huddersfield performance handbook 2014-15

UNIVERSITY OF HUDDERSFIELD SCHOOL OF MUSIC, HUMANITIES AND MEDIA

DEPARTMENT OF MUSIC

BMus / BA

PERFORMANCE HANDBOOK

FOR STAFF AND STUDENTS

2014–2015

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INDEX 1. Introduction 2 2. Instrumental / Vocal tuition 3 3. Other Performance Classes 4 4. Ensembles 4

5. Instruments and Instrumental Care 5

6. Piano Accompaniment 6

7. Concerts 6

8. Assessment and Assessment forms 7

9. Performance Assessment Criteria 9

10. Solo Performance Modules 12 10.1 Foundation Performance 12 10.2 Solo Performance 1 Major and Minor 13 10.3 Solo Performance 2 Major and Minor 15 11. Performance Skills 2 and 3 Module Descriptions 16 11.1 Performance Skills 2 Major and Minor 16 11.2 Performance Skills 3 Major and Minor 18 12. Performance Skills 2 and 3 Options 20 12.1 Chamber Music 20 12.2 Conducting Advanced 22 12.3 Directed Ensembles 23 12.4 Directed Ensembles Advanced 24 12.5 Duo Performance & Piano Duo 26 12.6 Improvisation 28 12.7 Keyboard Skills 29 12.8 Singing with Movement 31 12.9 Your Choice 32 13. Reflective Reports, Performance Commentaries, Programme Notes and Concert Blogs 34 13.1 Reflective Reports 34 13.2 Performance Commentaries 36 13.3 Programme Notes 40 13.4 Concert Blogs 41

Appendix 1: Important Dates 42 Appendix 2: Concert Stewarding 44

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1. INTRODUCTION

Performance is at the heart of not only what we teach within the Music Department, but also what we do. It is almost impossible that any student leaving the department at the end of the course will not have been involved in some kind of performance activity over the three years, whether it is solo performance, playing in one of the directed ensembles, performing in a chamber ensemble, improvising, singing in the University Choir, or much else besides. It is my desire that as many of you enjoy as rich an experience of performing as possible within the Music Department at the University of Huddersfield. As well as getting credit for performance activities, through the Solo Performance modules and the Performance Skills modules, your engagement with performance – and going to hear others perform – will significantly affect your development as a musician more generally, doubtless providing a context for understanding of many of the issues you may encounter within composition and musicology modules as well. The information in this Performance Handbook aims to bring together in one place all the most important details of the Department’s performance modules, outline the curriculum and assessment criteria, and to provide all information required to engage with performance within the Department. Everything you need to know about performance at Huddersfield should be found within this Handbook – keep it with you throughout the year. Electronic copies can also be found on Unilearn for students enrolled on Solo Performance and Performance Skills modules. Remind yourselves of its content regularly, and in particular in the weeks leading up to performance assessments remind yourselves of the assessment criteria, found in section 9 If you have any questions or concerns that are not addressed by the information in this Handbook please do make an appointment to see me and discuss the issue at any time through the year – don’t leave it too late! My colleagues within Performance, Dr. David Milsom, Professor John Bryan and Mr. Phillip McCann, would also be only too happy to talk things through with you. I look forward to hearing the fruits of your efforts and enjoyment as performers over the year to come.

Dr. Philip Thomas [email protected]

CAM1/08, tel: 01484 471336

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2. INSTRUMENTAL/VOCAL TUITION

We are most fortunate to have a performance staff team of active professional musicians and leading experts on a variety of instruments. Along with the academic staff team who are also active as performing musicians, these are the best people to advise you on your musical development and instrumental technique. The quality of staff and tuition mean that we take performance and performance tuition seriously. Our commitment to you is to provide first-rate performance tuition. In return we expect you to take performance equally seriously and to fulfil all commitments to ensure that the performing life of the department is a stimulating, excellent and creative environment. The number of hours of individual and group tuition provided varies according to which modules you take. Make sure you know how many lessons, either individual (Solo Performance modules) or group (Performance Skills modules), you have been assigned for the year and work closely with your tutor to fix the dates and times in your diary. We greatly value the fact that many of our tutors are busy with active performance schedules themselves. This means that it is not always possible to fix one specific time for your lessons every week, however it should be possible for all students to receive a balanced schedule of tuition over the year.

Students MUST attend all lessons scheduled. Performance tutors are asked to report every lesson missed without sufficient notification and/or good reason: a copy of such reports is kept in the student’s file. Recurring absences may result in being withdrawn from the course, in accordance with the School’s attendance monitoring policy.

• Missed means failure to attend; arrival more than 10 minutes late

• Notification means a written note delivered to the relevant tutor, or to the Course Assistant, or a telephone message not less than one hour before the start of the lesson. In exceptional circumstances, a written note or telephone message received not more than 24 hours after the time of the lesson may be acceptable. Email notification is not acceptable. You can leave a recorded message on the Department’s telephone line outside office hours.

• Good reason means e.g., illness, certified in writing by the student’s doctor or other medical practitioner or (where this is unavailable or impractical) a written testimony by a friend or relative, or verbal testimony from the student’s tutor; death of a close friend or relative within the last seven days; travel affected by severe weather; jury service, or appearance in court as either witness or defendant; where temporary non-attendance has been agreed with the tutor for a limited period, e.g., on account of a repetitive strain injury.

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3. OTHER PERFORMANCE CLASSES In addition to individual tuition, there are a variety of performance classes and workshops/masterclasses provided for all years throughout the academic year. All students should attend the relevant classes for the modules on which they are enrolled and are encouraged to attend all non-module-specific events, such as guest masterclasses. We advise you to take as many opportunities as possible that are open to you throughout your time here. In particular watch out for Thursday afternoon masterclasses/workshops, which take place throughout the year. Please see the information pertaining to each module in this Handbook (sections 10, 11 and 12 as well as Appendix 1: Important Dates).

4. ENSEMBLES Ensemble playing, whether it is in large directed ensembles such as the University Choir or small chamber groups such as a string quartet, are a vital way in which all performers grow as musicians. Performing in ensembles should be a part of every performer’s experience in the Music Department, whether or not you are also pursuing solo performance. It is now more possible, with the Performance Skills modules, than ever before to gain credit for performing in ensemble contexts, but beyond that we encourage as many students as possible to get involved in ensembles of various shapes and sizes. As well as the University Directed Ensembles, there are plenty of opportunities to form groups of your own and we will support you wherever and whenever possible. The range of University ensembles is considerable, and includes the following: Big Band Brass Band Choir Early Music Ensemble edges ensemble Flute Ensemble New Music Ensemble Percussion Ensemble Saxophone Ensemble String Orchestra Symphonic Wind Orchestra Symphony Orchestra In addition there are numerous Popular Music Ensembles. See Mr Stewart Worthy for more details of these. As with instrumental tuition, the priority we accord to ensemble playing and the efforts we make to ensure that students can engage in a rich performance experience mean that we require an equal commitment from ensemble members to the ensembles. If selected for one of the University ensembles, it is vital that students commit to that ensemble and respect the ensemble leader and other members. This means that students must attend ALL scheduled rehearsals and that if, for good reason, you have to miss a rehearsal you must notify the ensemble leader in plenty of time (see page 3 for what constitutes ‘good reason’ and notification procedures). Ensemble leaders will report every absence and this information will be appended to the student’s file. Recurring absences will result in the student being withdrawn from the ensemble.

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Members of all ensembles are expected to collect music in plenty of time before the first rehearsal, (unless distributed in rehearsal) prepare their parts individually in advance of all rehearsals and be ready to play at the start of each rehearsal (this means arrive for the rehearsal at least 10 minutes before the start time). Please note: these criteria apply whether or not you are taking Directed Ensembles as part of the Performance Skills module. We organise and lead rehearsals as do professional ensembles in the ‘real world’ and expect all students to commit to the ensemble as they would to a professional ensemble.

5. INSTRUMENTS AND INSTRUMENTAL CARE You must insure your instrument(s) – your whole future may depend on it and, for many, it is your (or your parents’) most substantial investment. Allianz Insurance Co. Ltd. has particular expertise with musical instruments. You can apply for cover online at www.allianzmusicalinsurance.co.uk. Alternatively, you can add your instrument(s) to a more general policy for students’ belongings. In general, do not leave belongings or instruments unattended in silly places: if you do, they may well be confiscated! Regrettably, cases of theft within the Department do happen. Students’ own instruments may be left in the Instrument Storeroom on Level 2, which is accessed by entering the code into the security lock on the door. The security code is available from the Music Office upon production of your student card. The Storeroom has CCTV surveillance, but the University can accept no responsibility for students’ instruments or other belongings. You may borrow a University instrument (e.g., a piccolo, bass clarinet, flugel horn or drum kit) provided it is covered by the University’s insurance policy. You will need to insure it yourself if you need to take it off-campus. An application form is available from the office, but please note that:

• You will need your Student Card

• You will need to fill in details of serial numbers and get a member of staff to sign his/her approval.

• The excess on the policy is around £2,000, so you must look after anything we entrust to your care – the likelihood is that we won’t be able to afford to replace it.

If you are using the instrument on Department premises and intend to return it the same day, there is no need to apply for insurance cover. If you wish to take an instrument on this basis, one of the Course Assistants will accompany you to the storeroom to collect the instrument. Each instrument is barcoded and your student card will be required to log the instrument out to you.

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6. PIANO ACCOMPANIMENT The Department’s Pianist-in-Residence, Mr Jonathan Fisher, is employed primarily to accompany students in the informal weekly Tuesday lunchtime concerts and the formal lunchtime and evening concerts, masterclasses and assessed recitals. He is also available to work with students in Studies in Performance classes and other performance classes time permitting. Jonathan will coach/rehearse in preparation for external performances, auditions, etc. You can contact him by e-mail: [email protected] Jonathan will rehearse with each student in preparation for any of these occasions HOWEVER it is the student’s obligation to give him notice and to provide him with the music two weeks in advance of any event and to turn up to rehearsal on time. If you fail to meet these commitments Jonathan may refuse to accompany you for that occasion. Other accompanists are sometimes provided for concerts and examinations. If you wish to provide your own accompanist this must be at your own expense.

7. CONCERTS One of the best ways to learn about performance, as well as widen your musical horizons and experience, is to attend concerts. The Music Department presents a fantastic and broad range of concerts each year, mostly as part of the weekly Thursday lunchtime concert series as well as concerts on some Monday and Thursday evenings. There are also occasional Wednesday lunchtime organ recitals, Huddersfield Music Society concerts on Monday evenings in St.Pauls, the Huddersfield Contemporary Music Festival (end of November) and Electric Spring (mid-February). Please see the concerts web-site https://www.hud.ac.uk/concerts/ for full details of these events. Additionally we encourage students to attend the Solo Performance 1 and 2 recitals in May (and January for Solo Performance 2) – these are excellent ways to familiarise yourself with repertoire and expectations for future years’ study. We strongly encourage you to attend not only those concerts that bear particular relevance to your instrument but also as many and as many different kinds as possible. These opportunities allow you to reflect on how your own practice as performers might be developed in response to what you’ve seen and heard. Many of the concerts are followed by a workshop or masterclass given by the guest artist(s) performing in the concert. You should attend these as an important addition to your learning experience. All students enrolled on Performance modules will be required to assist with stewarding at some point through the year. One or two student volunteers will be overseeing the concert management but they cannot be responsible for stewarding for each event. A timetable will be posted on the noticeboards on floor two of CAB, and will also be posted on Unilearn. Please make sure you know when you are stewarding and to know what is required of you. See Appendix 2 for full details of stewarding responsibilities. As well as some of the main concert series featuring selected student performers, both undergraduate and postgraduate, there are regular opportunities for student performances. Each Tuesday there are opportunities for students to perform as part of an informal lunchtime concert series in St.Paul’s. Jonathan Fisher is available to accompany students for the Tuesday lunchtime series as long as he is notified two weeks in advance and provided with music (see above).

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If you wish to book a slot (part of whole of a concert) as part of the Tuesday lunchtime series please contact Dr. Philip Thomas providing information as to repertoire being played, favoured dates to perform, and total time of performance. If there is insufficient material for a full concert on any given Tuesday the concert will be postponed to a later date. External concerts The Music Department is frequently called upon to provide music for external events, functions, and also concert series. This may often be paid work. We encourage students to form small ensembles of their own for such events as well as to gain further ensemble performance experience. If you or your ensemble would like to be contacted about such opportunities then please inform Dr. Philip Thomas, who acts as coordinator and reference point for external bookings.

8. ASSESSMENT AND ASSESSMENT FORMS All students enrolled on Foundation Performance, Solo Performance 1 (major and minor) and Solo Performance 2 (major and minor) are required to complete a Programme Form. Additionally, a similar form is used for some of the Performance Skills options – Chamber Music, Duo Performance, and Piano Duo. Programme Forms can be found on Unilearn for completing and printing. Programme Forms are used to give details of the students’ assessed recital programme and are to be submitted to the Music Department office along with copies of the music. Please note: in addition to printing off the Programme Form and submitting it with your music copies, all students on Foundation Performance and Solo Performance 1 & 2 modules will need to submit the forms electronically, as a ‘Word’ document, through Unilearn, in the same way you would for an essay or other written work. This will result, after your recital, in your being able to access your comments and marks through Unilearn instead of via the coursework folders.

• It is the student’s responsibility to know the deadlines for submission of programme forms and copies of the music for the accompanist and examiners (listed in the module details in this Handbook, sections 10 and 12). In the exceptional case of an assessed recital or part-recital which takes place outside the normal assessment periods – as may be the case with soloists performing with department ensembles – programme forms plus scores and programme notes where applicable must be submitted no later than two weeks before the performance.

• Programme forms must be signed by individual tutors to show that they have approved the content and timing of programmes. Please ensure your tutor signs the form well in advance of the submission date – avoid leaving it to the last minute when your tutor may be away. (NB the electronically submitted version of the form does not need the tutor’s signature, only the hard copy which accompanies your music copies.)

• Two packs of the music being played must be submitted together with the programme form, one for the examiners and one for the pianist (this will be the copy the pianist plays from). Copies of the complete music are required, not just the soloist’s part (i.e. submit copies which include the accompaniment and the solo part). Copies must be the same edition as that being used in the performance. It is very important that you submit all music along with the programme form as TWO SEPARATE packs (either bound or in a folder or another method), BOTH clearly named so that no parts are lost or confused. Make it clear for the pianist which movements/pieces are being played

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Make sure that you present photocopies in such a way so as to avoid confusion, with pages in the correct order and without unnecessary use of sticky tape, etc. Any photocopied music of more than 4 pages must be bound or stuck together in a booklet format.

• Students must inform Dr. Philip Thomas if they intend to use any electronic equipment in their recitals or have any unusual requirements and, if so, give full details of such requirements. This is for notification reasons only – it is the student’s responsibility to organise any assistance necessary, either through the technical store or independently.

• Programme notes are a requirement for Solo Performance 1 and 2 recitals and Duo performance, Chamber Music and Piano duo recitals and should be submitted along with the programme form. Please note that 3rd year students will also be asked to submit programme notes on-line separately and in addition as part of Studies in Performance coursework.

• Students who do not follow these instructions may be penalised by being awarded a

maximum of 40% for the recital component of the module. (A separate mark reflecting the mark otherwise awarded will be supplied which will act as the mark considered for progression to the next year’s performance module.)

• No piece of music presented for an assessed recital may be used again for any other assessed recital, whether in the same or any subsequent module.

• Solo Performance 1 and 2 recitals and Chamber Music, Duo Performance and Piano Duo recitals are open to the public: students are encouraged to invite an audience and may wish to provide their audience with copies of their programme and programme notes.

• Credit will be given where music performed in recitals is successfully memorised. Whilst there is no compulsion for all students to do so, memorisation is however expected from singers, and from other performers where this is the professional convention.

Examiners’ comments are available to students and tutors after each round of assessments. Students and tutors are encouraged to use these reports as the basis for developing teaching and learning strategies for the next Performance module and/or assessment. In order for a student to progress to either Solo Performance 1 or Solo Performance 2 they are required to have been awarded 60% or more in the recital component only of Foundation Performance or Solo Performance 1. Additionally, some of the options within Performance Skills have conditions relating to the previous year’s marks.

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9. PERFORMANCE ASSESSMENT CRITERIA Assessing a musical performance is inevitably open to a range of subjective responses, but the following guidelines have been agreed within the Department of Music and will be used as the basis for students’ assessments. It is important to remember that recitals and examinations for degree classification are normally marked by at least two examiners, one of whom is usually an external specialist, and moderated by an internal moderator. It is also important to realise that strengths are sought in a majority of the listed criteria, not necessarily all of them, and that not every criterion will be applicable to every recital programme: for instance, particular types of repertory may make special demands which will be taken into account. GENERAL CRITERIA The following elements will be taken into consideration in deciding a candidate’s grade: Technical control

tonal production (bowing, breathing, pedalling, vibrato, projection), timbral variety/colour, agility/dexterity, production of sustained/cantabile melodies, stamina, accuracy of pitch and rhythm, intonation, tempo/pulse/rubato, articulation, diction/language pronunciation, appropriateness of repertoire for technical ability

Imagination and Individuality Does the performer demonstrate imagination in:

programming (does the performance demonstrate thoughtful or unusual programming?) dynamic range, ensemble and balance with accompanist(s), improvisation, responsiveness to acoustic and performing space, sensitivity to rests, pauses, etc. (singers) interpretation of text

Stylistic Awareness and Interpretative Insight Are the following aspects of interpretation appropriate to the repertoire selected: shaping/phrasing, ornamentation, tone production (e.g. appropriate use of vibrato, pedalling, etc.), articulation/accentuation, understanding and projection of the music’s structure, purpose and ideas Presentation, Confidence and Communication

Is the performer’s stage presence assured? Has there been adequate preparation with the accompanist(s)? Is there careful consideration of positioning on stage? Has the programme (or part of it) been successfully memorised? How well does the performer communicate their musical ideas?

The grid presented here outlines the four criteria which are applied to solo recitals in each year. Whilst the four criteria remain constant from year to year, the way in which they are weighted differs across the three years, reflecting the change in emphasis on technical skill in the first year to a more equal distribution of skills in the third year. Additionally the criteria levels reflect the greater expectations as the student progresses through the course. The grading you receive is explained by looking at these rubric descriptors. Examiners also write independent feedback comments – these provide further detail and may include advice for your future development.

Marking band (%)

Criteria Module Below 30 30-39 40-49 50-59 60-69 70-79 80+

Technical control appropriate to instrument/voice. Includes issues of accuracy, tone production, intonation, dexterity, control of pulse and melodic shape. Technical control should be appropriate to the repertoire selected

Foundation (50%)

Demonstrates total or severe lack of technical control

Insufficient technical control for the selected repertoire

Demonstrates limited technical control but maintains a generally fluent performance

Demonstrates some technical control within a generally fluent performance

Demonstrates a good level of technical control

Demonstrates an excellent level of technical control

Demonstrates exceptional technical control

Solo Perf 1 (40%)

Demonstrates total or severe lack of technical control

Insufficient technical control for the selected repertoire

Demonstrates limited technical control and range

Demonstrates some technical control across a range of repertoire

Demonstrates a good level and range of technical control

Demonstrates an excellent level and range of technical control

Demonstrates exceptional technical control across a range of repertoire

Solo Perf 2 (30%)

Insufficient technical control and understanding for the selected repertoire

Limited technical control and understanding, resulting in an insufficiently fluent performance

Limited technical understanding, control and range for selected repertoire

Demonstrates variable levels of technical control and understanding across repertoire performed

Demonstrates a good level of technical control and understanding in the repertoire performed

Demonstrates an excellent level of technical control and understanding in the repertoire performed

Demonstrates exceptional technical control within advanced repertoire that is technically and musically challenging

Imagination & individuality Issues include dynamic range, responsive-ness to duo partner and to acoustic, sensitivity to drama Innovative programm-ing is encourage-ed

Foundation (20%)

Demonstrates complete lack of imagination

Little discernible evidence of imagination/ individuality

Evidence of a little individuality but insufficiently projected

Some attempts made to interpret selected repertoire imaginatively

Demonstrates good potential as a performer with an imaginative approach to interpretation

Projects musical ideas imaginatively and with strong evidence of an individual voice

Performs highly imaginatively and individually

Solo Perf 1 (20%)

No discernible evidence of imagination/ individuality

Evidence of a little individuality but insufficiently projected

Evidence of a little individuality and the beginnings of an imaginative approach to performance

Attempts to perform with imagination though not always convincing across the recital

Performs imaginatively across a range of repertoire

Performs selected repertoire with consistently highly imaginative approach

Performs highly imaginatively with a strong sense of individuality as a solo performer

Solo Perf 2 (25%)

No discernible evidence of imagination/ individuality

Little evidence of individuality and imagination in performance

Attempts to perform with imagination though not always convincing across the recital

Evidence of an imaginative approach to majority of repertoire selected

Performs consistently imaginatively across selected repertoire with evidence of an individual approach to solo performance

Performs highly imaginatively demonstrating a clearly individual approach to solo performance

A compellingly imaginative interpretation demonstrating a highly individual approach to solo performance within complex and challenging repertoire

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Stylistic awareness and interpretative insight. Issues include appropriate shaping, phrasing, articulation, ornamentat-ion, tone production. Students should demonstrate a good understand-ing of the music’s structure and concept and be able to project this

Foundation (20%)

Absence of any stylistic knowledge and understanding

Little evidence of stylistic knowledge and understanding

Some evidence of awareness of matters of style but insufficiently integrated into performance

Evidence of awareness of stylistic issues with some attempts to integrate into performance

Demonstrates a good level of stylistic knowledge and understanding

Demonstrates an excellent level of stylistic knowledge and understanding

Integrates excellent stylistic understanding with impressive interpretative insights

Solo Perf 1 (20%)

Absence of any stylistic understanding

Demonstrates little stylistic understanding across the repertoire performed

Evidence of having understood matters of style in some of the repertoire selected

Some evidence of interpretative ideas across the repertoire selected

Demonstrates a good level of interpretative understanding across the selected repertoire, showing awareness of stylistic considerations

Demonstrates an excellent level of stylistic understanding providing evidence of a good understanding of appropriate performance style

Integrates sophisticated stylistic understanding with impressive interpretative insights and an excellent understanding of appropriate performance style

Solo Perf 2 (25%)

No discernible evidence of stylistic understanding

Demonstrates inappropriate interpretative choices in the selected repertoire

Demonstrates limited interpretative ideas and understanding across the selected repertoire

Demonstrates interpretative understanding across the selected repertoire, showing integration of stylistic considerations

insightful interpretative approaches, providing evidence of a generally good understanding and integration of appropriate performance style

Insightful and sophisticated interpretative choices, with evidence of an excellent understanding and integration of appropriate performance style

Highly sophisticated interpretation, providing compelling evidence of a thorough understanding and integration of appropriate performance style

Presentation confidence and communic-ation Issues include considerat-ion of staging and stage presence, confidence in communicat-ion. Students should be able to perform with authority and confidence

Foundation (10%)

Complete lack of performance presence and confidence as a solo performer

Very little consideration of performance as a soloist, demonstrating lack of confidence

Demonstrates little confidence and understanding of communic-ation as a solo performer

Demonstrates some awareness of performance presence and attempts to communicate with audience

Communi-cates with audience and presents performance confidently

Presents performance highly confidently and engages audience

Engages audience throughout, performing with authority, confidence and conviction

Solo Perf 1 (20%)

Lack of confidence as a solo player, with very little consideration of presentation issues

Demonstrates little awareness of presentation and communic-ation with audience

Some attempts to communicate with audience but only a little awareness of presentation issues

Demonstrates consideration of presentation issues and performance with some degree of confidence

Well presented and confident performance, with attempts to communicate with and engage audience

Performs effectively with confidence, engaging audience throughout

Performs effectively with confidence and conviction, demonstrating an excellent awareness of presentation issues

Solo Perf 2 (20%)

Very little consideration of performance as a soloist, demonstrating lack of confidence

Only cursory awareness of presentation issues and need to communicate

Some consideration of presentation and communic-ation issues, though lacking in confidence.

Generally well presented performance, with attempts to communicate with and engage audience

Performs with confidence as a soloist, with a good understanding of staging and communic-ation

Performs with a high degree of confidence as a soloist, with excellent understanding of staging and communic-ation

Performs with a high degree of confidence as a soloist, presenting performance with complete understanding of staging, engaging audience throughout

Criteria Module Below 30 30-39 40-49 50-59 60-69 70-79 80+

10. SOLO PERFORMANCE MODULES Please note that instrument-specific criteria relating to technical tests and solo recitals can be found on Unilearn for all solo performance modules. Please make sure you check these carefully and discuss them with your instrumental/vocal tutor. Good performers are continually engaged in research, reflection and asking questions about the music they perform and the ways in which they perform it. All students enrolled on Solo Performance modules are advised to research issues relating to their instruments, its repertoire, and performance practice and to consider ways in which this research impacts upon their playing. This is a list of the types of sources you should consult to guide your interpretative decisions. It is not an exhaustive list but should act as a guide to research. Barrett, H, The Viola: A Complete Guide for Teachers and Students (Alabama, 1978) Bone, L.et al. Guide to the Euphonium Repertoire (Bloomington, 2007) Burge, D, Twentieth Century Piano Music (Oxford, 2004) Burton, A.(ed) A Performer’s Guide to music of the Romantic Period (London, 2002) Dorgueille, C.& Blakeman, E. The French Flute School 1860-1950 (London, 1986) Fabian, D. Bach Performance Practice, 1945 – 1975 (Aldershot, 2003) Ingham, R. The Cambridge Companion to the Saxophone (Cambridge, 1998) Laird, P. The Baroque Cello Revival: an oral history (Oxford, 2004) Porter, M, The Embouchure, (London, 1967) Potter, J Cambridge Companion to Singing (Cambridge, 2000) Rice, A. The Clarinet in the Classical Period (Oxford, 2003) Stowell, R Cambridge Companion to the Violin (Cambridge, 1992) Taylor, K. Principles of Piano Technique and Interpretation (London, 1981) Wick, D, Trombone Technique (London, 1971) http://www.abrsm.org/ http://www.alexandertechnique.com/

10.1 Foundation Performance (AFM1405)

Module tutor: Dr. Philip Thomas Tuition: 20 hours individual lessons on students instrument/voice Performance workshops, masterclasses. Module aims: This module is designed to address issues of instrumental technique and

understanding in order to acquire a technical fluency that will enable the development of sensitivity in the performance of a variety of musical idioms.

On successful completion of this module students will be able to: Knowledge and Understanding: 1. Recognise strengths and weaknesses in their instrumental/vocal performance 2. Develop good practise strategies 3. Discern skills required for the communication of musical ideas through performance Abilities: 4. Demonstrate a range of technical aptitudes on their instrument/voice 5. Perform a solo recital programme with technical fluency and evidence

of stylistic awareness

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Assessment: Formative Weekly informal feedback will be provided by your instrumental tutor. Additionally at the end of the first term, the tutor will provide the student with written feedback based upon a technical test or tests

Summative 1. A technical test or tests, assessed by instrumental tutor, moderated by a

member of academic staff, amounting to about 15 minutes. This is to be completed by Friday February 6th 2015. This will consist of technical exercises, studies, and/or repertoire demonstrating aspects of technique covered during the module. [40% of total mark]

2. A solo recital of between 10-12 minutes, examined by either external or internal staff, during the end of year exam period. [60% of total mark]

For information and guidance as to repertoire for different instruments, please refer to the specific guidelines posted on Unilearn. Remember: To progress to Solo Performance 1 major or Solo Performance 1 minor in the second year you must have achieved a recital mark (not a total mark) of 60% or more. It is important that you read and understand the criteria for submission of programme details, copies of music, etc. outlined in section 8 of the Performance Handbook. Failure to comply with these instructions may result in your recital mark being capped. All performance forms containing programme details and copies of music must be submitted in hard copy via the course submission post box at the music office AND on Unilearn by Wednesday 25th March 2015 at the latest.

10.2 Solo Performance 1 Major (AIM2409) and Minor (AIM2410) Module tutor: Dr. Philip Thomas Tuition: 22 hours (Major) / 11 hours (Minor) individual lessons on students

instrument/voice Performance workshops, masterclasses. Dates of classes: All classes will be held in St.Paul’s Hall on Tuesdays at 9.15-10.15. After an

introductory class on Tuesday 30th September there will be the following classes:

14th October, 28th October, 18th November, 9th December, 20th January, 10th February, 3rd March (‘Reflecting on performance’), 17th March, 21st April – Performance Workshops

Module aims: This module is designed to assist students to acquire a technical fluency and

stylistic understanding enabling them to perform to a high standard.

On successful completion of this module students will be able to: Knowledge and Understanding 1. identify appropriate technical methods and skills to apply to their practice 2. differentiate between the interpretative demands of a range of repertoire

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Abilities 3. be fluent in a range of technical skills appropriate to their instrument/voice 4. convincingly project musical ideas through solo performance 5. evaluate musical performances coherently in writing and by verbal means 6. reflect upon and articulate verbally their development as a performer

through the duration of the module and their interpretative approach to their selected repertoire

Assessment: Formative

Weekly informal feedback will be provided by your instrumental tutor. Additionally at the end of the first term, the tutor will provide the student with written feedback based upon a technical test or tests Summative 1. A technical test or tests, assessed by instrumental tutor, moderated by a

member of academic staff, amounting to about 20 minutes (Major) / 10 minutes (Minor). This is to be completed by Friday February 6th 2015 This will consist of technical exercises, studies, and/or repertoire demonstrating aspects of technique covered during the module. [20% of total mark]

2. A solo recital of approximately 25 minutes (Major) / 12-15 minutes

(Minor), examined by external and internal staff, during the end of year exam period. [70% of total mark]

3. Ten entries (major) / five entries (Minor) on the Concerts Blog, to include

at least two masterclass entries (approximately 50 words each, see section 13.4 for further information) Concert blogs should be submitted within a week of the concert having taken place. The final concert is Thursday 30th April [5% of total mark]

4. Oral examination (approximately 10 minutes): reflective discussion on the

student’s progression through the module and their interpretative approaches to the repertoire selected for assessment task 2 [5% of total mark] These will take place during the week commencing March 16th. A schedule will be released nearer the time.

For information and guidance as to repertoire for different instruments, please refer to the specific guidelines posted on Unilearn. Remember: To progress to Solo Performance 2 major or Solo Performance 2 minor in the third year you must have achieved a recital mark (not a total mark) of 60% or more. It is important that you read and understand the criteria for submission of programme details, copies of music, etc. outlined in section 8 of the Performance Handbook. Failure to comply with these instructions may result in your recital mark being capped at 40%. All performance forms containing programme details and copies of music must be submitted in hard copy via the course submission post box at the Music Office AND on Unilearn by Wednesday 25th March 2015 at the latest.

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10.3 Solo performance 2 Major (AHM3413) and Minor (AHM3414) Module tutor: Dr. Philip Thomas Tuition: 22 hours (Major) / 11 hours (Minor) individual lessons on students

instrument/voice Performance workshops, masterclasses. Module aims: This module is designed to assist students to acquire a high degree of

technical fluency and in-depth stylistic understanding enabling them to perform to the highest standard.

On successful completion of this module students will be able to: Knowledge and Understanding: 1. demonstrate a detailed working knowledge of the technical demands of

their instrument/voice 2. differentiate in an informed way between the interpretative demands of a

range of repertoire Abilities: 3. be fluent in a range of advanced technical skills appropriate to their

instrument/voice 4. convincingly project musical ideas through solo performance, with

imagination and intelligence Assessment: Formative

Weekly informal feedback will be provided by your instrumental tutor.

Summative 1. Solo recital of 20 minutes (Major) / 10 minutes (Minor) examined by

internal and external assessors, in the week beginning 3rd February 2014 [40% of total mark]

2. Solo recital of 25-30 minutes (Major) / 12-15 minutes (Minor) examined by

internal and external assessors [60% of total mark] For information and guidance as to repertoire for different instruments, please refer to the specific guidelines posted on Unilearn. It is important that you read and understand the criteria for submission of programme details, copies of music, etc. outlined in section 8 of the Performance Handbook. Failure to comply with these instructions may result in your recital mark being capped at 40%. All performance forms containing programme details and copies of music must be submitted in hard copy via the course submission post box at the Music Office AND on Unilearn by Friday 12th December 2014 (Recital 1) and Wednesday 25th March 2015 (Recital 2) at the latest.

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11. PERFORMANCE SKILLS 2 and 3 MODULE DESCRIPTIONS

Good performers need to be skilled in a variety of performance contexts. Solo performance is often greatly enhanced by the experience gained from playing in ensembles and it is true that if students are to pursue careers in music they are likely to be required to perform in ways other than just solo performance, whether this be through conducting, ensemble work, improvisation, directing choirs, etc. Likewise, there are a number of students for whom solo performance is not their ideal medium but who may be far more suited to other kinds of performance, such as ensemble playing. These modules provide a forum for these different types of performance to be explored and for students to gain credit for doing so. Please note: information concerning Performance Skills 1 can be found in a separate module handbook, though much of the guidance provided here will be of use to 1st year students enrolled on Performance Skills 1.

11.1 PERFORMANCE SKILLS 2 MAJOR (AIM2411) / MINOR (AIM2412)

Module tutor: Dr. Philip Thomas (term 1) Dr. David Milsom (term 2) Tuition: this depends on the option selected. See below for details concerning each

option. Module aims: this module is designed to broaden and develop students’ performance skills.

Students choose one (Minor) or two (Major) options which will develop their skills in specific ways, leading to a performance or performances. Additionally students will critically reflect on their progress through the year in a reflective report which may include specific responses to tasks appropriate to the option.

On successful completion of the module, students will be able to: Knowledge and Understanding:

1. identify a range of performance issues pertinent to the student’s option 2. identify issues of musical style across periods and genres and how these

might affect interpretation Abilities: 3. manage and commit to individual group rehearsals effectively and

responsibly 4. set appropriate targets for personal development as a performer 5. perform effectively in a group context, demonstrating skills in leadership

and negotiation 6. communicate musical ideas convincingly through performance

Assessment: Formative

Evaluation of progress mid-year, led by option tutor, together with proposal of repertoire to be performed at end of year and rationale for choice

Summative

1. Performance or performances appropriate to the option or options chosen, including, where appropriate, assessment of the student’s efforts and commitment to the ensemble [70% of total mark]

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2. Reflective Report (Minor) or TWO Reflective Reports (Major), each totalling 1,500 words [30% of total mark] See section 13.1 for full information concerning Reflective Reports

As a student in the School of Music, Humanities and Media you will be required to submit your written assessment work electronically. The reason we ask you to do this is because it provides significant benefits both to you and us. These include: - all your assessment work is automatically logged as having been submitted; - you receive an electronic ‘proof of receipt’ that you can use to prove your work has been submitted; - your assessment work is automatically backed up and securely stored; - your work will automatically undergo plagiarism checking using Turnitin software. The only work that you will not be required to submit electronically is work which is unsuitable for this kind of submission. This will include such things as in-class presentations, performances, handwritten journals, music manuscripts. The table below indicates the submission format that is required for each piece of assessment for this module.

Number Assessment Task

Due Date Length/Word Count Assessment Weighting

Submission Format

Electronic Paper

1 Formative: rehearsals, programme proposals and rationales, as appropriate (see selected option)

19/12/14 n/a n/a � �

2 Summative: Performance(s)

28/5/15 n/a 70% � �

3 Summative: Reflective Report(s)

23/04/15 1,500 words (Minor) or TWO x 1,500 words (Major) (i.e. 3,000 words)

30% � �

How to submit your work electronically To find a full list of instructions on how to submit your work electronically, log onto the Unilearn site for this module. Click on the button on the left hand column called ‘Assignments’. On this page you will find a link to instructions on how to submit your work electronically. We anticipate that you will have questions about this process, so you will also find a Frequently Asked Questions (FAQ) list at the same place. These documents will always contain the most up to date procedures, so it is worth checking the current online version rather than a print out.

Assessment Criteria: see information concerning the option selected Bibliography: see information concerning the option selected

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11.2 PERFORMANCE SKILLS 3 MAJOR (AHM3411) / MINOR (AHM3412)

Module tutor: Dr. Philip Thomas (term 1) Dr. David Milsom (term 2) Tuition: this depends on the option selected. See below for details concerning each

option. Module aims: this module is designed to focus and develop students’ performance skills

and may further develop skills learned in Performance Skills 2. Students choose one (Minor) or two (Major) options which will develop their skills in specific ways, leading to a performance or performances. Additionally students will demonstrate their understanding of the repertoire being studies and/or skills acquired through a critical performance commentary.

On successful completion of the module, students will be able to: Knowledge and Understanding:

1. discuss and distinguish between a range of performance issues pertinent to the student’s option

2. conceptualise the significance of musical and stylistic understanding to the repertoire being studied

Abilities: 3. manage and commit to individual group rehearsals effectively and

responsibly 4. demonstrate advanced ensemble skills through performance 5. communicate musical ideas imaginatively and confidently through

performance 6. exemplify good performance practice and the relationship between

musical understanding and performance

Assessment: Formative Evaluation of progress mid-year, led by option tutor, together with proposal of repertoire to be performed at end of year and rationale for choice

Summative

1. Performance or performances appropriate to the option or options chosen, including, where appropriate, assessment of the student’s efforts and commitment to the ensemble [70% of total mark]

2. Performance commentary (Minor) or TWO performance commentaries

(Major) including specific tasks pertinent to the option chosen, each of 1,500-2,000 words) [30% of total mark] See section 13.2 for full information concerning performance commentaries

As a student in the School of Music, Humanities and Media you will be required to submit your written assessment work electronically. The reason we ask you to do this is because it provides significant benefits both to you and us. These include: - all your assessment work is automatically logged as having been submitted; - you receive an electronic ‘proof of receipt’ that you can use to prove your work has been submitted; - your assessment work is automatically backed up and securely stored;

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- your work will automatically undergo plagiarism checking using Turnitin software. The only work that you will not be required to submit electronically is work which is unsuitable for this kind of submission. This will include such things as in-class presentations, performances, handwritten journals, music manuscripts. The table below indicates the submission format that is required for each piece of assessment for this module.

Number Assessment Task

Due Date Length/Word Count Assessment Weighting

Submission Format

Electronic Paper

1 Formative: rehearsals, programme proposals and rationales, as appropriate (see selected option)

19/12/14 n/a n/a � �

2 Summative: Performance(s)

28/5/15 n/a 70% � �

3 Summative: Performance commentary

07/05/15 1,500-2,000 words (Minor) or TWO x 1,500-2,000 words (Major) (i.e. 3,000-4,000 words total)

30% � �

How to submit your work electronically To find a full list of instructions on how to submit your work electronically, log onto the Unilearn site for this module. Click on the button on the left hand column called ‘Assignments’. On this page you will find a link to instructions on how to submit your work electronically. We anticipate that you will have questions about this process, so you will also find a Frequently Asked Questions (FAQ) list at the same place. These documents will always contain the most up to date procedures, so it is worth checking the current online version rather than a print out.

Assessment Criteria: see information concerning the option selected Bibliography: see information concerning the option selected

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12. PERFORMANCE SKILLS 2 AND 3 OPTIONS The following list of Performance Skills options provide details of the tuition and assessment for each option, together with other criteria for assessment. It is likely that further information will be provided by the option tutor either as written documents or verbally in class. Further information specific to each option will also be posted on Unilearn. Please read this section in conjunction with the previous section.

12.1 CHAMBER MUSIC Tuition: 8 hours ensemble tuition with an allocated instrumental/vocal tutor

- each ensemble will be assigned a tutor who will work closely with the ensemble over the year. Make sure you arrange with your tutor exactly at what points over the year your lessons should take place

8 hours ensemble coaching with academic staff - each chamber ensemble is allowed up to 8 hours tuition with one of the full-time staff (usually John Bryan, Phillip McCann, David Milsom or Philip Thomas, unless your repertoire suggests another member of staff would be more appropriate). It is your responsibility to arrange with them when these sessions should take place and to book rooms accordingly.

In addition, the following seminars/workshops are held on Thursdays 2.15 – 4.15 in St.Paul’s Hall (unless otherwise stated) which are relevant to all performance skills students (those in bold are particularly important for the writing of reflective reports and performance commentaries):

Thursday 2 October Ensemble 360 Chamber Music workshop Thursday 9 October Performance Skills 2/3 workshop

Thursday 16 October Chamber Music/Duo Performance workshop Thursday 23 October Chamber Music/Duo Performance workshop Thursday 6 November Chamber Music/Duo Performance workshop Thursday 4 December Murray Mclachlan piano workshop Thursday 11 December Jessica Quinones/Hans Hess – tango workshop Christmas vacation Thursday 22 January Chamber Music/Duo Performance workshop Thursday 29 January Ensemble 360 workshop Thursday 12 February Reflective Report workshop – Performance Skills 2

Thursday 26 February Linda Richardson – vocal workshop Thursday 5 March Lynn Klock saxophone workshop Thursday 12 March Cello workshop Thursday 19 March Performance Commentary workshop –

Performance Skills 3

Thursday 26 March Ensemble 360 workshop Easter Vacation Thursday 23 April Historically Informed Performance workshop Assessment: 1. Performance (approximately 20-25 minutes), during end of year exam

period [70%]

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2. reflective report (Performance Skills 2) or performance commentary (Performance Skills 3) [30%]

Requirements: 1. A proposal indicating your repertoire to be performed, together with a

rationale for your choice, should be submitted on-line by Friday 19th December (see ‘Assignments’ on Unilearn)

2. Programme forms detailing the full programme for each group’s recital and

timings must be submitted, together with programme notes and one copy of the full score, to the office by Wednesday 25th March 2015. Only one form, programme note and copy of music need by submitted per group (i.e. it is not necessary for each member of the ensemble to submit these). Students who do not follow these instructions may be penalised by being awarded a maximum of 40% for the recital component of the module.

3. The performance may consist of only a single work if a substantial work from the repertoire is chosen. Alternatively the recital may consist of a number of shorter works – if this is so please ensure they demonstrate a variety of styles and techniques. If the ensemble is one which does not have a large repertoire, it is important that there still be original works within the programme (i.e. that your recital does not consist entirely of arrangements).

Written work: Performance Skills 2 major/minor – Reflective Report In addition to the guidelines in section 13.1, students should consider the following questions:

• What constitutes good chamber music playing? – what practical considerations have you worked on as an ensemble?

• What interpretative decisions have you made in your selected repertoire and what has informed your decisions?

• Working with others – what issues have arisen from working with other musicians in a small group and how have you made corporate performance decisions?

• How have concerts and workshops in the university concert series helped to show you examples of practice (good and perhaps less good) – from which you learnt as an ensemble?

• What have you learned about chamber music playing from other musicians, through interviews, writings and recordings?

Performance Skills 3 major/minor – Performance Commentary In addition to the guidelines in section 13.2, students should consider the following issues:

• Analytical discussion of the music performed.

• Discussion and comparison of different editions.

• Discussion and comparison of different recordings.

• Discussion of agreed performance approaches and decisions. Bibliography: R. Fiske Chamber Music (London, 1969)

Goodman, E. ‘Ensemble Performance’ in Rink, J. (ed) Musical Performance: A Guide to Understanding (Cambridge, 2002)

P. Griffiths The String Quartet: A History (London, 1986) Guarneri Quartet The Art of Quartet Playing (London, 1986) A. Loft Ensembles, a Rehearsal Guide to Thirty Great Works of

Chamber Music (Oregon, 1992)

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B. Smallman The Piano Trio, its History, Technique and Repertoire (Oxford, 1992)

S. Tomes Beyond the Notes: Stories with Chamber Music (Suffolk, 2004)

H. Ulrich Chamber Music, 2nd ed. (Columbia, 1966)

12.2 CONDUCTING ADVANCED Tuition: 6 hours workshops in term 1 with John Bryan (12.15-1.15, CAMG/01 Oct 2, 16, 30, Nov 13, Dec 4, 18) 5 hours tuition with allocated ensemble leader (to be arranged with the

ensemble leader) The term 1 workshops will focus on the skills involved in conducting

(rehearsal technique, score reading, preparing the score, instruments/transpositions, fundamental technical skills), with weekly formative exercises.

There will be opportunities to work informally with the allocated ensemble in

term 1. These will be more structured in term 2 leading toward the summative test.



Thursday 4 December Murray Mclachlan piano workshop Thursday 11 December Jessica Quinones/Hans Hess – tango workshop Christmas vacation Thursday 29 January Ensemble 360 workshop Thursday 12 February Reflective Report workshop – Performance Skills 2


Performance Skills 3 Thursday 26 March Ensemble 360 workshop Easter Vacation Thursday 23 April Historically Informed Performance workshop Assessment: 1. Formative conducting test (term 2)

2. conduct a piece or movement of a piece with allocated ensemble in scheduled rehearsal [70%] 3. critical performance commentary [30%] Assessment criteria for this option is posted on Unilearn.

Written work: In addition to the guidelines in section 13.2, students should consider the

following issues:

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• Analytical discussion of the music studied.

• Comparison of recordings.

• Discussion of conducting techniques.

• Understanding of the musical language, style and concerns of the composers being performed.

Bibliography: Rudolf, M. The Grammar of Conducting (New York, 1950, rev. 1969)

12.3 DIRECTED ENSEMBLES Tuition: 10 hours small group tuition with an instrumental/vocal tutor

- you will be assigned a group and a tutor at the beginning of the year. The group will meet approximately once a fortnight and will be focussed on matters of technique and style appropriate to the ensembles represented in the group

ensemble rehearsals, sectionals and workshops In addition, the following seminars/workshops are held on Thursdays 2.15 – 4.15 in St.Paul’s Hall (unless otherwise stated) which are relevant to all performance skills students (those in bold are particularly important for the writing of reflective reports and performance commentaries):


Thursday 4 December Murray Mclachlan piano workshop Thursday 11 December Jessica Quinones/Hans Hess – tango workshop Christmas vacation Thursday 29 January Ensemble 360 workshop Thursday 12 February Reflective Report workshop – Performance Skills 2 Thursday 26 February Linda Richardson – vocal workshop Thursday 5 March Lynn Klock saxophone workshop Thursday 12 March Cello workshop Thursday 19 March Performance Commentary workshop –

Performance Skills 3 Thursday 26 March Ensemble 360 workshop Easter Vacation Thursday 23 April Historically Informed Performance workshop Assessment: 1. Performances in rehearsals and 2 or more concerts with TWO University

directed ensembles and individual performance of extracts from repertoire being performed in advance of the concert [70%] 2. reflective report (Performance Skills 2) or performance commentary (Performance Skills 3) [30%]

Requirements: A form indicating the two ensembles for which you have chosen to be

assessed must be completed and submitted on-line by Friday 10th October 2014


• What have been the main challenges for you this year playing in a large ensemble? How has your ensemble playing developed?

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• How has your understanding of the selected repertoire affected your playing? – how has your awareness of different styles affected your approaches to the music you prepared?

• How have you related to the players playing with you? How have you responded to the ensemble leader over the year?

• What have you learned about ensemble playing (positive and less so) from other ensemble concerts you have attended?



• Consideration of performance decisions made by the director.

• Discussion and comparison of different recordings and relationship with the ensemble performance.

• Understanding of the style and musical language of the music and the technical implications as a member of the ensemble.

The Performance Commentary should be a discussion of your approach to interpretation to all or part of your final two ensemble concerts. What you include will depend on the nature of your chosen programme, but you will need to show how you have reached your individual understanding of and insight into the piece(s) you are performing, based on your investigative studies, analytical approaches and awareness of current thinking about the music in question. Please note: whilst it is likely you will write about repertoire being performed in both ensembles with which you are playing, you are permitted, in your performance commentary, to write about only a selection of the repertoire you have performed and this may then exclude one of the ensembles. You will not be penalised for writing about repertoire from only one ensemble.

Bibliography: As appropriate for the repertoire being studied

12.4 DIRECTED ENSEMBLES ADVANCED 10 hours small group tuition with an instrumental/vocal tutor

- you will be assigned a group and a tutor at the beginning of the year. The group will meet approximately once a fortnight and will be focussed on matters of technique and style appropriate to the ensembles represented in the group

ensemble rehearsals, sectionals and workshops In addition, the following seminars/workshops are held on Thursdays 2.15 – 4.15 in St.Paul’s Hall (unless otherwise stated) which are relevant to all performance skills students (those in bold are particularly important for the writing of reflective reports and performance commentaries):

Thursday 2 October Ensemble 360 Chamber Music workshop Thursday 9 October Performance Skills 2/3 workshop Thursday 4 December Murray Mclachlan piano workshop Thursday 11 December Jessica Quinones/Hans Hess – tango workshop Christmas vacation

25

Thursday 29 January Ensemble 360 workshop Thursday 12 February Reflective Report workshop – Performance Skills 2 Thursday 26 February Linda Richardson – vocal workshop Thursday 5 March Lynn Klock saxophone workshop Thursday 12 March Cello workshop Thursday 19 March Performance Commentary workshop –


Thursday 26 March Ensemble 360 workshop Easter Vacation Thursday 23 April Historically Informed Performance workshop Assessment: 1. Performances in rehearsals and 2 or more concerts with ONE University

directed ensemble and individual performance of extracts from repertoire being performed in advance of the concert [70%] 2. reflective report (Performance Skills 2) or performance commentary (Performance Skills 3) [30%]

Requirements: You have a position of responsibility within the ensemble you have

nominated, or play an especially soloistic role within the repertoire being performed for that ensemble, agreed with the ensemble director. This would normally mean you should be a section leader/principal, even though the position might be shared in rotation with other players. A form indicating the ensemble for which you have chosen to be assessed must be completed and submitted on-line by Friday 10th October 2014

Written work: Performance Skills 2 major/minor – Reflective Report

In addition to the guidelines in section 13.1, students should consider the following questions:

• What have been the main challenges for you this year taking a lead role in a large ensemble? How has your ensemble and soloistic playing developed?

• How has your understanding of the selected repertoire affected your playing? – how has your awareness of different styles affected your approaches to the music you prepared?

• How have you related to the players playing with you? How have you responded to the ensemble leader over the year?

• What have you learned about ensemble playing and leadership (positive and less so) from other ensemble concerts you have attended?



• Consideration of performance decisions made by both yourself and the director.

• Discussion and comparison of different recordings and relationship with the ensemble performance.

• Understanding of the style and musical language of the music and the technical implications as a member of the ensemble.

The Performance Commentary should be a discussion of your approach to interpretation to all or part of your final ensemble concert. What you include will depend on the nature of your chosen programme, but you will need to show how you have reached your individual understanding of and insight into the piece(s) you are performing, based on your investigative studies,

26

analytical approaches and awareness of current thinking about the music in question.

Bibliography: As appropriate for the repertoire being studied

12.5 DUO PERFORMANCE & PIANO DUO Tuition: 8 hours duo tuition with an allocated instrumental/vocal tutor

- each duo will be assigned a tutor who will work closely with the ensemble over the year. Make sure you arrange with your tutor exactly at what points over the year your lessons should take place

8 hours duo coaching with academic staff - each duo is allowed up to 8 hours tuition with one of the full-time staff (usually John Bryan, Phillip McCann, David Milsom or Philip Thomas, unless your repertoire suggests another member of staff would be more appropriate). It is your responsibility to arrange with them when these sessions should take place and to book rooms accordingly.



Thursday 16 October Chamber Music/Duo Performance workshop Thursday 23 October Chamber Music/Duo Performance workshop Thursday 6 November Chamber Music/Duo Performance workshop Thursday 4 December Murray Mclachlan piano workshop Thursday 11 December Jessica Quinones/Hans Hess – tango workshop Christmas vacation Thursday 22 January Chamber Music/Duo Performance workshop Thursday 29 January Ensemble 360 workshop Thursday 12 February Reflective Report workshop – Performance Skills 2




period [70%] 2. reflective report (Performance Skills 2) or performance commentary (Performance Skills 3) [30%]

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Requirements: 1. A proposal indicating your repertoire to be performed, together with a rationale for your choice, should be submitted on-line by Friday 19th December (see ‘Assignments’ on Unilearn)

2. Programme forms detailing the full programme for each group’s recital and

timings must be submitted, together with programme notes and one copy of the full score, to the office by Wednesday 25th March 2015. Only one form, programme note and copy of music need by submitted per group (i.e. it is not necessary for each member of the ensemble to submit these). Students who do not follow these instructions may be penalised by being awarded a maximum of 40% for the recital component of the module.

3. The performance may consist of only a single work if a substantial work from the repertoire is chosen. Alternatively the recital may consist of a number of shorter works – if this is so please ensure they demonstrate a variety of styles and techniques. If the ensemble is one which does not have a large repertoire, it is important that there still be original works within the programme (i.e. that your recital does not consist entirely of arrangements).


• What constitutes good duo playing? – what practical considerations have you worked on as a duo?

• What interpretative decisions have you made in your selected repertoire and what has informed your decisions?

• Working with others – what issues have arisen from working with your partner and how have you made corporate performance decisions?

• How have concerts and workshops in the university concert series helped to show you examples of practice (good and perhaps less good) – from which you learnt as a duo?

• What have you learned about duo/chamber playing from other musicians, through interviews, writings and recordings?





• Discussion of agreed performance approaches and decisions. Bibliography: R. Fiske Chamber Music (London, 1969)

Goodman, E. ‘Ensemble Performance’ in Rink, J. (ed) Musical Performance: A Guide to Understanding (Cambridge, 2002)

P. Griffiths The String Quartet: A History (London, 1986) Guarneri Quartet The Art of Quartet Playing (London, 1986) A. Loft Ensembles, a Rehearsal Guide to Thirty Great Works of

Chamber Music (Oregon, 1992) B. Smallman The Piano Trio, its History, Technique and Repertoire

(Oxford, 1992) S. Tomes Beyond the Notes: Stories with Chamber Music

(Suffolk, 2004) H. Ulrich Chamber Music, 2nd ed. (Columbia, 1966)

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12.6 IMPROVISATION Tuition: 22 hours workshops with Philip Thomas and Simon Fell, weekly





Performance Skills 3 Thursday 26 March Ensemble 360 workshop Easter Vacation Thursday 23 April Historically Informed Performance workshop Aims: This option aims to develop confidence and skills as an improviser within

groups and as a soloist. It aims to be a practical and creative approach to improvisation through the use of exercises, games and the introduction of techniques as used by improvising musicians and a study of improvisation as a creative musical device in a number of musical cultures. In the first term students look at varied uses of improvisation, the use of graphic and prose-based scores and the practice of directed improvisation. During term two the focus will be upon developing students’ own improvisation skills within small groups and will consist of practical workshops both with individual groups and in front of the whole class. These will lead toward the practical assessments at the end of the second term.

Assessment: 1. set of improvised performances: solo (3-5 minutes: 20%); prepared group

improvisation (8-12 minutes: 40%); unprepared group improvisation (8-12 minutes: 40%) [70%] 2. reflective report (Performance Skills 2) or performance commentary (Performance Skills 3) [30%] Assessment criteria for this option is posted on Unilearn.


• What have you learned about good improvisational practice as a soloist and as an ensemble from your rehearsals and classes?

• What have you learned from recordings and performances by practising improvisers as well as your peers and how might this affect your own practice? What have you learned from other documentation such as writings by improvisers?

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• Working with others – what issues have arisen from working within groups and how have you made corporate performance decisions?

• How has your own instrumental technique developed in response to the challenges of this module?


• Influences, models and genres within which you have situated your own improvisational practice

• Discussion of writings by improvisers and about improvisation

• Discussion of live performances and different recordings, both audio and video

• Discussion of the performance approaches and decisions you have made as a soloist and ensemble player

Selected Bibliography: (a full bibliography and discography is posted on Unilearn)

Bailey, D. Improvisation: Its Nature and Practice in Music (London, 1992) Day, S. Two Full Ears – Listening to Improvised Music

(Chelmsford, 1998) Dean, R. Creative Improvisation (Milton Keynes, 1985) Hakim, N. The improvisation companion (London, 2000) Prévost, E. No Sound is Innocent (Essex, 1995)

Minute Particulars (Essex, 2005) Thompson, W. Soundpainting – The Art of Life Composition, workbook 1 (New

York, 2006) Haunted Weather (London, 2004)

Watson, B. Derek Bailey and the story of free improvisation (London 2004) Werner, K. Effortless Mastery (New Albany, 1996) http://www.conduction.us/butchmorris.html

12.7 KEYBOARD SKILLS Tuition: 22 hours workshops and rehearsals with Philip Thomas and Jonathan Fisher



Thursday 4 December Murray Mclachlan piano workshop Thursday 11 December Jessica Quinones/Hans Hess – tango workshop Christmas vacation Thursday 29 January Ensemble 360 workshop Thursday 12 February Reflective Report workshop – Performance Skills 2 Thursday 26 February Linda Richardson – vocal workshop Thursday 5 March Lynn Klock saxophone workshop Thursday 12 March Cello workshop

30

Thursday 19 March Performance Commentary workshop – Performance Skills 3

Thursday 26 March Ensemble 360 workshop Easter Vacation Thursday 23 April Historically Informed Performance workshop Assessment: 1. set of performance tests, including score reading, figured bass, sight

reading and transposition (40%) AND rehearsals and performance as accompanist for an ensemble/choir/soloist as appropriate (60%) [70%] 2. reflective report (Performance Skills 2) or performance commentary (Performance Skills 3) [30%]



• What constitutes good piano accompaniment practice? – what practical considerations have you had to make over the year?

• What interpretative decisions have you made in your selected repertoire and what has informed your decisions? How have you developed your skills in sight reading, transposition, score reading and figured bass?

• Working with others – what issues have arisen from working with a soloist or other musicians and how have you made corporate as well as individual performance decisions?

• How have concerts and workshops in the university concert series helped to show you examples of practice (good and perhaps less good) – from which you learnt as a keyboard player?

• What have you learned about keyboard skills from other musicians, through interviews, writings and recordings?





• Discussion of agreed performance approaches and decisions. Bibliography: Badura-Skoda, P. Interpreting Bach at the Keyboard, trans. A. Clayton (Oxford, 1995)

Bond, A. A Guide to the Harpsichord (Portland, Oregon, 1997) Boxall, M. Harpsichord Method (London, 1977) Couperin, F. L’Art de toucher Le Clavecin (Paris, 1716), trans. and ed.

A. Linde (Wiesbaden, 1961) Rosenhart, K. The Amsterdam Harpsichord Method

(Amsterdam, 1987, 1989) Williams, P. Figured Bass Accompaniment (Edinburgh, 1970)

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12.8 SINGING WITH MOVEMENT Tuition: 22 hours workshops with Rachel Nicholls (times to be arranged with tutor)


Thursday 2 October Ensemble 360 Chamber Music workshop Thursday 9 October Performance Skills 2/3 workshop Thursday 4 December Murray Mclachlan piano workshop Thursday 11 December Jessica Quinones/Hans Hess – tango workshop Christmas vacation Thursday 29 January Ensemble 360 workshop Thursday 12 February Reflective Report workshop – Performance Skills 2 Thursday 26 February Linda Richardson – vocal workshop Thursday 5 March Lynn Klock saxophone workshop Thursday 12 March Cello workshop Thursday 19 March Performance Commentary workshop –


Thursday 26 March Ensemble 360 workshop Easter Vacation Thursday 23 April Historically Informed Performance workshop

Assessment: 1. Performance of operatic excerpts in final concert performance and

performance of extracts from repertoire being performed in advance of the concert [70%] 2. reflective report (Performance Skills 2) or performance commentary (Performance Skills 3) [30%]



• What constitutes good practice as a singer working on a stage and with others? – what practical considerations have you had to balance with issues of singing technique?

• What interpretative decisions – both singing and acting - have you made in your selected role(s) and what has informed your decisions?

• Working with others – what issues have arisen from working with other musicians and a director and how have you made corporate performance decisions?

• What have you learned about operatic performance and other related forms from other musicians, through live performances, interviews, writings and recordings?


• Analytical discussion of the numbers/arias etc. performed and how they locate within the work from which they are taken.

• Understanding of the character(s) and their portrayal dramatically

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• Technical implications of performing the character/role in a way that is sensitive to the compositional context.

• Aspects of staging/production etc. relevant to the performance.

• Understanding the nature and justification for the musical decisions made.

PLEASE NOTE: all written work should be well-researched, with evidence that you have studied the relevant literature, scores, recordings/films, etc. pertaining to the works you have been studying. You should then apply your research to your own learning and performances, demonstrating considered and imaginative approaches to the repertoire. You should NOT simply describe what you have done in the classes.

Bibliography: Boal, A. Games for Actors and Non-Actors (London, 1992)

Earl of Harewood (ed) Kobbé’s Complete Opera Book (London, 1976) Pleasants H. Opera in Crisis: Tradition, Present, Future

(London, 1989) Sadie S. (ed) History of Opera (London, 1989) Sadie S. (ed) The New Grove Dictionary of Opera (London, 1992) Warren R. Opera Workshop: Studies in Understanding and Interpretation

(Aldershot, 1995)

Journal: Opera (monthly)

Website: www.groveopera.com/operaonline/index.asp

The renowned company Opera North will be performing the following operas at The Grand, Leeds: La Traviata (Verdi) Oct. 3rd, 17th The Coronation of Poppea (Monteverdi) Oct.4th, 11th, 24th, 30th The Bartered Bride (Smetena) Oct. 18th, 25th, 29th, 31st The Marriage of Figaro (Mozart) Jan.24th, 30th, Feb.5th, 11th La Vida Breve (de Falla) Feb.18th, 20th, 25th, 28th

12.9 YOUR CHOICE All aspects of tuition and assessment will be agreed upon in consultation with the module tutor and the student once a proposal has been approved. The proposal form should be completed by October 10th.




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period, or performance activity to be agreed with individual tutor [70%] 2. reflective report (Performance Skills 2) or performance commentary (Performance Skills 3) [30%]

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13. REFLECTIVE REPORTS, PERFORMANCE COMMENTARIES, PROGRAMME NOTES AND CONCERT BLOGS

13.1 REFLECTIVE REPORTS (PERFORMANCE SKILLS 1 AND 2 ONLY) A Reflective Report is a means by which you can reflect upon your learning, experiences, development and strengths and weaknesses as a performer. All students enrolled on Performance Skills 1 and 2 have to submit a Reflective Report as part of their assessment. What is expected of a Reflective Report? Your report(s) should comprise critical reflections on your activities this year. In all cases, you should consider the following in each reflective report:

• How has learning on this module impacted you as a musician? How has it validated your practices as a performer from before you started the module, and how has it changed or developed your thinking?

• Have there been any particularly noteworthy sessions/experiences – positive and not-so-positive – that have encouraged you to think deeply about your musicianship? Describe and discuss these.

• Discuss how your experiential learning (learning by doing) relates to your reading and listening (research) and the impact on your musicianship that arises from bringing these two aspects of practice and research together.

In addition, Performance Skills 2 reports should include discussion of the option-specific matters outlined on pages 20-33. These experiences should be related directly to the options chosen. In Performance Skills 1, a wider remit is possible (see Performance Skills 1 handbook). For Performance Skills 2, the subjects for reflection should relate directly to the option (Performance Skills 2 minor) or options (Performance Skills 2 major) taken for assessment. (Performance Skills 2 Major students submit two reports, one for each option.) Some useful advice Your reflective reports should seek to address the three generic and three option-specific points outlined above and on pages 20-33. We are flexible about how you do this – you need not write a discursive essay as you would for MHC2, for example, and you can use sub-headings aligning with these specific questions if you so wish. A short introduction explaining the key points you intend to cover would help to make your writing focussed; equally a concluding short paragraph would help to ‘tie together’ the threads at the end. In answering these questions, consider the following as part of your addressing of each part of the brief:

• Clear and accurate identification of the experience on which you are reflecting: think carefully about specific examples from the year that best illustrate your points (these are often termed ‘critical incidents’ – particularly memorable events that encapsulate your thinking on this topic);

• Critical reflection on the experiences – don’t just describe what happened but think about what the implications are/were;

• Setting of aims for the future – detailing how this particular issue impacts your attitude, practice and approach.

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As with all university work, use accurate and formal written academic English. You should include musical examples where useful and quotations from sources – scores, recordings or word-texts – that conform fully to university guidelines. Crucially, quotations need to specify page numbers or equivalent so that the reader can ‘follow up’ the reference by finding the passage in question. As you go through the year, keep a diary, a computer folder and/or a physical folder for information and material that you may use in your final submission. The report should not look or read like a diary, but keeping a diary as a ‘raw material’ for your report assignment is likely to be useful. Remember that we are not expecting you to write about ‘everything’ in this assignment but rather to pick out memorable and important events/experiences that allow you to write an interesting and insightful assignment. Frequently-Asked Questions

1. Do I have to write about all the pieces I am performing? No. Use examples from the music you played and the activities you undertook in the option to which the reflective report refers that are particularly noteworthy and important and help you to answer the questions you need to address.

2. For Directed Ensembles do I have to write about both ensembles in my report? Yes, but how you do that is up to you – it may be that you focus more on one than the other, or mention one ensemble as a way of giving more context concerning the issues you are highlighting.

3. For Singing with Movement, do I have to write a character study? Do I have to provide the text/libretto and translations?

No, although there may be elements of both of these things that you want to include if they are relevant to your reflections upon how you have developed as a performer.

4. For advanced conducting, we spent a lot of time learning about beating patterns and gestures. Should I write about this?

You can, but focus upon the learning process and how it has impacted your learning and development – avoid writing an account of what you have learnt how to do.

5. For directed ensembles, I just sat in the ensemble and did as I was told – I don’t know what to write about!

That’s probably not quite true! How did it feel? How well did it go? What things did you plan to change for the next rehearsal? How did you develop your confidence and how did you learn how to be a more effective member of your ensemble? All of these things are relevant and should be written about, but remember, as you sit in your ensemble, that you will be asked to write a reflective report – look for situations and examples that you can use for your written work and always have a mentally-alert attitude!

6. In chamber music/duo performance etc we focussed on how we related to each other as performers and how we came to agree performance decisions. Should I write about this?

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Yes, certainly. Often, students haven’t had many opportunities before university to work in chamber groups. You have to learn how to agree a way forwards in the music, and you need to learn how to rehearse together. All of these are important parts of your learning journey and can be discussed in your reflective report.

7. Do I have to include musical examples? Quotations? Sound clips? You do not have to do any of these things, but it’s very likely that you’ll need to quote your research and you will need to show us portions of the music in music notation so we know what you are talking about. It can be good to annotate musical examples to illustrate aspects of your performance decisions. You can’t use sound clips, unfortunately, because they will not be retained in the submitted file documents – if need be refer to recordings fully, including movements/tracks/timings.

8. Do I have to include a bibliography? I don’t know what to read! This handbook gives you some suggestions about reading, and the library has a significant collection of books about aspects of performance. Discuss it with your option tutor or with Dr Milsom or Dr Thomas if you need further guidance. You MUST include a bibliography and discography in your work.

9. I’m not at all sure whether what I’m writing is the right kind of thing. Will the module tutors help me and give me feedback?

Yes, of course we will! There are classes scheduled in Performance Skills 1 and 2 in which you will be able to bring work and there will be plenty of opportunity for feedback in small discussion groups. In addition, you can book us for tutorials to look at examples of work but please note that we cannot comment upon entire scripts and can only mark the final submission as a whole after the formal hand-in date. If you’re not sure do get in touch and we can advise you.

10. I struggle with my writing, and I’m not quite sure what this is about. What kind of support can I get?

As with all written work, you can make an appointment with Janet Price, our Academic Skills Tutor. Do so early – she can get very busy as deadlines approach. In addition, we will hold a number of ‘writing about performance’ workshops during the year – come to these because we can talk further about the assignments and maybe undertake some practical exercises to help you grasp the task.

13.2 PERFORMANCE COMMENTARIES (PERFORMANCE SKILLS 3 AND STUDIES IN PERFORMANCE ONLY) A Performance Commentary is an essay in which the repertoire being studied is discussed in terms of the performer’s interpretative approach to it. It can best be summed up as answering the following question: why do you do perform the music in the way you do? A good Performance Commentary shows awareness of the problems and issues performers face when dealing with particular repertoire (in this case, the work or works you are preparing for assessment) and discusses the ways in which you approach these issues. It will be well researched, referenced, and structured, just like any good musicological essay. It will demonstrate an intelligent and creative understanding of the various facets that inform a good interpretation.

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All students enrolled on Performance Skills 3 (major and minor) and Studies in Performance have to submit a Performance Commentary as part of their assessment for the module. There is no standardized form that a Performance Commentary should take: it will depend on the nature of your chosen programme, and partly on the particular issues you wish to address. It may well not be appropriate to cover ALL of your pieces in the depth that is expected (especially if you are a singer or have included many short pieces in your programme). Issues that might be addressed: Programming It might be helpful if you begin with a rationale for your programme: Why have you selected these particular pieces? What are they intended to display about you as a performer? Are there particular reasons for the choice of your pieces, or the order in which you perform them? Are there common features that you wish to highlight? Is there a ‘theme’ to your recital? Are there particular differences between pieces that you wish to examine? (e.g. two different composers’ attitudes/responses to a common form or genre: OR a comparison between two composers working within the same tradition or style) Your programme should be more than a disparate group of pieces. Context What is the historical background? What is the importance of this piece in the composer’s output? If performing an extract (e.g. an aria from an opera), what is its dramatic context and function? If a transcription from another medium, how does this influence your interpretation? It is important to remember that if you only include context without discussion as to how your understanding of the context affects your interpretation then you are not addressing the aims of a Performance Commentary. Structure How has an analysis of the STRUCTURE informed your interpretation? How have you approached questions of large-scale structure, pacing, the musical/dramatic climax, recapitulation, variation etc.? Consider the details of smaller scale phrasing, dynamic control nuance of tone colour. What do YOU think are the composer’s concerns, and how do you communicate them? Performance traditions You could make reference to other performers’ interpretations. Are there particular recordings that have influenced your interpretation? Say why? Are there certain ‘schools’ of performance of the works in question? How does your performance relate to them? Preparation Are there particular issues that you have had to consider in preparing your performance? Questions relating to the edition: have you compared more then one edition, and has this affected your decisions about interpretation? Are there any particular notational complexities that you have had to sort out: this will be most applicable to new music and pre-classical repertoires. Are there any unusual, or for you, new technical requirements that the piece demands? If so, how have you developed them?

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Historically informed performance Do you wish to consider any of the questions relating to how the composer’s intentions, or performance conventions, might have been executed on the instruments of the time: such matters as, style, tempo, articulation, rhythmic alteration, ornamentation, dynamics etc.? In addition, see pages 20-34 for Performance Skills option-specific issues for consideration. Some advice: Detail is important. Avoid generalities and verbal description of the music. ‘The second subject begins at b.48’. So what! Don’t be dogmatic. Explain and comment instead. ‘The forte at b.4 must be observed’. Why? Avoid over – emotional responses, but try instead to explain why the music evokes the response that you feel. ‘This phrase illustrates the uttermost depths of despair’. How? What is the performer supposed to do about it? Be accurate. Do not be tempted to reproduce your programme notes as a substitute for dealing perceptively with issues of performance and interpretation Make detailed references to the score with precise bar numbers to help clarify the points you are making. Include a photocopy of the music or clearly identified extracts as music examples. Singers must beware of poor translations of foreign language texts. They should include both the text in its original language and in an accurate translation. Identify the poet/librettist. Present your work according to the Department’s Regulations for the Submission of Written Work. This means fully referencing any quotations from other writers, and including a full bibliography and discography (properly set out) as shown in your Course Handbook. To summarise: A good Performance Commentary will include:

• Evidence of a wide range of research (written and recorded)

• Understanding of the historical context for the repertoire being discussed

• Understanding of relevant performance practice issues

• Analytical understanding of the repertoire

• Demonstration of how the above will impact your own interpretative decisions – how you have chosen to apply this knowledge and understanding

• A good articulation and structuring of your ideas

• A substantial bibliography/discography NB: it may be that one or more of the above points will not be relevant to the Performance Skills option selected. For example, students taking ‘Improvisation’ will not need to analyse repertoire in the same way that a student taking ‘Chamber Music’ will, but at the same time WILL be able to analyse recordings and performances of other improvisers. Frequently-Asked Questions

1. Do I have to write about all the pieces I am performing? No. Given the length of the assignment, you will need to select a particular work or works and indeed particular passages of works that are particularly noteworthy and important. Explain the reasoning behind your selections in an introduction that gives some idea of the direction and thrust of your writing. Situations alter cases (it might be useful to discuss all works being performed or all movements, for example) but this is not a requirement.

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2. For Directed Ensembles do I have to write about both ensembles in my commentary? No, but you may – it may be that you focus more on one than the other, or mention one ensemble as a way of giving more context concerning the issues you are highlighting.

3. For Singing with Movement, do I have to write a character study? Do I have to provide the text/libretto and translations?

No, although there may be elements of both of these things that you want to include. If you do include text etc. this should be an appendix, not the main part of the essay.

4. For advanced conducting, we spent a lot of time learning about beating patterns and gestures. Should I write about this?

You can, if it frames a discussion about interpreting the music. Be careful to avoid talking too much about your progress and how you operated – a performance commentary needs to focus upon the MUSIC ITSELF and your musical ideas for shaping it.

5. For directed ensembles, I didn’t make the musical decisions – our director told us what was needed from us. How do I write about the interpretation and programme?

You still can. In no ensemble will you simply carry out orders – there are always musical and artistic decisions which you will make and which the director will make. If you need to know more, talk to the director!

6. In chamber music/duo performance etc. we focussed on how we related to each other as performers and how we came to agree performance decisions. Should I write about this?

Yes, but be careful! By all means discuss the decisions arrived at (and how) but remember that we are interested mainly in ‘why you do what you do’ not how you learnt how to work together and the learning process – this is what you wrote about at second year level in your reflective writing/journal. Take care not to write a learning journal-type assignment instead of a commentary on the music itself.

7. Do I have to include musical examples? Quotations? Sound clips? You do not have to do any of these things, but it’s very likely that you’ll need to quote your research and you will need to show us portions of the music in music notation so we know what you are talking about. It can be good to annotate musical examples to illustrate aspects of your performance decisions. You can’t use sound clips, unfortunately, because they will not be retained in the submitted file documents – if need be refer to recordings fully, including movements/tracks/timings.

8. Do I have to include a bibliography? I don’t know what to read! This handbook gives you some suggestions about reading, and the library has a significant collection of books about aspects of performance. Discuss it with your option tutor or with Dr Milsom or Dr Thomas if you need further guidance. You MUST include a bibliography and discography in your work.

9. I’m not at all sure whether what I’m writing is the right kind of thing. Will the module tutors help me and give me feedback?

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Yes, of course we will! There are classes scheduled in Performance Skills 3 and Studies in Performance in which you will be able to bring work and there will be plenty of opportunity for feedback in small discussion groups. In addition, you can book us for tutorials to look at examples of work but please note that we cannot comment upon entire scripts and can only mark the final submission as a whole after the formal hand-in date. If you’re not sure do get in touch and we can advise you.

10. I struggle with my writing, and I’m not quite sure what this is about. What kind of support can I get?

As with all written work, you can make an appointment with Janet Price, our Academic Skills Tutor. Do so early – she can get very busy as deadlines approach. In addition, we will hold a number of ‘writing about performance’ workshops during the year – come to these because we can talk further about the assignments and maybe undertake some practical exercises to help you grasp the task. 13.3 PROGRAMME NOTES (SOLO PERFORMANCE 1 AND 2, AND STUDIES IN PERFORMANCE) Performers need to know how to write programme notes. It is almost certain that students will be called upon to write programme notes for a variety of occasions once they’ve left University. For this reason we ask that all students enrolled on Solo Performance 1 and 2 submit programme notes to accompany their recitals. In addition it is a requirement that students enrolled some of the options within Performances Skills 2 and 3 submit programme notes with their programme details. Essential information required: full details of the performance (date, place), performers (names, instruments, accompanist) and the pieces: title, op. no. or other identification, composer’s name and dates, individual movements, e.g.:

Friday 1 April 2005 St Paul’s Hall, Huddersfield

John Bryan (medieval shawm) Philip Thomas (prepared piano)

J. S. Bach (1685-1750) Sonata in E flat major for flute and continuo, BWV 1031 (arr. John Cage)

Allegro moderato – Siciliana – Allegro

Then your programme notes might refer to:

1. historical background (place in composer’s life, relationship to other works, special significance); context (is it a movement from some larger work?) 2. comments on musical style, particularly anything special or unusual 3. particular musical events, character, moods that you would like your audience to listen out for

Focus on the specific music you are playing, not too much on the general background. Avoid too detailed a commentary: this is not an analysis, so do not make reference to bar numbers or too specific musical events. Don’t just say in words ‘what happens’ in the music – we will hear that when you perform it. Don’t over-sentimentalize/’emote’. What you personally feel about the work should show in your performance - suggest ideas by all means, but don’t tell your audience how to feel.

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13.4 CONCERT BLOG (SOLO PERFORMANCE 1 AND STUDIES IN PERFORMANCE) One of the very best ways to understand and reflect upon performance is to go to see and hear others perform. The University of Huddersfield presents a superb range of concerts throughout the year featuring a very wide range of music. It is certain that if you go with a reflective and critical mind you will learn much about how to perform (and possibly how not to perform). To this end, all students enrolled on Solo Performance 1 and Studies in Performance are required to make a number of entries on our Concerts Blog (please see individual module information as to the number of entries you are required to make). You can access the Concerts Blog through Unilearn, where it is listed as a separate module. Following the instructions on the welcome page, click on the ‘Discussion Board’ link and you will find each of the University Concerts listed. Entries for each concert are allowed for up to one week only. Posts should be around 40-60 words long. You should aim to avoid description and write a succinct appraisal of the performance. Do not write a commentary about the music itself but focus instead on how the music was interpreted, projected, communicated and presented. Aim to develop earlier entries and avoid repeating what others have already said. It may be that comments from other students or staff trigger further discussion about performance in relation to that event and you may build on that. You may (and should) post more entries than listed on the module description. Each post will be given a mark and at the end of the teaching period your highest marks will be taken as your final marks. This means that the more entries you make the better they are likely to be as you learn to better critically evaluate performance. DON’T LEAVE THEM UNTIL THE LAST MINUTE! Start in October and develop your ideas through the year. A concert blog entry should always include - Clear grammar, a cohesive structure and proper spelling A successful concert blog entry might also include engaging with one or more of the following: -A connection to ideas that you have encountered through your performance class lectures/discussions -A connection to previous readings on performance practice -A connection to your own experiences performing and /or as a listener -A connection to previous recordings or performances of the same work you have heard elsewhere, if appropriate in your discussion. - A clear discussion of your evaluations. Some questions you might want to reflect upon when writing your evaluation might be: 1) What is your justification for this idea and why did you reach this conclusion (ie Literature you have read? Recordings? Previous performances? Personal experience as audience member? Be specific.) 2) Going past the obvious, how does what you present have an effect on the performance on a deeper level? 3) Does this change the way you will approach performance in the future? If so, how?

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APPENDIX 1: IMPORTANT DATES Thursday October 2nd Ensemble 360 concert (1.15pm) and workshop (2.15pm) Thursday October 9th Class for ALL Performance Skills 2 and 3 students.2.15-

4.15pm in St.Paul’s. Friday October 10th Performance Skills 2/3: Your Choice form due to be submitted Performance Skills 2/3: Directed Ensembles forms to be

Submitted Thursday December 4th Murray McLachlan concert (1.15) and piano masterclass

(2.15pm) Thursday December 11th Jessica Quinones and Hans Hess concert (1.15pm) and tango

workshop (2.15pm) Friday December 12th Solo Performance 2 January recital Programme Forms to

be submitted Friday December 19th Performance skills: chamber music, duo performance, piano

duo proposals and rationale due to be submitted Friday December 19th Foundation Performance and Solo Performance 1 formative

technical tests completed Thursday January 29th Ensemble 360 concert (1.15pm) and masterclass (2.15pm) w/b February 2nd Solo Performance 2 performance exams Friday February 6th Foundation Performance and Solo Performance 1 technical

tests completed Thursday February 12th Performance Skills 2: Reflective report workshops (2.15pm) Thursday February 26th Linda Richardson (soprano) concert (1.15pm) and masterclass

(2.15pm) Thursday March 5th Lynn Klock (saxophone) concert (1.15pm) and workshop

(2.15pm) Thursday March 12th Helen Thatcher (cello) concert (1.15pm) and workshops

(2.15pm) Week commencing March 16th Solo Performance 1 oral examinations Thursday March 19th Performance Skills 3: Performance commentary workshop

(2.15pm) Wednesday March 25th All Programme Forms due in, with copies of music and programme notes (where applicable) as BOTH hard copies

and electronically through Unilearn

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Thursday March 26th Ensemble 360 concert (1.15pm) and workshop (2.15pm) Friday April 23rd Performance Skills 2 Reflective Reports due to be submitted

(collated document through Unilearn)

Thursday May 7th Performance Skills 3 Performance Commentaries due to be submitted

Monday May 11th – Friday May 29th Performance exams: Foundation performance, Solo

Performance 1, Solo Performance 2, Performance Skills (Chamber music, Duo Performance, Piano duo), MMus

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APPENDIX 2: CONCERT STEWARDING Lunchtime Concert Staffing: A Guide for students

1. Collect programmes from the office in advance 2. Arrive 30 minutes before the start of the concert (12.45 if for a 1.15 lunchtime

concert) 3. Dress smartly and make sure you are both polite and welcoming to all audience

members as they arrive and depart 4. Check that performer(s) have everything they need 5. Agree with performers as to when auditorium doors may be opened for audience to

enter (usually about 15 minutes before the concert starts) Do not allow audience into the hall whilst performers are still rehearsing.

6. One person to be stationed at a table displaying brochures and other information. Two people to be stationed at both ground floor auditorium doors, distributing programmes.

7. Close doors at the beginning of the concert and inform the performer(s) that all is ready to start

8. During concert, remain at stations (with doors closed). Do not admit latecomers whilst music is being played (they may be admitted between pieces or movements of a piece).

9. After concert remain at stations as audience leaves. 10. Check the hall for any lost property and rubbish, and that the building is clear.

SAFETY ALWAYS BE AWARE OF COMMON SENSE AND SAFETY PROCEDURES. In particular, take no risks with heavy weights; staging and pianos should be moved with the assistance of the Campus Support Officer on duty or under supervision of a member of staff, both at rehearsals and concert. The same applies to heavy speakers/other electrical equipment. Whenever moving the piano, do not pass over grates. Always seek the assistance of the CSO or a member of staff. Because of fire regulations, never obstruct doors or passageways at any time. This includes aisles in the seating area. Check that you know where the telephone is in the case of an emergency. IF UNSURE ABOUT ANYTHING, PLEASE CONTACT PHILIP THOMAS (ext.1336) or PHILIPPA MORGAN (ext.2426) Evening Concert Stewarding

Please see the instructions which are posted on Unilearn. These are of utmost importance and should always be checked if you are on duty for an evening concert.

huddersfield performance handbook 2014-15

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