nascent musical personality.

F Fail

A fundamentally insecure technique. Technical problems significantly disrupt the performance.


The performer projects only a limited and incomplete understanding of structure and style. Approaches to interpretation are very limited or inappropriate.

Limited stage craft and command of performance conventions. Little sense of a musical personality.

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Performance Benchmarks Level 4 Marking criteria

Advanced technical and expressive ability; an individual musical personality; confident stage presentation; creativity and imagination in interpretation founded upon a clear understanding of structure and style; a knowledge of repertoire and its context

Grade bands Technique Expression Understanding of structure and style; interpretation; knowledge of repertoire and context

Stage presentation

A1-A2 Exceptional

Virtuosic technical control. Outstanding expressive ability. The performer’s interpretation projects an advanced creative and imaginative understanding of musical repertoire, structures and context. Playing or singing is outstandingly stylistically characterised.

Outstanding stagecraft and complete control of the performance. The performer projects an exceptional sense of their engagement with the music and their musical personality.

A3-A5 Excellent

An excellent technique, demonstrating a fluency and control which allows the listener to concentrate on interpretative matters.

Excellent. Playing or singing is shaped with a refined attention to detail, and a range of expressive qualities are projected with impressive clarity and sensitivity.

The performer’s interpretation projects a confidently creative and imaginative understanding of musical repertoire, structures and context, alongside an assured stylistic awareness.

Excellent stagecraft. The performer projects an assured command of the performance and engagement with the music that projects an excellent sense of their musical personality.

B1-3 Very good

A strong technique that facilitates a high level of accuracy and control in the performance. Any slips do not detract.

The playing or singing is very well shaped throughout. Expressive qualities are projected with consistent clarity and sensitivity.

A strongly-projected musical understanding. A convincingly creative and imaginative approach to interpretation.

Accomplished stagecraft. The performer projects a confident command of the performance and engagement with the music that projects a convincing sense of their musical personality.

C1-3 Good

A good technique. If not seamless, any problems rarely detract from the performance.

There is much well-shaped playing or singing and expressive ideas are projected with an overall clarity and sensitivity.

Style and idiom are well understood, and there is a well-projected understanding of musical structures, repertoire and context, with a creative and imaginative approach to interpretation.

Confident stagecraft and command of performance. The performer projects a good sense of their individual musical personality.

D1-3 Satisfactory

A satisfactory technique which meets most of the demands of the programme. Any problems do not detract significantly from the performance.

There is some well-shaped playing or singing and expressive ideas are projected with clarity at times.

An understanding of style, and of musical structures, repertoire and context is apparent. Some creativity and imagination in the approach is evident if not always fully developed.

A satisfactory rapport with the audience and a clear command of performance conventions. The performer projects some sense of their individual musical personality.

E1-2 Unsatis-factory

An overall lack of technical security for this level. Technical problems disrupt the performance.

There is some attempt to shape the music, although this is not consistently successful. Expressive qualities are underprojected.

The performer does not project an appreciation of traditional style and/or understanding of structure, repertoire and context appropriate to the level. Interpretation is limited.

Stage craft and command of appropriate performance conventions are insufficiently developed for the level. There may be some limited sense of an emerging musical personality.

F Fail

A fundamentally insecure technique. Technical problems significantly disrupt the performance.


The performer projects only a limited and incomplete understanding of structure and style. Approaches to interpretation are very limited or inappropriate.

Limited stage craft and command of performance conventions. Little sense of a musical personality.

MMus/MA Performance Benchmarks Grade bands A1-5 B1-3 C1-3 D1-3 E1-2 & F Marking criteria Excellent Very Good Good Satisfactory Fail

1. Professional Conduct

Exemplary preparation and management of personal workload; thoroughly disciplined and reliable

High level of self-management and organisation, disciplined and reliable, very well prepared

Well organised, reliable and well prepared

Generally consistent and prepared

Inconsistent and unreliable

2. Collaboration Generous, imaginative, decisive and original contribution to the ensemble, project or class, and sensitive collaboration with other disciplines

Active, co-operative, sustained contribution to the ensemble, project or class and openness in collaboration with other disciplines

Clear contribution maintained, co-operative relationship with other disciplines

An identifiable contribution, minimal interaction with other disciplines

Unsatisfactory interaction with little contribution

3. Communication

Sophisticated, elegant, thoroughly engaging and articulate

Music, ideas and/or concepts persuasively communicated with clarity and vividness

Music, ideas and/or concepts consistently communicated with clarity

Music, ideas and/or concepts mostly clearly communicated

In ability to communicate music and ideas

4. Research A thorough command of the research area providing insights into complex issues. Original in its synthesis and an identifiable contribution to scholarship in the field

A deep understanding of the research area with evidence of originality in a clearly focussed argument, supported well by detailed reference to appropriate scholarship

A clear understanding of the research area with evidence of independent thinking rooted in appropriate scholarship

An understanding of the research area, with insights mostly drawn from existing scholarship

Limited insight of context and lack of awareness of existing scholarship

5. Evaluation High levels of insight and analysis demonstrating original thinking

Very good levels of analysis and insight

Clear and sustained understanding and analysis

Showing good levels of understanding with evidence of analysis

Lack of understand and limited evidence of analysis

6. Creativity Boldly original, creative and intelligent work drawing on a well-founded practical and theoretical perspective

Creative, original, and intelligent work, securely rooted in practice and theory

Imaginative work with some originality, supported by a practical and theoretical understanding

Evidence of originality, drawing on practical experience and basic principles

Limited evidence of originality and lack of insight into basic principles

7. Performance Technically assured, highly expressive, fully focused, highly detailed, articulate, effective, imaginative, original

Technically skilful, very expressive, well focused, detailed, articulate, effective and imaginative

Technically sound, consistently expressively focused, coherent, some imagination

Technically sound, expressive, mainly consistent focus

Technically insecure with limited expression and inconsistent focus

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Grade bands A1-5 B1-3 C1-3 D1-3 E1-2 & F Marking criteria Excellent Very Good Good Satisfactory Fail

8. Reflection Broad and deep reflection with detailed and clear analysis and articulation of experiences and aspirations. Very strong link to ongoing musical, intellectual and personal development

Detailed reflection on and clear analysis of experiences and aspirations, clearly linked to ongoing musical, intellectual and personal development

Reflection on experiences and aspirations with evidence that this has shaped ongoing musical, intellectual and personal development

Evidence of reflection on experience and aspirations with examples of how these reflections have shaped musical, intellectual and/or personal development

Limited evidence of reflection and lack of insight into musical, intellectual and/or personal development

Principal Study Recital Audition T1 The Principal Study Recital Auditions are meant to provide constructive ‘checkpoints’ leading to and informing the end-of-year Principal Study performance assessment event.

On these occasions the student and the tutor are joined in their regularly-scheduled lesson by an additional member of departmental staff who acts as a moderator. The tutor and moderator together assess the student’s progress and application to date in relation to their syllabus requirements and institutional expectations at the level of study in question, and the student’s own aspirations. This means that the student’s performance in the lesson should be accompanied by constructive discourse in the context of syllabus requirements and the student’s own artistic vision and objectives. Protocol:

1. The moderator joins tutor and student at the normally scheduled lesson time and place

2. The student performs a range of what they have been working on up to that point in the year (how full a range is up to the tutor, but it should be a comprehensive representation of what could be reasonably expected to date)

3. Tutor, moderator and student have a frank but constructive discussion based around the work demonstrated, either intermittently throughout the performance or at its end, and the questions to be asked are essentially:

a. Is the student demonstrating progress in the context of the Principal Study syllabus and the student’s own vision/aspirations?

b. Is the student demonstrating an acceptable level of application (i.e. attendance, time-keeping, evidence of effort, responsiveness to tutor’s guidance, etc)?

c. What should the student do to maintain or improve upon the above,

including advice on end-of-year Performance programming if appropriate and next steps for learning?

4. Moderator writes up a note of the discussion, including the tutor’s assessment of the above AND a fair summary of the student’s response, using the Feedback Form. The moderator should be writing as if to the student – i.e. ‘you’ instead of ‘he/she’.

5. If the student is not clearly demonstrating achievement of even satisfactory outcomes, the tutor and moderator should agree on minor or major concerns as the outcome of the Recital Audition.

The form is then checked and signed by tutor, moderator and student and submitted to the PSA for uploading to Student Contract.

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Principal Study Recital Audition T2 The Principal Study Recital Auditions are meant to provide constructive ‘checkpoints’ leading to and informing the end-of-year Principal Study performance assessment event.

On these occasions the student and the tutor are joined in their regularly-scheduled lesson by an additional member of departmental staff who acts as a moderator. The tutor and moderator together assess the student’s progress and application to date in relation to their syllabus requirements and institutional expectations at the level of study in question, and the student’s own aspirations. This means that the student’s performance in the lesson should be accompanied by constructive discourse in the context of syllabus requirements and the student’s own artistic vision and objectives. Protocol:

1. The moderator joins tutor and student at the normally scheduled lesson time and place

2. The student performs a range of what they have been working on up to that point in the year (how full a range is up to the tutor, but it should be a comprehensive representation of what could be reasonably expected to date)

3. Tutor, moderator and student have a frank but constructive discussion based around the work demonstrated, either intermittently throughout the performance or at its end, and the questions to be asked are essentially:

a. Has the student demonstrated progress in the context of the Principal Study syllabus and the student’s own vision/aspirations?

b. Has the student demonstrated an acceptable level of application (i.e. attendance, time-keeping, evidence of effort, responsiveness to tutor’s guidance, etc)?

c. Planning for the student’s end-of-year performance: Theme?

Repertoire? Timing? Stagecraft?

4. Moderator writes up a note of the discussion, including the tutor’s assessment of the above AND a fair summary of the student’s response, using the Feedback Form. The moderator should be writing as if to the student – i.e. ‘you’ instead of ‘he/she’.

5. If the student is not clearly demonstrating achievement of even satisfactory outcomes, the tutor and moderator should agree on major concerns as the outcome of the Recital Audition.

The form is then checked and signed by tutor, moderator and student and submitted to the PSA for uploading to Student Contract.

BMus YEAR I ASSESSMENT OVERVIEW, 2021-22 (CORE)

BMus Traditional Music / Traditional Music – Piping Year I

Module Assignment / examination Submission deadline / date of examination Time

Location to submit assignment / venue of exam

Term 1 Discourses in Traditional Music eJournal Task 1 Friday 15 October By 2pm Moodle (submit URL) Discourses in Traditional Music eJournal Task 2 Friday 12 November By 2pm Moodle (submit URL) Performance 1 Theory examination Monday 6 December 1pm-3pm IT Suite Creative Skills in Trad Music 1 Interim Portfolio Friday 10 December By 2pm Moodle Discourses in Traditional Music eJournal Task 3 Friday 10 December By 2pm Moodle (submit URL) Performance 1 Recital Audition T1 Week of 6-10 December Normal lesson time Normal lesson venue

Term 2 Discourses in Traditional Music eJournal Task 4 Friday 4 February By 2pm Moodle (submit URL) Discourses in Traditional Music eJournal Task 5 Friday 25 February By 2pm Moodle (submit URL) Discourses in Traditional Music eJournal Task 6 Friday 18 March By 2pm Moodle (submit URL) Creative Skills in Trad Music 1 Final Portfolio Friday 18 March By 2pm Moodle Learning to Collaborate In-Class Sharing Friday 25 March TBC TBC Performance 1 Recital Audition T2 Week of 14-18 March Normal lesson time Normal lesson venue Term 3 Discourses in Traditional Music Pecha Kucha Presentations Week of 11-15 April TBC TBC Intro to Professional Skills Portfolio Thursday 14 April By 2pm Moodle Learning to Collaborate Written Proposal Monday 2 May By 2pm Moodle Performance 1 Critical Commentary Wednesday 11 May By 2pm Moodle Performance 1 Recital 23 May - 10 June TBC TBC

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BMus YEAR 2 ASSESSMENT OVERVIEW, 2021-22 (CORE)

BMus Traditional Music / Traditional Music – Piping Year II



Term 1 Trad Music Research Portfolio Historical Essay Page Friday 5 November By 2pm Moodle (submit URL) Music Leadership Group Activity Week of 29 Novemeber TBC As agreed w/ client & tutor Music Leadership Commentary Wed 8 December By 2pm Moodle Trad Music Research Portfolio Artistic Research Page Friday 10 December By 2pm Moodle (submit URL) Creative Skills in Trad Music 2 Interim Portfolio submission Friday 10 December By 2pm Moodle Performance 2 Recital Audition T1 Week of 6-10 December Normal lesson time Normal lesson venue

Term 2 Trad Music Research Portfolio Comparative Analysis Page Friday 25 February By 2pm Moodle (submit URL) Trad Music Research Portfolio Final ePortfolio Friday 11 March By 2pm Moodle (submit URL) Creative Skills in Trad Music 2 Final Portfolio submission Friday 18 March By 2pm Moodle Performance 2 Recital Audition T2 Week of 14-18 March Normal lesson time Normal lesson venue Term 3 Trad Music Research Portfolio Presentations Week of 11-15 April TBC TBC Performance 2 Critical Commentary Wednesday 11 May By 2pm Moodle Performance 2 Recital 23 May - 10 June TBC TBC

Option modules: as per Student Contract and relevant assessment calendars

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BMus Traditional Music / Traditional Music – Piping Year III Assessments



Term 1 Trad Music Research Project Project Proposal Friday 29 October By 2pm Moodle (submit URL) Performance 3 Recital Audition T1 Week of 6-10 December Normal lesson time Normal lesson venue The Teaching Musician Portfolio TBC 2pm Moodle

Term 2 Trad Music Research Project Project submission Friday 11 March By 2pm Moodle (submit URL) Performance 3 Recital Audition T2 Week of 14-18 March Normal lesson time Normal lesson venue Term 3 Trad Music Research Project Presentations Week of 11-15 April TBC TBC The Freelance Musician ePortfolio Wednesday 4 May 2pm Moodle Performance 3 Critical Commentary Wednesday 11 May By 2pm AAS Performance 3 Public Recital 23 May – 10 June TBC Centre for Contemporary Arts


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BMus Traditional Music / Traditional Music – Piping Year IV Assessments



Term 1 Performance 4 Research Paper Proposal Wednesday 3 November By 2pm Moodle Performance 4 Recital Audition T1 Week of 6-10 December Normal lesson time Normal lesson venue

Term 2 Performance 4 Research Paper submission Wednesday 23 February By 2pm Moodle

Performance 4 Recital Audition T2 Week of 14-18 March Normal lesson time Normal lesson venue Term 3 Performance 4 Public Recital 23 May – 10 June TBC Centre for Contemporary Arts Performance 4 Viva Examination Week of 6-10 June TBC TBC


Documents

Abridged Departmental Handbook 2021-22 ‘The Good Bits’