Music

Your community, your University

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Contents

The department 3What makes us different 5Course options 7Performance 8Musical Theatre 14Instrumental Teaching and Vocal Teaching 18Composition 24Music Business 28Community Music 30Commercial Music 33Contextual Study 36Study skills 40Touring and concert activities 41Our employability pledge 42Teaching Staff 44

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The department

Our music programme is one ofthe largest and liveliest in theUK. We focus on music as anapplied art, one that engageswith the musical world in all itsdiversity and excitement.

This means that our courses are focused onpractical work, which includes: performance,composition and improvisation; musicaltheatre performance; training in instrumentaland vocal teaching; music business; musictherapy; community music; traditional musicanalysis; and historical study.

There are more than 100 members of staff inour department and you’ll find some of themlisted at the back of this brochure. This is ateam of exciting practitioners so you maywant to spend some time looking at their CVson our website: www.chi.ac.uk/music

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What makes us different?

Tuition takes place in our modern musicfacilities, which include: well-equippedpractice rooms with new grand pianossupplied by Steinway & Sons; an acousticallysuperb performance venue, dance studiosand acting studios, with two Steinway modelD concert grands; a concert organ; baroqueand modern pitch harpsichords; and agenuine theatre with a large stage andorchestra pit.

We’ve an extensive programme ofprofessional concerts and masterclasses oncampus, which are free to students. We alsoproduce two operas, straight plays and eightmusical theatre shows each year as well asoffering you the chance to experienceoverseas performance tours as part of yourdegree – examples of tours completedduring 2013 are on page 41.

Our orchestras, choirs, theatre companiesand ensembles give over 200 performancesa year, more than 60 of them overseas.

There are 10 different undergraduateprogrammes of study and threepostgraduate programmes, and the one thatyou choose will depend on your maininterests and passions.

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Course options• Commercial Music (Platform One) • Instrumental Teaching• Jazz Performance• Music• Music with Community Music • Music with Instrumental/Vocal Teaching• Music with Music Marketing

and Administration• Music with Musical Theatre • Musical Theatre (Dance) • Musical Theatre (Triple Threat) • Musical Theatre (Voice)• Performance• Vocal Performance• Vocal Teaching• Charity Development and Music

Performance• English & Creative Writing and Music• English & Creative Writing with Music• English and Music• English with Music• History and Music• International English Studies and Music• Musical Theatre and Arts Development • Music and Musical Theatre• Music with English• Music with History • Music with International English Studies• Music with Theology and Religious Studies

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Performance

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There are four main routes ofstudy if you want to focus onperformance. These are:

BMus (Hons) JazzPerformance(three years)

BA (Hons) MusicPerformance(three years)

BMus (Hons)Performance(four years)

BMus (Hons) VocalPerformance(four years)

Our four-year BMus (Hons) JazzPerformance route adapts the traditionalconservatoire model for jazzinstrumentalists or singers, with an emphasison developing repertoire and ensemblework alongside extensive individualinstrumental or vocal tuition.

This three-year BA (Hons) MusicPerformance programme gives youindividual tuition in instrumental and/orvocal performance throughout your degree,supplemented by joining one or more of oursix orchestras, five choirs and nine othertaught performance ensembles.

The four-year BMus (Hons)Performance degree gives you moreextensive individual tuition – comparable tothe level you’d receive in a conservatoire –and more chamber music, ensemble ororchestral coaching.

The four year BMus (Hons) VocalPerformance is a specialist training forsingers, with extensive one-to-one vocaltuition, training in accompaniment skills, andincluding French, Italian and Germanlanguage classes for classical specialists, andensemble skills for jazz and rock singers.

Whichever route you choose, you’ll also betrained in the art of performance itself; you’llstudy performance anxiety, the use ofgesture in performance, and concert andevent hosting. You can also choose to studyAlexander Technique, yoga, dance and acting alongside a wide choice of contextual modules.

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Performance

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Performance

Our ensembles are involved in a lot ofperformance work along with a richprogramme of concerts, recitals andmasterclasses by visiting artists. A sample ofwhat they worked on in 2013-14 isdescribed in ShowCase, which can be foundat: www.chi.ac.uk/music

Some of the performance modules youmight take…

Performance Development modulesYour first year of study will put in place thebasic performance and communication skillson which your subsequent technical andexpressive development will depend. In thefirst year, you’ll assess your currentrepertoire and begin an exploration of newwork under the direction of your individualvocal or instrumental specialist teacher.

Subsequent years of study develop anexploration of musical style in practical workand encourage a willingness to approachnew and more ambitious repertoires. Amore sophisticated relationship topresenting performance and to preparing foraudition is encouraged as you progressthrough your degree.

Performance AnxietyThis module examines theories in the studyof performance anxiety and helps you todevelop skills in analysing contexts whereanxiety can affect performance. The modulealso offers an opportunity to reflect uponhow anxiety may affect your ownperformance, providing research methods ofhandling such issues.

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Movement and GestureA musician is also expected to be aperformer but can often lack the extra-musical attributes of physical confidence,expressive body language andcommunicative movement which help toenhance a successful musical performance.This course is intended to complementPerformance Development, allowing you todevelop skills in the physical projection ofmusical expression which will proveinvaluable in supporting your performancepractice.

This module explores the ideas, conceptsand inherited behavioural codes which liebehind our instinctive interpretation ofmovement and gesture. It also aims tocouple the acquisition of practical skills withan understanding of their social origins.

Musical EventEach performer works in myriad disciplinesand genres, often producing a stronglydefined self-image at an early stage in his/heracquisition of skills. This course is intendedto engage you in the production anddevelopment of a major and a-typicalmusical event, including the option of multi-disciplinary and cross-arts collaborations,and to lead to the questioning and testing ofthis self-image. The course is a developmentof Movement and Gesture, examining ideasand concepts behind the artwork and theinherited behavioural codes which inform itsreception by the viewer/listener.

Ensemble experienceFor students who wish to focus onperformance, the ensemble modules areintended to develop an exploration ofmusical style in practical work and toencourage a willingness to approachchamber music and other relevant ensemblestyles. A more team-based relationship topresenting and preparing performance isencouraged and you’ll undertake this workunder the direction of a specialist ensemblecoach. In your final year of study, you’ll worktowards more polished and professionalstandards in group performance andpresentation. This module aims toconsolidate existing repertoire(s) and toforeground strengths within the individual'soverall repertoire. You’ll also join in hosting acampus event – liaising with external artists,welcoming the audience and representingthe University.

Performance Personal StudyEveryone completes a personal study as partof their undergraduate work and, forperformers, this is an opportunity to presenta longer and more challenging programmeof work.

Performance

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Musical Theatre

There are three routes availablein Musical Theatre. These are:

BA (Hons) MusicalTheatre (Triple Threat)(three years)With specialist routes in Musical TheatreDance, Musical Theatre Voice and MusicalTheatre Acting, Singing and Dance

BA (Hons) Music and Musical Theatre(three years)

BA (Hons) MusicalTheatre and ArtsDevelopment(three years)

Perhaps the most exciting thing about ourMusical Theatre programme is theinvolvement of teaching staff, with West Endprofessionals supporting your productionwork offering you a genuinely challengingenvironment for the development of yourskills. All Triple Threat Musical Theatrestudents follow a common first yearprogramme at the end of which theyaudition for enrolment on a second yearprogramme which reflects their individualstrengths. All Triple Threat students auditionagain at the end of their second year as partof the planning for their third year of study

The BA (Hons) Musical Theatre(Dance) programme allows you to play toyour strengths as a dancer whilst stilldeveloping your acting and singing skills.There are two major productions each yearsupported by an extensive practicalprogramme and, like its sister courses, thedegree also provides opportunities tospecialise in technical and behind-the-scenesareas like stage and tour management.

The BA (Hons) Musical Theatre(Acting Singing and Dance) degree hasa balanced mix of dance, acting and singingthat has a heavy practical timetable.Productions, rehearsals and workshops aremostly located in a genuine off-campustheatre, where you can work with aprofessional set, lighting, sound, costumeand a live pit orchestra.

Musical Theatre

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The course also providesopportunities to specialise in technicaland behind the scenes areas like stageand tour management.

Masterclasses given by visitingprofessionals, in areas as diverse asstage combat and costume making,provide exciting opportunities to workwith leading practitioners.

There’s practical skills development inthe first year of this course, two majorproductions in year two and at the endof this year you can audition for thethird-year touring company, whichtakes production work to differentvenues around England.

The BA (Hons) Musical Theatre(Voice) programme is focused onyour development as a singer whilststill developing your acting and danceskills. In addition to taking part in twoproductions each year, masterclassesgiven by visiting professionals in areasas diverse as stage combat andcostume making provide excitingopportunities to work with leading

practitioners for all our musicaltheatre students.

The BA (Hons) Music and MusicalTheatre is a combination whichallows students to choose theirpersonal balance of singing, acting anddance work, whilst accessing the hugerange of other modules andperformance focused study choices inmusic.

The BA (Hons) Musical Theatreand Arts Development enablesyou to choose the balance of acting,singing and dance that best suits you,whilst also learning how to start yourown company, find funding forperformance projects, and take part ina musical which raises money for andhighlights issues for a local, national orinternational charity.

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Musical Theatre

Instrumental Teaching and Vocal Teaching

There are three routes availablefor students who want to trainas practical music teachers, theseare:

BMus (Hons)Instrumental Teaching(four years)

BMus (Hons) Vocal Teaching(four years)

BA (Hons) Music with Instrumental or Vocal Teaching(three years)

Instrumental teaching and vocal teaching areimportant career options for performers.Our four-year BMus (Hons) InstrumentalTeaching and BMus (Hons) Vocal Teachingdegrees are designed to equip you for acareer as a visiting teacher and in your ownprivate practice, while at the same timedeveloping your skills as a performer. You’lllearn how to practically prepare pupils forpublic performances, graded examinationsand school music assessments whiledeveloping an in-depth understanding ofindividual, group and ensemble teaching skills.

Working as part of a vibrant community ofmusical performers across all musical styles,you’ll undertake work placements in localschools with the West Sussex Music Service.You’ll also benefit from individual vocal orinstrumental tuition and join the choirs,orchestras and other ensembles at theUniversity.

The three-year BA (Hons) Music withInstrumental or Vocal Teaching is analternative route that entails broaderacademic musical training while focusing ondeveloping teaching skills. In year one, you’llstudy repertoire and technique for younglearners. In the second year you’ll learn aboutpreparing students for graded exams and thethird year will reveal how to teach in groups.Whichever route you take, you’ll alsodevelop important career skills including:business planning, lesson planning, marketingyourself as a teacher and being self-employed.

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Dance BA (Hons)Instrumental Teaching and Vocal Teaching

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Laura Ritchie Teaching Fellow

In July 2012, Laura was one of 55 university academics across thecountry to be made a National Teaching Fellow by the HigherEducation Academy. Laura’s teaching in the Department of Musicis grounded in her own research work on self-efficacy and themusic performer: the concept that achievement is directlyrelated to the individual’s belief in themselves. She’s presented atinternational conferences on her innovated approach to learningand teaching. Laura is also a recognised concert cellist and amember of the critically acclaimed band, The Mummers.

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Instrumental Teaching and Vocal Teaching

Some of the modules you might take are:

Psychology of Learning andTeachingThis module explores psychology and theinternal processes involved, from theperspectives of both teacher and studentduring musical learning. These lecture-basedsessions involve exploration of the impact ofphysical learning demands on the youngmusician’s body, and how to effectively meetthese challenges through age appropriatestrategies. The understanding of motivation,self-efficacy, self-regulation, mental skills andcognitive strategies are explored and thenapplied to real-life situations through role-play and peer teaching scenarios.

Technique for the Young PerformerAppropriate technical advice is especiallyimportant for beginners, particularly theyoung player or singer whose physicaldevelopment – rather like a young tennisplayer’s – can be adversely affected by poorinformation in the early stages of learning.While musicians can expect to teach a fewadult learners as part of their work, themajority of their future pupils will bechildren.

Grades and DevelopmentThis module is designed to makeconnections between the measuredprogress of the young player or singer andthe general musical development of thechild. Sessions are focused on gradeddevelopment at early stages, with aparticular focus on the acquisition of auraltraining and sight-reading skills. During thecourse, consideration is given to generalaspects of repertoire and skill development,and students are encouraged to focus atleast part of their studies on an electedspecialist area.

The concept of a musical curriculum is alsoexplored. With Grade VIII being acceptableas an A Level for university entrancepurposes, this process is as academicallyimportant to the young player as other workundertaken at school or college.

Preparing Young Musicians for AssessmentYour placement experience will include afocus on the new instrument that you’ll learnduring this term. Aural tests, scales and sight-reading will be included in a broadexploration of the examination syllabus.Also, the pressures or constraints that theexam places on the preparation process willbe considered. This will enable you toempathise with beginner students and willinform your teaching approaches. You’ll alsohave the chance to observe school childrenin the early stages of learning a newinstrument. Here, you’ll reflect on how theobservations relate to their personalexperiences, and on how the preparation foran exam fits in to the broader context ofmusical learning.

Repertoire for the Young PerformerTo provide an understanding of appropriaterepertoire for young players and singers, theestablished graduated repertoire of theAssociated Board, Trinity Guildhall andRockschool examination syllabi areexamined. This will enable you tounderstand and begin to create a well-rounded curriculum for a student learningyour specialist instrument or voice. The waysin which a range of adapted or purpose-created music can usefully become part ofthe repertoire of the beginner are alsodeveloped.

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Approaches to TeachingIn this module, you’ll engage inworkshop activity in order to explorethe potential of strategies andmaterial in various teaching contexts.You’ll be encouraged to reflect on therelationship between this activity andyour practical placement experience.You’ll also be placed with a studentfrom within the University, possiblyfrom another department (forexample a History student), and willdeliver six 30-minute lessons as aprivate teacher. External placementswill be with a musical group/class/ensemble at a school or a musiccentre, where you’ll observe themethods, manner and style of theteacher and will choose and adapt apiece of music for that group. Theculminating experience of the modulewill be to have your chosen pieceplayed by the school children in ateaching situation. In preparing forthis, you’ll create a mock situationwith a varied ensemble made up ofyour peers, gaining hands onexperience in having to gauge amusical level and manage a group.

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Composition

The three-year BA (Hons)Music course can be focused oncomposition, with choices incomposition throughimprovisation; composing forfilm and multimedia; devising fordance; composing for musictheatre; and arranging for choirs,ensembles and orchestras.

BA(Hons) Music(three years)

BA(Hons) CharityDevelopment and MusicPerformance(three years)

If you choose this route, you’ll also receivepractical training in skills like conducting,aural development, improvising and choir.

Music is one of the most powerful ways toinspire, influence and reach out to peoplethe world over, and CharityDevelopment and Music PerformanceBA (Hons) combines developing yourskills as a performer with acquiring theknowledge, ability and confidence to workwith charities and others to make realchanges in the world.

Some of the composition modules youmight take are:

Introduction to Improvisation and CompositionThis module is designed for students thatalready have some skills in improvising andcomposing music and for those who havenever composed before. It sets out to re-establish composing and improvising as anexciting and interesting tool in the musician’skit bag and introduces the fundamentals ofmusical composition through experientiallearning and group process. This module isnot genre specific and the emphasis will beon introducing the basic organising principleswhich govern musical processes in a practicaland lively way.

Dr Jonathan Little Reader in Music Historyand Music Composition

Jonathan’s compositions have recently burstonto the classical music scene. The influential USFanfare magazine greeted him as “a major new,original and quite brilliant classical voice”.Jonathan’s an authority on aspects ofcomposition, song writing and orchestration.

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Compositional TechniquesThis module aims to build on and developmany of the key skills acquired in theIntroduction to Improvisation andComposition module, by focusing on a rangeof compositional techniques, includingmodality, tonality and line.

Arranging for Vocal EnsemblesThis module is designed for those withinterests in developing their skills ascomposers and arrangers for vocalensembles. The work is specifically gearedtowards writing for voices, understandingthe voice as an instrument, and using existingmelodies and settings for practice inharmonisation and effective arrangement.

Arranging for InstrumentalEnsemblesYou’ll undertake regular assignmentsinvolving arranging in various styles and willstudy existing successful arrangements.Analysis will be made of the variouscomponents involved in good arrangingincluding: voice leading; range; balance andvoicing; key relationships; and motivic andstructural cohesiveness.

Composing with LineWorking with ensembles – bothinstrumental and vocal – effectivecomposition can be informed by a horizontalperception of musical function as well as by avertical, harmonic understanding. Thedevelopment of conversation betweenvoices and the articulation of line andmelody are key skills in the creation andextension of music. In this module, you’llexplore these skills and draw on historicalmodels as illustration.

Electro-Acoustic CompositionThrough listening and analysis, you’reintroduced to a diverse range of electro-acoustic and acousmatic music. You’re alsoencouraged – in your own compositionalwork – to experiment with texture, timbre,density and instrumentation, and to exploitthe characteristics of a variety ofperformance spaces.

Arranging for orchestraThe art of writing for the orchestra isconcerned with the tone colour andtechnical capacity of an effective range ofinstruments. Central to the study oforchestration is learning how to combinethese tone colours effectively and the settingout of an orchestral score. This module isintended to extend already acquiredarranging skills and develop new skills inworking with more complex textures.

Composing for Film and MultimediaThrough viewing, listening and detailedmusical and cinematic analysis, you’ll beintroduced to a wide range of approaches tothe composition of music for film, televisionand multimedia applications. Emphasis willalso be placed on the many technical aspectsof post-production and editing. There willalso be further development of skills andtechniques of orchestration and pasticheacquired in previous composition modules.

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Dr Stephen BaystedReader in Film Composition

Stephen is fast becoming one of the UK’sprincipal multimedia music composers.

He’s been credited with the musiccomposition for 14 major video games, fourfilms and over 30 TV, radio and cinemaadvertisements, including notable campaigns byMcDonald’s, Budweiser and Pizza Hut.Stephen scored the music for Lifelines, a filmwhich won Best Foreign Film in Hollywood’sprestigious Action/Cut Awards. In 2012, hismusic for Shift 2: Unleashed was nominated fora Game Audio Network Guild Award.Stephen’s also a member of Northpole Music,a London-based film music collective directedby Grammy award-winning Film MusicProducer Steve McLaughlin and FilmComposer Ilan Eshkeri.

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Music Business

The three-year BA (Hons)Music with Music Marketing andAdministration degree isdesigned to help you combinethe choice of either aperformance or compositionfocus with specialist skills andknowledge in a variety of musicbusiness roles. These includefestival and events management,music marketing, self-employment and fundraising.

BA(Hons) Music withMusic Marketing andAdministration(three years)

Some of the music business modules youmight take are:

Introduction to Music IndustryYou’ll develop your knowledge of a varietyof professional roles in the commercialmusic industry as well as publicly fundedmusic organisations. You’ll also beencouraged to consider the qualities that arelooked for in post holders, with examplesexplored including: artists and repertoire,press, radio promo, web promo, musicaldirectors, producers, engineers, lawyers,accountants, management, agents, sessionmusicians, songwriters, multi-mediacomposers and distributors.

Industry – Professional BodiesBy engaging with the world of work, youngmusicians inevitably find themselves on asteep learning curve. Their chances ofsuccess are all the greater if they approachthis with good information and a soundunderstanding of behavioural norms. Thiscourse sets out to provide you with usefulinsight into key organisational structures inthe music industry and an awareness of itslegal frameworks.

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Music Business

Events ManagementHere, you’ll explore the legal and logisticalaspects of planning a range of differentmusical events, and will experiment withpresenting ideas to tutors and peers. Basicspreadsheet skills, which are useful infinancial projections, will be introduced andyou’ll construct Gantt charts and use otherplanning tools. You’ll explore therelationships between stakeholders in eventproduction – including artists, venues,audiences and funders – and look at a rangeof models of event and festival productionas well as the diversity of approaches takenby different organisations and promoters.

Self-employment, Marketing and PromotionA successful career as a music professionalneeds to be informed, alongside musical andcommunication skills, by an understanding ofthe nature of self-employment in business.This module will seek to develop this and toencourage a confident approach to theworld beyond university, enabling tailoredfinancial and business planning whichencourages an awareness of local marketsand circumstances.

Business ProjectThis module will explore examples ofbusiness projects in commercial and publiclyfunded music and the different marketingmodels. It will include an overview of theevolving management cultures, which haveinfluenced the music industry over the last40 years. Building on your experience in Self-employment, Marketing and Promotion,you’ll be expected to experiment withdifferent approaches to your own marketingand general business strategies. This will helpyou to extend your imaginative range withinindividual projects and develop a viableindividual business model.

Introduction to FundraisingTo be an effective fundraiser you must beable to present your organisation in acompelling manner. To do this, you’ll need toappeal to a potential donor’s intellectual andemotional motivations for giving; usingresearched data, alongside clientendorsement and beneficiaries’ stories. Inthis module, you’ll explore strategies forproducing effective planning andcommunication materials including hierarchyof benefits.

Introduction to Fundraising in MusicThis module will focus on the developmentof professional standards in articulating anidentified project; presenting and researchinginformation; and the need to work torigorous deadlines and word counts whenproducing written work. The importance offunding criteria will be emphasised and you’llbe encouraged to develop an independentand proactive approach to researching trustsand other grant giving bodies.

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Community Music

The three-year BA (Hons)Music with Community Musicprogramme matches a focus oneither performance orcomposition with dedicatedtraining in music leadership skills.This route includes progressivedevelopment of improvisationwork, study of communitymusic and community musicoutreach experience, as well asan introduction to music therapyand world music.

BA(Hons) Music withCommunity Music(three years)

Some of the community music modules youmight take are:

World MusicThe module will provide an introduction tomusical texts and musical practices definedbeneath the umbrella term of “worldmusic”. This will include the music of non-European cultures as well as Europeanmusics which do not belong to the canon ofthe classical tradition. Basic approaches toethnomusicological study will be employed inthe examination of recorded texts from avariety of cultures. Practical skills will beintroduced mainly in drumming andvoicework.

Improvisation and CompositionThe concepts of expressive impulse, holdingform and realised form will be introduced inrelation to musical structure and techniquesof musical expression. These will include: theapplication of a variety of rhythmicstructures; tonal and modal procedure; arange of instrumental and synthesisedtextures; and the development of coherentform. Texts chosen for analysis will be drawnfrom a wide range of contemporary andclassical sources. The intuitive skills ofimprovisation will be balanced in this moduleby the more measured skills found incomposition and various notations.

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Music and the MindYou’ll develop an understanding of thenature of musical experience and thefunctions of musical forms from a number ofrelated perspectives. In this module, you’llexplore the links between musical structureand community practice and developanalytical and evaluative techniques, whichare needed to work in the contemporarymusical world.

OutreachThis module will prepare you for directexperience in the use of music in communitysettings. It will then provide the opportunityto plan, deliver and evaluate a communitymusic project within an appropriate context.

Advanced Improvisation andApplied CompositionThe central focus of this module isvocational and applied. Building on skills andapproaches developed in years one and twoof the degree, you’ll be encouraged toexamine the contexts in which original musicis produced within the contemporary world,and the diversity of functions which musicserves. You’ll then look at the various formsof this music – in relation to context andfunction – and choose an individual andappropriate compositional project.Improvisation and composition are definedas virtually synonymous terms for thepurpose of this module, where the formerplaces an emphasis on process and the latteron product.

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Community Music

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Commerical Music

If you want a career in themodern music industry then thisis the course for you.

BA(Hons) Commercial Music(three years)

Our BA (Hons) in Commercial Music hasbeen specifically developed in consultationwith music professionals in order to meetthe needs of the modern industry.

This is a unique opportunity for you toacquire and develop the range of skills andknowledge required to secure realistic andsustainable employment within the sector.

Please note thatthis course is onlyavailable atPlatform One onthe Isle of Wight.

Platform One is an independent college ofmusic that offers state-of-the-art facilitiesand experienced music industry staff.

The Isle of Wight has a small population of140,000 but is quickly becoming renownedfor its vibrant music scene and emergingmusic industry, which now includes two ofthe most successful music festivals in the UK.

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Why study music on the Isle of Wight? • Established independent music college

with outstanding reputation and excellentresults

• Host to major international musicfestivals, including the award-winning Isleof Wight Festival and Bestival

• Students perform at the Isle of WightFestival

• Students get the opportunity to becomelifetime members of the PerformingRights Society

• Weekly ‘Music Industry Seminars’ withhigh-profile industry practitioners

• Links with professional music venueshosting weekly student gigs

• Students go on tour to Amsterdam inYear Three of the course

• Sponsorship and endorsement deals withmajor equipment manufacturers

• Frequent ferry crossings throughout theday and night

Purpose-built facilitiesPlatform One enjoys a working relationshipwith many of the world’s greatestmanufacturers of music equipment.Endorsement deals ensure that students areusing up-to-date, industry standard kit.Facilities include: sound proofed and fullyequipped rehearsal rooms, dedicatedinstrumental tuition rooms, lecture andperformance suites, seminar rooms, adedicated Pro Tools suite and two high-end,professional recording studios running AvidHD3 systems with Audient consoles.

Industry LinksCompanies that support Platform Oneinclude Blackstar Amplification, MarshallAmplification, Ashdown Engineering,Audient, Zildjian, Mapex, Pearl, PeaveyElectronics, Roland, Neutrik and Music Man.

The Isle of Wight Festival Both Bestival and the Isle of Wight Festivalhave put the Island on the internationalmusic map. There is no-one within theindustry that does not recognise thesignificance of the Island in relation to musichistory. The Festival has hosted the likes ofJimi Hendrix, Joni Mitchell, Bob Dylan, MilesDavis and, in later years, acts such as the FooFighters, the Prodigy, Snow Patrol, REM,David Bowie, Coldplay and the RollingStones. The Isle of Wight Festival has wonthe title of Best Major Festival in the UKFestival Awards and this annual event nowplays host to 90,000 people in June eachyear.

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Contextual study

Whichever degree route you choose, you’lldraw on our wide range of contextual studymodules. These will allow you to tailor yourdeveloping knowledge to suit your ownemerging stylistic or subject specialism.

Some of the contextual study modules youmight take are:

Music NowThis module introduces various critical andanalytical approaches that can serve to assistyou when encountering new music. Avariety of skills, which will prove necessaryduring the degree course, will be explored.You’ll also be involved in the process ofassessment, using the module criteria, andwill be required to evaluate your ownlearning on the course. Case studies ofcontemporary work will be introduced bytutors and, as the module progresses, you’lluse an increasing range of practical skills tocritically examine these models. To carry outassessment tasks, you’ll be encouraged tofamiliarise yourself with library and recordingstudio resources.

Style and GenreThe aim of this module is to provide youwith a vibrant chronological and analyticaljourney through the development of theWestern art-music tradition, from itsbeginnings in the ancient world to thedisintegration of tonality and the inventionof the tone row.

Introduction to Popular MusicWith more than half a century of historybehind it, popular music has a notabletenacity when it comes to reframing andreinventing accessible musical language forthe listener. You’ll begin by tracing thedevelopment of popular music in the middleof the 20th century and continue through tothe present day. This module will provideyou with an overview of succeeding stylesand reinforce an awareness of the relevantsocial context that can help translate andexplain material for the modern audience.

Popular Music in the CommunityThis module aims to develop and build onthe key issues explored in Introduction toPopular Music. You’ll learn how popularmusic has been consumed and performed inrecent historical contexts and explorecurrent examples of this process. What’smore, you’ll consider connections betweenmusic, politics, gender and society.

Introduction to Musical TheatreThis module will introduce you to keyrepertoire drawn from succeeding periodsof musical theatre history, supporting anexamination of musical structure with aparallel focus on developments in dance anddrama within the genre. Awareness ofhistoric performance practice will beemphasised and connections between musicfor the stage and film will be explored.

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Contextual study

Reading Popular MusicThis module provides an opportunity foryou to examine some key strategies incritical analysis. You’ll use the lens of popularstyles, subcultures and genres to explore avariety of analytical tools.

Modern JazzThrough this module, you’ll exploreimportant developments in jazz – from itsbirth in New Orleans to the present day. Byexamining the history of jazz’s inceptionthrough to the current developments, you’llgain a broad understanding of the majorstyles and the particular innovators in thefield.

The BaroqueDeepen your understanding of the historical,cultural and music-theoretical context inwhich many of the most significant andinfluential works of the Western art-musiccanon were composed. On this moduleyou’ll also explore the issues faced bybaroque performance today – tuning, pitch,ornamentation and period instruments – andconsider how these factors might informyour own practice.

ClassicismThis module will consider the classical stylein music, primarily through the work of itschief composers: Haydn, Mozart andBeethoven. Special consideration will begiven to problems of formal analysis and theapplication of the conventions of musicologyto an artistic period so much defined by thework of a very small group of outstandingmusicians. A variety of works will be studied– large and small, sacred and secular – andyou’ll undertake original composition asfurther exploration of the generic codes thisstudy has identified.

Jazz and the Origins of the Modern MusicalThe influence of jazz is still felt today inmusical theatre and was very clearly evidentin the transition from the variety show styleto the early work of Rogers and Hart,among others. This module provides anopportunity for you to examine some ofthese early shows, using the lens of thisparticular musical style, and chart a broaderdevelopment of jazz over the same period.

Opera and OperettaFor many musical theatre practitioners, therepertoire of the 19th century remains atthe edge of the known world. It’s oftenrecalled – although in a variety of styles – bythe more operatic ‘crossover’ works whichhave won a permanent place in the 20thcentury canon. This course sets out toenrich your performance practice byproviding a lively sense of an appropriateperformance context for opera andoperetta. It also aims to develop yourscholarly interest in the social context thatcan help inform this. The module includes afully staged student performance.

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RomanticismWe believe that the 19th century was aseventful and dramatic as its literature and artsuggests, and for music – much of which is atthe heart of our concert repertoire today –it was the age of the virtuoso. Through thismodule, you’ll examine the development ofthe orchestra – perhaps the most splendid'instrument' at the composer's disposal –noting some of the changes and additionsthat were gradually introduced to itscompendium, and drawing on set works toillustrate these. On a more intimate scale,many of the same composers werepreoccupied with the transition from folksong to art song that began in the earlydecades of the century. With this in mind,we’ll place particular emphasis on key worksof the dramatic and lyrical vocal genres. Inthe second half of this course – throughperformance and by analysis – you’ll seek toenhance your understanding of thecompositional processes at work in the liedand in the parallel development of theromantic miniature.

ModernismThe outer form of a new musical style cansometimes obscure the real intention behindits construction. It’s not uncommon forlisteners to come to terms with musicalvalues long after the experimentalperception of the work has beensuperseded by a historical legitimacy. Thismodule places importance on understandingthe differences between modernistcomposers’ intentions and aesthetics inorder to become familiar with the auralexperiences of their individual musical styles.By understanding the musical values in thework of several 20th century composersand/or musical movements, coupled withthe cultural and social context of the time,the formal and structural apparatus ofmodernist composition will become clearer.

Structures and Politicsof Rock MusicThis module sets out to develop a soundunderstanding of the relationship betweencontemporary musical texts and the politicaleconomy in which they’re produced andmediated. It will also provide theopportunity for you to produce your owncreative work within a contemporary idiom,using appropriate technology.Contemporary musical culture is dominatedby popular forms of music, which resonatewith the aspirations and feelings ofconsumers. You’ll examine the discoursebetween the forms in which these texts arecreated and the political space in whichthey’re employed. The aim is to developinformed perspectives and creative skills inan area where many musicians may findfuture employment.

Bollywood and Beyond: Asian Musical TheatreMany courses focus on the European andAmerican traditions in musical theatre.However, there’s a rich and abundant sourceof musical tradition in Asia, where music andtheatre traditionally play a fundamental partin society. This module explores differenttraditions of musical theatre with a focus onthe multi-billion dollar industry that isBollywood and contextualised by thehistorical traditions of musical theatre wefind in countries such as Japan, China andThailand. You’ll be encouraged to broadenyour understanding and definition of whatmusical theatre is by experiencing a wealthof examples from across the Asiancontinent, as well as engaging in Bollywooddance work.

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Study skills

As you progress through your degreeprogramme, you’ll need to enhance and buildon your skills as a musician, as a performerand as a scholar. In making your modulechoices, you‘re able to draw on study skillsmodules that you feel are relevant to yourpersonal developmental needs.

Some of the study skills modules you mighttake are:

Musical GrammarThis course is designed for you if yourpractical skills in performance and creativeskills in composition and improvisation arenot matched by a confidence in using someof the technical language of music, or indescribing and articulating its mechanicalelements. Different music theories –traditional, jazz and rock – will be exploredthrough the development of skills in writtenand aural exercises and practicaldemonstrations.

Writing about MusicThrough the introduction of a range ofconcepts and debates which inform our livesas musicians, this course will combine thedevelopment of an analytical approach withthe confidence and skill needed to expressthis in the written form. These concepts anddebates will be introduced and explored bystudying a range of music and relatedartworks of different styles, genres andhistorical periods.

Listening Skills 1You’ll be introduced to a range of techniquesfundamental to the development of eartraining. Practical musical activities involvingthe reading of simple scores and theperformance of short pieces will enhanceyour aural understanding. A good range ofmusical listening tests will be used to developyour understanding of style and content.Weekly sessions will include regular listeningpractice which will encompass the variousmusical elements of melody, rhythm andharmony.

Listening Skills 2In this module, extended listening materialswill be presented both by tutors andstudents, and you’ll be challenged with:advanced chordal progressions; use ofsyncopation and compound metre;chromatic harmony; and more advancedmodulation. The reading of scores and theperformance of short pieces will furtheryour aural understanding and various musicallistening tests will be used to extend yourunderstanding of style and content.

Music and SocietyThis module deals with a wide range ofissues concerning the cultural functions andsocial meanings of music, by exploringacademic sources as well as your individualexperience of music. The content willexplore a wide variety of music and musicalcustoms drawn from European and non-European sources, and you’ll be encouragedto examine how culture and society embedmeaning into their respective musicalpractices.

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Touring and concertactivities

Our ensembles and orchestras operate a fullconcert and touring schedule. OurSymphony Orchestra has performed inKoblenz, Paris and Cologne as well as venuesaround the UK. It makes regularappearances in Chichester Cathedral as wellas our own Chapel.

The Pops Orchestra, Wind Band and BigBand are also well travelled, with tours toFrance and the Channel Islands. PopsOrchestra participated in The Avengerssymposium, performing the music of LaurieJohnson on the BBC. They also featured inpop videos such as The Mummers track CallMe a Rainbow. A concert Pops Orchestraperformed for the NSPCC raised over£9,000 in one night.

Our Chamber Orchestra visited Louisiana,USA, where they appeared in two festivalswith concerts in New Orleans and BatonRouge. They’ve also performed inSwitzerland and Austria as guests of theSaltzburg Conservatoire. Withperformances in Goodwood House andother venues around the UK, and a plannedtour to Hong Kong, they’re set to continuegrowing – in size and popularity.

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What makes us different...our commitment to youremployabilityWe understand the importanceof ensuring that you’ve theknowledge, skills and experienceto compete successfully intoday’s challenging jobs market.

In addition to the work placements andsector-specific employability and enterprisemodules that many of you will haveembedded in your course, we’ve developeda student and graduate internship scheme.

Our commitment is to make sure thatstudents and graduates from all disciplinesthat register on the programme, andsuccessfully complete the necessarypreparation, have the opportunity to applyfor internships.

The areas our graduates have progressedinto include:

• Director • Drums and Percussion Teacher • Vocal Coach • Head of Contemporary Music • Singing Teacher• Vocal Entertainer • Vocalist • Teaching Assistant • Drama/Dance Teacher • Dance Teacher • Panto Peformer • Resident Entertainer

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Destination of Leavers from Higher Education survey*

* 92.5% of our students who graduated in 2012, after studying with us full time for theirfirst degree, were in full-time employment or undertaking postgraduate studies.

Teaching Staff

Head of Orchestral StudiesCrispin Ward

WoodwindBen Train FluteSophie Middleditch RecorderSusie Shrubb OboeEmma Alexandra ClarinetNick Higgins Jazz SaxophoneSpencer Bundy SaxophoneAlison Woodward Bassoon

BrassFraser Tannock TrumpetPeter Turnbull TrumpetSimon Growcott French HornKevin Smith TromboneKevin Smith Tuba

StringsSebastian Mueller Violin Sarah Yffer Violin Eulalie Charland ViolinPhilip Granell Jazz Violin Emilian Dascal ViolaJoe Giddey CelloGraham Elliot Double BassLiz Hosford Double Bass

Orchestral PercussionRobert Kendall Haydn Walden

HarpFrances Kelly

KeyboardJonathan Plowright Head of KeyboardChizumi Hollingworth PianoAdam Swayne PianoTerence Allbright Piano

Nick Reynolds Jazz PianoWayne McConnell Jazz PianoDavid Pollock HarpsichordTim Ravalde OrganAngela Zanders Piano and Piano

Accompaniment

Musical TheatreJulian Kelly Musical DirectingJan Winstone Musical Directing

and VoiceKaren Howard Acting/DirectionEd Burnside Acting/DirectionMiranda Kingsley ActingKirsty Dillon ActingDamien Delaney DanceClinton Goldsmith DanceAndrew Wright DanceLucy Cowdery DanceSally Gibbons Stage ManagementChris Blatch-Gainey Stage CombatMark SmithKate AustinDena LagueAnna MarshGeetha SridharJoell ScottTarrant Robbins Musical Theatre SkillsJo Williams Musical Theatre SkillsKatherine Storr Musical Theatre SkillsSophie Barge Musical Theatre SkillsKelly-Marie Aldridge Musical Theatre Skills

ConductingCrispin Ward ConductingArthur Robson Choral ConductingAlan Thurlow Choral Conducting

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Teaching Staff

GuitarSasha Levtov ClassicalPete Roth JazzDave Smith JazzNick Reynolds BassGary Simons Bass

KitLoz Thomas

SingingSusan Legg Head of VoiceChip JenkinsJacquelyn Fugelle Martin ElliottStuart HutchinsonSarah JenningsIan KennedyTrudy Kerr Phillip Drew Susan Yarnall Will Pool Lesley McClymont Michael Pearce Jon Grave Simon GrayImogen RyallMarcia BellamyCharlotte ShorthouseJedd Owen-Ellis ClarkWilliam AllenbyIan BaarHayley WilliamsMarc YarrowYvonne Patrick

Yoga/Alexander TechniqueGraham Elliot Maria O'Donnell (Yoga)

AccompanistsLesley Ann Sammons Classical and

Musical TheatreCraig Thomas Classical Rob Westwood Jazz

Ensembles

ChoirsFirst Year ChoirOtter ConsortChamber ChoirAscension SingersChoraleMagic Pirate Choir

OrchestrasChamber OrchestraSinfonietta Concert OrchestraSymphony OrchestraPops Orchestra

EnsemblesBig BandBrass EnsemblePit BandRecorder EnsembleSaxophone GroupWind Band Clarinet Choir Contemporary Music GroupFolk Group Theatre EnsembleBrass GroupWind EnsemblePercussion EnsembleComposers EnsembleTraining BandBrass BandCreative String Group

TeachingStaff

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WorkshopsConducting WorkshopJazz Night Jazz WorkshopSingers Acting WorkshopBass Guitar Sight Reading WorkshopGuitar Sight Reading WorkshopJazz Composers WorkshopHarpsichord TuningPiano GroupMusic Theory SupportMusic Therapy

MasterclassesBrass MasterclassWoodwind MasterclassStrings MasterclassVocal MasterclassPiano Masterclass

DanceTap DanceBalletModern DanceBollywood DanceJazz DanceOpen DanceMatt Madox

The Performing Body (see Yoga and Alexander Technique)

Academic StaffDr Stephen BaystedBen HallAndi Hector-WatkinsKaren HowardJulian KellyDr Jonathan LittleDr Rod PatonDr Laura RitchieArthur RobsonNick ReynoldsDr Adam SwayneAlison WoodwardAndrew Wright

Associate LecturersCatherine CrispJill JarmanHelen PricePaul AckerleyChris ParlesThomas H Green

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Find out moreContact: 01243 816002Email: admissions@chi.ac.ukWeb: www.chi.ac.uk/music

www.chi.ac.uk/musicPlease recycle after use