Academy Prospectus 2013

Welcome
Principal
Professor Jonathan Freeman-Attwood
Principals PA:
Kate McKiernan Hon ARAM
Telephone 020 7873 7377
Email [email protected]
For 190 years the Royal Academy of

Music has been the nursery, hothouse
and generator for the British music
profession
The Times
The Academy exudes a cosmopolitan
confidence in tune with the global
classical music business...Teaching
is outstanding. So is the value it adds.
And in a performance art where
work can be precarious, it rolls out
musicians who are highly employable
The Guardian
Professor Jonathan Freeman-Attwood

BMus, MPhil, Hon RAM, FKC, FRNCM
Studied at University of Toronto and Christ

Church, Oxford. Recording producer for
numerous independent record labels,
including Channel Classics, BIS, Chandos,
Naxos, AVIE, Hyperion and Harmonia
Mundi, many of which have won major
awards and prizes.
As a trumpet player, he has performed
widely with solo recitals and discs of
sonatas and concerti. Most recent releases
in his series for Linn Records are The
Romantic Trumpet, A Bach Notebook for
Trumpet and, in 2014, Lydias Vocalises
world premiere recordings of short
works by Faur. Broadcaster for BBC, New
Grove contributor, critic and writer on
performance for numerous publications.
He is a member of the Board of Garsington
Opera, and Trustee of the Associated Board
of the Royal Schools of Music, Young
Classical Artists Trust, Countess of
Munster Musical Trust, Mendelssohn
Scholarship Foundation and the University
of London, among others.
As Dean of Undergraduate Studies 1991 95
he directed the first cycle of the Academys
BMus Programme. Vice-Principal and
Director of Studies 19962008, Principal
since July 2008. Appointed a Professor of
the University of London in 2001 and a
Fellow of Kings College, London, in 2009.
I am regularly asked what is special about

the Royal Academy of Music. Whilst one can
reel off a number of internationally recognised
qualities which have made it one of the worlds
leading conservatoires, I often focus on the
dynamic individuality which our exceptionally
talented young musicians communicate
advocacy and entrepreneurial purpose. From
period performance to many contemporary
idioms via an outstanding programme of
solo, chamber, operatic and orchestral activity
Academy graduates have become a known
quantity for how they shape and influence
the creative industries in which they work.
Yet however distinguished its past, students
choose the Academy as a place to study for
whats on offer here and now the blend
of practical, artistic, social and intellectual
qualities which allow our graduates to make
a durable impression on 21st-century life.
Tracking each Academy students journey
is extraordinarily exciting; it encourages
those privileged to work here to question the
quality and effectiveness of our work at every
turn. We seek to realise the potential of each
and every musician here, in what is a uniquely
purposeful and inspiring community of
musicians. We respect our significant
traditions going back nearly 200 years, but
we encourage students to critique whats
already here and to challenge themselves,
fellow students and staff, as each discovers
the identity and skills to carry them into
and through professional life.
There are no great secrets to how we achieve

this. We constantly seek to employ the very
best teachers. We plan our unrivalled Diary
of Events to provide thrilling opportunities
across the whole spectrum. Our study
programmes enfold the principal study in
ways which provide an evolving menu of
development skills reflected in our strong
careers profile and the special pride we take
in witnessing students success in the very
best professional circumstances.
The atmosphere of any institution is always
hard to pinpoint. But its generally accepted
that the Academy is a wonderfully open,
stimulating, supportive and friendly place
encouraging and pursuing the realisation of
goals which instil confidence and allow its
students both to toughen up for the
challenges ahead and soften up to absorb
the vast range of artistic influences which
nurture an ever-more sympathetic and
interesting musician. The Academy does not
offer one dogmatic school of teaching.
Finding the right teacher for you, and building
appropriate opportunities around the focal
point of great mentoring, is what makes the
ethos of the Academy particularly appealing.
Do come and visit us at any time, whether at
an Open Day, or dropping in on events to see
a world-class roster of committed musicianteachers devoted to the Academy and its
students. Talk to students and ask them
what its really like here! You will always
receive a warm welcome.
Becoming a
Professional
Deputy Principal
Mark Racz
Deputy Principals PA:
Eileen-Rose McFadden Hon ARAM
Telephone 020 7873 7351
Broadening
Musical Horizons
Mark Racz BA, MFA, Hon RAM, Hon FBC

American-born pianist, teacher and music
educator Mark Racz studied at Rutgers
University and the Manhattan School of
Music, and with Nadia Boulanger at the
Fontainebleau School of Music. He has
lived in the UK since 1980 and has
performed widely as a soloist, accompanist
and chamber musician, with a particular
interest in early-20th-century music.
He has given numerous masterclasses at
the conservatoires in Weimar, Bucharest,
Krakow, Beijing and Shanghai. VicePrincipal of Birmingham Conservatoire
before moving to the Academy in 2008.
Deputy Principal
(Programmes and Research)
DrTimothy Jones
Please contact:
Sandra Green Hon ARAM
Telephone 020 7872 7209
The UKs oldest conservatoire is

often rightly spoken of with
reverence, training nearly 700
students from over 50 countries
in more than 20 disciplines
Muso
DrTimothy Jones MA, DPhil (Oxon), Hon RAM

Timothy Jones studied at Christ Church
Oxford. He has previously held academic
posts at the Universities of Oxford and
Exeter and at the RNCM. His research on
questions of analysis, interpretation and
performance in Viennese Classical music
has led to publications on Mozart and
Beethoven. He is currently engaged on
a project to produce multiple alternative
completions of fragmentary compositions
by Mozart, including the Requiem, the
Concerto for Violin, Piano and Orchestra,
and many of the chamber music fragments
from Mozarts last years.
One of the most exhilarating opera

premieres I have attended
Opera magazine
The performance was a model
of vitality, concentration and
period authenticity
Sunday Times (Bach Cantatas Series)
A masterly account of Peter Maxwell

Daviess The Lighthouse... All gave
performances that would have
graced any production in the world
The Spectator
Dave Holland, International Jazz Artist in Residence
Performance is at the heart of all our work at

the Academy, and we present over 400
public events every year. If you decide to
study with us well endeavour to give you a
real sense of what professional musical life
will be like for you after you have graduated.
For example, we believe it is essential for
orchestral students to work with
professional conductors of the highest
artistic stature. Semyon Bychkov, Yan
Pascal Tortelier, Trevor Pinnock, Sir Mark
Elder, Edward Gardner and Robin Ticciati,
amongst others, are all regular Academy
visitors.
Our students perform at major London
venues including the Southbank Centre,
Wigmore Hall, Royal Albert Hall and Kings
Place, as well as at the Aldeburgh and
Spitalfields festivals, and play side-by-side in
top orchestras and specialist ensembles
such as London Sinfonietta. In November,
well provide the orchestra for Brittens War
Requiem at the Royal Festival Hall
conducted by Marin Alsop.
02 | 03
We collaborate regularly with the Juilliard

School, most recently in 2012 at Avery
Fisher Hall in New York and the Royal Albert
Hall in London as part of the BBC Proms,
conducted by John Adams. In June 2015
students from our Historical Performance
department will collaborate with the Juilliard
School on an all-Bach programme with
Rachel Podger and Masaaki Suzuki, to be
performed in New York and Boston and at
the Leipzig Bach Festival.
The Royal Academy of Music/Kohn
Foundation Bach Cantata Series, a firm
fixture in Londons concert life, provides
unique opportunities for students to work
with professionals on this challenging and
rewarding repertoire.
Were extremely proud of our graduates
successes: to name just a few recent
achievements, Jason Evans (2013) has been
appointed Principal Trumpet with the
Philharmonia Orchestra, and double bassist
Georgina Poad (2007) now plays in the Royal
Concertgebouw Orchestra alongside
section principal Dominic Seldis (1992).
Pianist Benjamin Grosvenor (2012) received

two Gramophone Awards, the Classic Brits
Critics Award and a nomination for a BBC
Music Magazine Award in his graduation
year. Academy singers are ubiquitous on the
stages of opera houses and concert venues
world-wide just a few of them are listed
on page 11. Milo Karadaglics (2006)
Deutsche Grammophon CDs have topped
the charts worldwide, and Gareth Malone
(2005) continues to inspire countless people
with the joy of singing.
Our website has many more details, and
almost every day we tweet news about our
graduates latest achievements.
Your own professional career begins here.
Please read on to find out more.
Studying at the Academy is a transformative

experience. It will raise your game technically,
artistically and professionally. At all levels
Undergraduate, Masters or post-Masters
the Academys programmes of study are
designed to enable students to develop the
knowledge, skills and experience that are
essential for a successful career in music in
the 21st century. They reflect the current
professional reality of being a high-level
musician, and have the structured flexibility
to serve the evolving needs of individual
students ambitions and aspirations.
To achieve this, the content and delivery of
our programmes are in a constant state of
controlled evolution. In particular, we take
great care to fine tune the content and
delivery of principal study, practical activities,
professional development and academic
components so that the entirety of the
programme is greater than the sum of its
parts. In 2013 the UKs Quality Assurance
Agency praised the way the Academy
embeds professional development within
the curriculum and the care we take in
constantly improving an already world-class
student experience. This approach has led
us to establish two new post-Masters
programmes in 2015: an Advanced Diploma

for those who wish to study at the very
highest artistic level, mentored by a leading
practitioner; and a Professional Diploma for
those who wish to focus on a clearly-defined
set of professional skills and interests which
they have developed during their Masters
programme. Further details of these new
programmes appear later in this prospectus.
We believe that all Academy students should
be able to communicate the power of music
not just in their performing or composing, but
also in written and spoken form. We
recognise that studying at an advanced level
is demanding and we take great care over the
ways we support our students education
and training. This is not just a question of the
expertise and experience of the Academys
teaching staff, or the incomparable resources
of our Library, Collections and Museum, but
also the emphasis on individual lessons and
small-group teaching at the core of our
programmes and the support we give to
focused professional development.
All our programmes of study benefit from the
Academys vibrant research culture, which
has particular strengths in research through
creative practice whether in the fields of

artistic collaboration, the creation of new
texts, or the investigation of performance
traditions. In the last five years research
undertaken at the Academy includes the
premiere production of Sir Peter Maxwell
Daviess new opera Kommilitonen!
(co-commissioned with the Juilliard School,
New York), two studies funded by the Arts
and Humanities Research Council the
development of the new Redgate-Howarth
oboe mechanism,and a new edition of
Faurs songs (published by Peters Edition)
and a host of collaborative projects between
students and staff and between Academy
researchers and museums and galleries in
the UK, mainland Europe and North America.
Each year the Academy hosts around 100
research events, ranging from conferences
and exhibitions to world-premiere
performances, public lectures and studentcentred research seminars.
This is an environment in which artistic and
intellectual curiosity are given every
opportunity and encouragement to flourish.
Your Principal Study
Performance
Director of Artistic Planning
Nicola Mutton BA, Hon ARAM
This building has been absolutely at
the centre of everything that I have
done, everything that I have learnt
Sir Simon Rattle, during his return to
the Academy in March 2011
Principal Guest Conductors

Yan Pascal Tortelier Hon RAM
Trevor Pinnock CBE, Hon RAM
Klemperer Chair of Conducting
Semyon Bychkov
Sir Colin Davis Fellow of Conducting
RobinTicciati
Visiting Professor of Music
Pierre-Laurent Aimard Hon RAM
Menuhin Professor of Music
Maxim Vengerov Hon RAM
Performance training at the Academy
prepares students for an increasingly
demanding and diverse professional life and
encompasses chamber, symphonic and
operatic repertoire, historical performance,
media music of all kinds as well as musical
theatre and jazz.
See pages 44-45 for more details.
Dont miss the Royal Academy of Musics
outstanding Sunday lunchtime concert
series surveying all of Bachs cantatas
The Times
You can listen to the next generation of
classical musicians at the Royal Academy
of Music.The very best musicians train
here... Its the most accessible and
friendly musical venue anywhere
Sunday Times
Performance is the essential driving force

behind every aspect of Academy life, and
the Academys termly events brochure
reads like a Whos Who of music. In the
last few years alone, Academy students
have worked in concert, workshop and
masterclass with high-profile international
artists including:
>
>
Sir Simon Rattle worked with Concert

Orchestra on Bruckners Ninth Symphony
>
Joint orchestral performances with Juilliard

School conducted by John Adams in New
York and at the BBC Proms in London
>
Schuberts Unfinished Symphony

conducted by Christoph von Dohnnyi
>
Stockhausens Gruppen side-by-side with

London Sinfonietta at the Royal Festival Hall
>
Monthly Bach Cantatas, including concerts

with guest directors John Butt, Sir John Eliot
Gardiner, Peter Schreier and Masaaki Suzuki
>
Musical Theatre company on BBC Radio 2
>
Recordings for a series of releases on Linn

of ensembles conducted by Trevor Pinnock
>
Discussions with Dame Janet Baker, Alfred

Brendel, Dame Anne Evans, Sir John Eliot
Gardiner, Vladimir Jurowski and many more
>
Wigmore Hall performances by Academy

Song Circle, Sainsbury Royal Academy
Soloists and Royal Academy Baroque
Soloists directed by Rachel Podger
>
Appearances at Londons most prestigious

venues, in addition to our vibrant events at
the Academys home in central London
> Conductors and instrumentalists Pierre-
Laurent Aimard, Yuri Bashmet, Steuart

Bedford, Martyn Brabbins, Semyon
Bychkov, Laurence Cummings, Stphane
Denve, Christoph von Dohnnyi, Sir
Mark Elder, Sir John Eliot Gardiner, Edward
Gardner, Jane Glover, Hkan Hardenberger,
Susanna Mlkki, Trevor Pinnock, Rachel
Podger, Sir Simon Rattle, Leif Segerstam,
Masaaki Suzuki, Christian Thielemann, Yan
Pascal Tortelier, Mitsuko Uchida, Jac van
Steen, Maxim Vengerov and David Zinman
> Singers Sir Thomas Allen, Barbara Bonney,
Wolfgang Holzmair, Dame Kiri Te Kanawa,

Simon Keenlyside, Angelika Kirchschlager,
Dame Felicity Lott and Ann Murray
> Composers John Adams, George Benjamin,
Sir Harrison Birtwistle, Pierre Boulez,

Oliver Knussen, Sir Peter Maxwell Davies,
Stephen Sondheim and Bent Srensen
> Jazz artists Dave Douglas, Peter Erskine,
Dave Holland, John Hollenbeck, Stan Tracey,

Kenny Wheeler and Norma Winstone
04 | 05
> Directors John Copley, John Cox, Paul
Curran, David Pountney and John Ramster
Some recent highlights

Premiere production of Kommilitonen! by
Sir Peter Maxwell Davies and David Pountney
Strings
Violin & Viola

Cello
Double Bass
www.ram.ac.uk/strings
Head of Strings
Jo Cole FHEA, ARAM
Studied at the Academy with Florence
Hooton and David Strange, then with Ralph
Kirshbaum, followed by a 25-year playing
career. A distinguished, seasoned orchestral
cellist and experienced chamber musician,
her versatility includes period performance
and innovation in outreach. Deputy Head of
Strings at RNCM, 200610. She resigned
her membership of Academy of St Martin
in the Fields, and as Co-Principal of City
of London Sinfonia, to devote herself to
training students at the Academy, but still
performs when this commitment allows.
The Academys enviable reputation for
training string players is firmly based on
the stimulating educational and cultural
experiences of our students, the distinction
of our faculty and visiting professors, and
not least the successful careers of many
of our alumni throughout the profession.
String students benefit from a winning
combination of strong artistic traditions with
realism about todays musical life, forming
an imaginative springboard from which to
launch their careers. The crucial disciplines
solo, orchestral and chamber music
are given intensive attention throughout,
nurturing talent to produce versatile, creative
and practical musicians of excellence.
Our students engagement with the reality of
an unpredictable, rapidly changing profession
enables a smooth transition into professional
life, not a jolt into the unknown at graduation.
Wenhong Luo
I came here simply because the Academy is
one of the worlds very top music schools.
From my first visit I was struck by the
atmosphere here, even by the paintings on
the wall, and from then it was always in my
mind that Id like to study here. I also love the
international nature of London.
We get the most impressive teachers at
the Academy. I even had a masterclass
on Paganinis Campanella with Maxim
Vengerov last term he played the piece on
my viola, beautifully of course!
Being a member of a Leverhulme Fellowship
quartet has brought a lot of new experiences
and opportunities to me including external
performances at prestigious venues and the
opportunity to record in a small ensemble
under the direction of Trevor Pinnock.
Id love to keep on living in London after Ive
graduated. I hope to specialise mainly in solo
and small ensemble repertoire, but the level
of orchestral playing and the calibre of the
major conductors who work at the Academy
has made me realise that I want to keep
playing in orchestras too!
06 | 07
Students have access to all professors here

for chamber music coaching, but * indicates
special responsibility in this important area.
Maxim Vengerov Hon RAM (pictured above)
Violin
Remus Azoitei MMus, ARAM
Diana Cummings FRAM
Richard Deakin MMus, FRCO, FRAM
Joshua Fisher DipRCM, ARCM
Mayumi Fujikawa Hon ARAM
Clio Gould AGSM, Hon RAM
Erich Gruenberg OBE, Hon RAM, FGSM, FRCM
Giovanni Guzzo ARAM
Maurice Hasson Hon RAM
Philippe Honor Hon RAM
Richard Ireland BA, PPRNCM
So-Ock Kim
Hu Kun Hon RAM
Sophie Langdon ARAM
Jack Liebeck ARAM
Mateja Marinkovic Hon ARAM
Nicholas Miller ARAM
Gyrgy Pauk Hon RAM, Hon GSM (Ede Zathureczky Professor)
Maureen Smith Hon ARAM
Tomotada Soh Hon ARAM
Visiting Professors of Violin
Daniel Hope DipRAM, FRAM
Tasmin Little OBE, FGSM, Hon ARCM
Chamber Musician in residence 201415

Levon Chilingirian OBE, DMus, FRCM
Viola
Yuko Inoue BA, PPRNCM, Hon ARAM
Garfield Jackson* FRAM
Martin Outram* MA, FRAM
Paul Silverthorne FRAM
James Sleigh* ARCM, Hon ARAM
Jon Thorne* GLCM, PgDipRCM
Visiting Professors of Viola
Philip Dukes Hon ARAM
Garth Knox
Hartmut Rohde Hon RAM
Su Zhen ARAM
Cello
Robert Cohen Hon RAM
Jo Cole* FHEA, ARAM
Lionel Handy FRAM
Guy Johnston
Josephine Knight* FRAM (Alfredo Piatti Chair of Cello)
Mats Lidstrm Hon ARAM
Felix Schmidt Hon ARAM
David Smith* FRAM, FRSAMD
Professor David Strange* FRAM (Professor Emeritus)
Visiting Professors of Cello
Mario Brunello
Colin Carr Hon RAM
Steven Doane Hon RAM
Sung-Won Yang
Double Bass
Duncan McTier BSc, ARCM, FRNCM, Hon RAM
Graham Mitchell ARAM
Dominic Seldis FRAM
Paul Sherman GGSM
Rodney Stewart FRAM
Visiting Professor of Double Bass
Matthew McDonald Hon RAM
Visiting Artist in Double Bass
Joel Quarrington
Some 2013/14 student achievements

Bernadel Quartet Greenwich Intercollegiate Competition
CardinaleTrio CAVATINA Intercollegiate Competition
Delmege Quartet York Chamber Music Competition
Vuillaume Quartet Elias Fawcett Prize
Artesian Quartet Selected for ChamberStudio Mentoring
scheme; Park Lane Group Artists
Maria Wloszkowska Grand Prix IIIrd M Elsky International
Violin Competition, Minsk
Alberto Casadei Making Music Young Concert Artists Award,

Verona Opera Principal Cello
Wenhong Luo Yuri Bashmet Prize, Tertis Competition

Andrei Mihailescu double bass, OAE/Sir Simon Rattle,
Budapest Festival Orchestra
Lorenzo Meseguer Castille e Leon Symphony Orchestra

Second Principal Cello
Kristine Balanas concerto soloist with Moscow Soloists and
Yuri Bashmet; Villa Musica three-year Residency Scholarship
Kirsty Lovie (violin) and James Kenny (double bass)

appointed Britten Sinfonia Apprentices
Some recent graduates successes 2013/14

Adam Wynter tutti double bass, Philharmonia
Fournier PianoTrio Parkhouse Award
Charlotte Scott appointed leader of Badke Quartet
Ensemble 12, directed by Eloisa FleurThom:
Emerging Excellence Award from Help Musicians UK and
Ensemble in Residence, The Forge
William Melvin tutti Second Violin, LSO

Richard Waters Co-Principal Viola Opera North
Alauda Quartet Park Lane Group Artists 2015
20132014 Highlights
> Academy Cello Ensemble watchful, musical,
committed playing Independent on Sunday
> Travelling Solo: a year-long journey through
JS Bachs solo works for violin and cello with

Mario Brunello, Ulrich Heinen, Ruth Waterman,
Elizabeth Wallfisch and Steven Doane.
> Masterclasses with Maxim Vengerov as part
of his regular visits, Olivier Charlier, Tasmin
Little and Daniel Hope (violin); Avri Levitan
and Helen Callus (viola); Sung Won Yang
and Colin Carr (cello); Edicson Ruiz (double
bass); Doric, Emperor, Vanbrugh and Wihan
String Instrument Collection
Quartets; Trio Owon; and Levon Chilingirian
The Academy has one of the premier and
> Four student ensembles have been the
most successful collections in the world
Davey-Poznanski Scheme Quartets with
(The Strad). Many instruments are available
for students, and there is onsite support with high profile performances at the Academy
and outside, including competition success.
instrument maintenance and loan advice.
Thanks to the generosity of the Calleva
Foundation, a collection of fine instruments
by top luthiers is being assembled for the
use of students. There are currently eighteen
new instruments, with more to follow soon.
Senior Administrator:
Emily Good BMus, MMus, Hon ARAM
Telephone 020 7873 7395
Open Day: Wednesday 24th Sept. 2014
Vocal
Studies
www.ram.ac.uk/vocal
Henry Neill
After having studied academic music at
university, I found that arriving for my first
term at the Academy was a very different
experience. I was immediately thrust into
an intense programme which ranges from
regular vocal coaching to language and drama.
I knew that the Academy boasts teaching
staff of the very highest calibre, but I didnt
expect the environment here to be so
incredibly welcoming. This is partly due
to the sheer number of hours of individual
coaching you receive but its also down to
the attitudes of the teachers and coaches,
who are completely dedicated to enabling
students to achieve their aims.
Outside of regular classes there are always
opportunities to participate in high-quality
music-making, whether in a competition,
recital or in one of the regular masterclasses.
Together these ensure that Im having
an extremely busy and productive time
here, and theyre all contributing to my
development as a young professional.
Head of Vocal Studies

Mark Wildman FRAM, FRSA
Chorister in Gloucester Cathedral before
studying at the Academy with Henry
Cummings and Rex Stephens, and later
with Rupert Bruce-Lockhart. A national
and international competition prizewinner, his career began as a member
of the BBC Singers and he subsequently
performed as bass soloist in the UK,
Europe and USA. Students recent
successes include prizes in many
major competitions. Many current and
former students sing as principals in
major opera companies internationally.
The fine traditions of the Vocal Faculty are
perpetuated by a new generation of eminent
teachers, with comprehensive training which
prepares students for their careers in opera
and concert repertoire. Apart from intensive
vocal and technical study and associated
disciplines, students enjoy regular repertoire
coaching and specialist training in historical
performance (including the critically acclaimed
Bach Cantata Series, in collaboration with
the Kohn Foundation) and new music.
The curriculum is enriched with very regular
masterclasses and workshops given by
outstanding international performers.
Recent Masterclasses have included

John Mark Ainsley, Sir Thomas Allen, Florian
Boesch, Barbara Bonney, Susan Bullock CBE,
Sarah Connolly, Wolfgang Holzmair, Simon
Keenlyside, Angelika Kirchschlager, Dame
Felicity Lott, Jane Manning OBE, Ann Murray DBE,
Dennis ONeill CBE, Brindley Sherratt, Dame
Kiri Te Kanawa and Sir John Tomlinson.
The Postgraduate Vocal Studies

Masters degree incorporates a preparatory
opera curriculum pathway, designed
for students who demonstrate operatic
potential at their audition but who would
benefit from a period of consolidation
in both vocal technique and stagecraft.
These students may progress into Royal
Academy Opera subject to further audition.
In addition to core singing lessons, vocal
coaching, language tuition, acting and
movement classes, weekly individual
and ensemble opera coaching and stage
work classes prepare students for fully
staged and costumed opera scenes, with a
professional director.
Chevalier Jos Cura

Angelika Kirchschlager Hon RAM
Dame Felicity Lott DBE, Hon RAM
Dennis ONeill CBE, DMus, Hon RAM
Those aiming for a career in solo concert

and or chamber choir work can take
a specialist recital/concert curriculum
pathway. In addition to weekly singing
lessons and coachings, there is a
comprehensive programme of language
and song classes as well as specialist
classes in oratorio, historically-aware
performance and contemporary music.
GRSM, ARMCM, FRSA
Visiting Professors
John Mark Ainsley Hon RAM
Sir Thomas Allen CBE, Hon RAM
Barbara Bonney Hon RAM
Susan Bullock CBE, BMus, FRAM, LRAM
(Marjorie Thomas Visiting Professor of Singing, pictured above)
The Academy welcomes applications from

prospective undergraduate singers who
clearly demonstrate professional potential
and stamina allied to vocal, musical and
intellectual maturity.
08 | 09
Students have opportunities to sing in the

Chamber Choir for oratorio performances,
and in the chorus for Royal Academy Opera.
The members of Academy Song Circle,
who are selected by audition, perform at
the Academy and Wigmore Hall.
(Richard Lewis Visiting Professor of Singing)
Brindley Sherratt FRAM

Dame Kiri Te Kanawa Hon RAM
Singing Professors
Alexander Ashworth MA, DipRAM, PGDip, LRAM, ARAM
Catherine Benson AGSM
Michael Chance CBE, MA
Nicholas Clapton MA
Jennifer Dakin ARAM
Ryland Davies FRNCM, FWCM, Hon RAM
Philip Doghan BA, Hon ARAM
Glenville Hargreaves BMus, Hon ARAM,
Julie Kennard BA, ARCM, Hon ARAM
Kathleen Livingstone DipMusEd, DRSAMD,
Hon ARAM, Hon RCM
Neil Mackie CBE, Hon RAM, CStJ, Hon DMus, FRSE

Ann Murray DBE
Elizabeth Ritchie LRAM, FRAM
Sarah Walker CBE , LRAM, FRCM , FGSM
Lillian Watson AGSM, Hon RAM
Catherine Wyn Rogers ARCM
Vocal Repertoire Coaches
James Baillieu DipRAM, ARAM
Gareth Hancock MA, FRAM, ARCM
Mary Hill MA, LRAM, Hon ARAM, ARCM
Audrey Hyland BA, Hon ARAM
Iain Ledingham MA, FRAM, FRCO
Jonathan Papp ARAM, DipRAM, GRSM
Ingrid Surgenor MBE, FRAM, FWCMD, GRSM
Operatic Coaches are listed on page 11.
Song Classes and Languages

Ludmilla Andrew BA, Hon ARAM (Russian)
Maria Cleva Hon ARAM (Italian)
Florence Daguerre de Hureaux FRAM (French)
Mandy Demetriou Hon ARAM (Movement)
Philip Doghan BA, Hon ARAM (Oratorio)
Emanuela Ferrari-Osborne Laurea cum laude, MA,
Hon ARAM (Italian)
Karen Halliday (Movement)

Julie Kennard BA, ARCM, Hon ARAM (English Song)
Iain Ledingham MA, FRAM , FRCO
(German Repertoire, Italian Recitative, Choirs)
Johanna Mayr MagPhil (German)

Victoria Newlyn (Movement)
Ian Partridge CBE, Hon RAM, LGSM (Lieder, English Song)
Isabella Radcliffe MA, BA (Italian)
John Ramster BA, Hon ARAM (Acting)
Richard Stokes MA, Hon RAM (Professor of Lieder)
Nicole Tibbels BA (French)
Mark Wildman FRAM, FRSA (Song Performance)
Recent Student Successes
Many Academy graduates have performed
principal roles with the major opera houses
throughout the world.
They have also become Wigmore Young
Artists; BBC Radio 3 New Generation Artists;
Jette Parker Young Artists at the Royal Opera
House, Covent Garden; ENO Harewood
Artists and young artists at the National
Opera Studio, Glyndebourne Festival Opera,
Berlin Staatsoper and Stuttgart Opera;
Kathleen Ferrier Award winners including
first prizes 2013 and 2014, second 2011,
2012 and 2014, Song Prize 2011, 2013 and
2014, Ferrier Bursary 2010; winners of the
Maggie Teyte Prize, Miriam Licette Award
and Gold Medalists at the Royal Over-Seas
League Competition. Academy graduates
were winner and third in the 2013 National
Mozart Competition (second and third in
2011, first and third in 2009).
Current student Cline Forrest will
represent Wales in Cardiff Singer of the
World 2015. Alumna Meeta Raval was
Englands representative in 2011.
Senior AdministrativeCo-ordinator:
Chris Loake Hon ARAM
Telephone 020 7873 7384
Open Day: Thursday 25th Sept. 2014
Royal
Academy
Opera
www.ram.ac.uk/opera
Tereza Gevorgyan
After graduating from Yerevan State
Conservatoire in Armenia, I jumped at the
opportunity to continue my development
at the Academy. I arrived as an MA student
in 2010, and was delighted to discover
how much support we get from all of the
teaching and coaching staff. Two years
later, I was one of the lucky singers to be
accepted into Royal Academy Opera.
The Academy gives all of us the chance
to show ourselves in a truly professional
environment. Royal Academy Opera is hard
work but hugely enjoyable, and it gives us a
great preparation in every aspect of building
a good career.
At the Academy I have sung in
masterclasses for truly international
stars. I have had the opportunity to sing
so many varied roles, and last term I had
the enormous excitement of performing
in Eugene Onegin for the first time that
wont be my last time as Tatiana, I hope!
Director of Opera: Prof. Jane Glover

CBE, MA, DPhil, Hon RAM, Hon FRCM
Music Director, Chicagos Music of the

Baroque since 2002; Music Director,
Glyndebourne Touring Opera 198185;
Artistic Director, London Mozart Players
198491. Conducting engagements
include Royal Opera House, Covent Garden,
English National Opera, Glyndebourne,
Berlin Staatsoper, Royal Danish Opera,
New York City Opera, Opera Australia and
Teatro La Fenice, with her Metropolitan
Opera debut in 2013. Her book Mozarts
Women was nominated for major prizes.
University of London professor from 2010.
Royal Academy Opera is a specialist and
intensive Postgraduate Advanced Diploma
for those with the potential and aspirations
to succeed as principals at the highest
international standard. The concept of the
human body being the singers instrument
is fundamental; physical fitness, agility,
stage technique, communication and
vocal skills, together with a broad repertoire,
are all prerequisites for todays opera singers.
Classes in body-work and movement, stage
technique, European languages, singing
lessons and vocal coaching form an integral
part of the weekly training schedule.
The three annual productions are directed
by highly experienced professional
conductors with Academy orchestras.
In recent years, students have enjoyed
the inspiring leadership of Jane Glover
(Director of Opera), Steuart Bedford,
Yan Pascal Tortelier, Trevor Pinnock and the
late Sir Colin Davis. Distinguished opera
directors have recently included Stephen
Barlow, John Copley, John Cox, Paul
Curran, David Pountney and John Ramster.
Repertoire is drawn from a wide range
of traditions, repertoire and styles, with
a strong commitment to contemporary
music and historically-aware performances.
Students also have the opportunity to study
roles in depth through individual music and
language coaching. Excerpts from operas
are presented in a series of scenes.
Performance technique is developed through
work with such experienced singers as
Sir Thomas Allen, Susan Bullock, Angelika
Kirchschlager, Ann Murray and Dennis
ONeill. Close communication between
staff from all areas of vocal and operatic
training is of the highest importance, to
balance the courses demands with each
students individual development.
10 | 11
The Academy is receptive to the changing

profession and so has forged close
connections with Glyndebourne Festival
Opera, the Royal Opera House, Covent
Garden, English National Opera, Welsh
National Opera, Opera North, Garsington
Opera and British Youth Opera. After two
years with Royal Academy Opera, students
should be well-equipped to make the most
of their opportunities in what is a fiercely
competitive environment.
The cast was stunning.There was real

maturity in these young voices, with
strength and control and astonishing
technique all round
Opera Now, May 2014 (Ariodante)
Opera auditions take place in London only.
All aspiring operatic candidates should apply
to audition for Royal Academy Opera. If the
audition panel feels you are not yet ready
for entry to this specialist postgraduate
programme, you may be offered a place
on the Preparatory Opera Course with a
view to re-auditioning for Royal Academy
Opera in the following year. (Non-operatic
candidates should apply for Vocal Studies.)
Opera Role Coaches and Music Staff

Alexander Crowe MA
Audrey Hyland BA, Hon ARAM
Jonathan Papp FRAM, DipRAM, GRSM
Michael Pollock MA, MMus, Hon ARAM, ARCM
Peter Robinson MA, FRCO
Susanna Stranders BA, LGSM, Adv. Dip
Lionel Friend LRAM, ARCM
Recent and Forthcoming Highlights

2015: The Rakes Progress
> 2014: Ariodante with Jane Glover; The Rape
of Lucretia with Steuart Bedford; double bill
of Suor Angelica and Gianni Schicchi
> 2013: Eugene Onegin conducted by Jane
Glover; Lenfant et les sortilges at Barbican
We also offer opportunities for pianists to
Hall with BBCSO conducted by Stphane
specialise as rptiteurs/coaches, working Denve, broadcast on BBC Radio 3; double
on a wide variety of repertoire, in many
bill of The Lighthouse and Dido and Aeneas;
languages, with distinguished conductors
Massenets Cendrillon
> 2012: Die Zauberflte; Prologue to Ariadne
and directors. In addition to playing for
rehearsals, rptiteurs have continuing
auf Naxos (semi-staged); Jonathan Doves
piano lessons, individual sessions with
Mansfield Park; Haydns La vera costanza
opera coaches, and many opportunities
with Trevor Pinnock
> 2011: Acclaimed premiere of Kommilitonen!
to work with language coaches and
singing professors. Assuming the duties
by Sir Peter Maxwell Davies
of chorus master and assistant conductor > Richard Lewis/Jean Shanks Award
is also possible. This is normally a twofor postgraduate singers
> Patric Schmid Opera Rara Bel Canto Prize
year Postgraduate Diploma, although
in exceptional circumstances it may be
completed in one year.
Recent graduates include
Mary Bevan (2011) Royal Opera, English National Opera
Visiting Professors, Singing Professors,
Allan Clayton (2007) New York City Opera, Royal Opera,
English National Opera, Glyndebourne, Opera North, De
Vocal Repertoire Coaches and Song
Classes and Language Professors are listed Nederlandse Opera, Bayerische Staatsoper, Komische Oper
Berlin, Festival dAix-en-Provence
under Vocal Studies on the previous page.
Lucy Crowe (2004) New York Met, Chicago Lyric Opera,
Royal Opera, English National Opera, Glyndebourne, Opra de
Head of Vocal Studies
Dijon, Bayerische Staatsoper, Deutsche Oper Berlin
Iestyn Davies (2005) New York Met, La Scala Milan,
English National Opera, Welsh National Opera
Principal Operatic Coaches
Kishani Jayasinghe (2006) Royal Opera, Glyndebourne,
Mary Hill MA, LRAM, Hon ARAM, ARCM
Garsington
Ingrid Surgenor MBE, FRAM, FWCMD, GRSM
Aoife Miskelly (2012): Festival dAix-en-Provence, Oper Kln
Ed Lyon (2004) Royal Opera, Glyndebourne, Opera North,
Sir Arthur Sullivan Visiting Professor
Welsh National Opera, Bayerische Staatsoper, Aldeburgh
Anthony Legge MA, Hon RAM
>
Festival, Stuttgart Opera, La Monnaie
Head of Preparatory and Vocal

Faculty Opera
Gareth Hancock MA, RAM, ARCM
Resident Producer
John Ramster BA, Hon ARAM
Viktor Rud (2006) La Scala Milan, Hamburgische Staatsoper

Administrator: Nicola Candlish
Telephone 020 7873 7383
Piano and
Piano Accompaniment
www.ram.ac.uk/piano
Alexandra Vaduva
Studying at the Academy has been one
of my life-long dreams. Having had the
opportunity to be a part of this incredible
place still feels unreal at times. I chose to
study here as an undergraduate, and then
to stay on as a postgraduate, because I
strongly wanted to be in a environment that
challenges me on a daily basis. My current
piano teacher, Diana Ketler, is a great source
of inspiration she is the one who has
mostly shaped my musical thinking, and I
am deeply grateful to her.
I have performed so many times during

my years here, both as a soloist and as a
chamber musician. One of the memories
that I treasure greatly dates back to my third
undergraduate year, when I performed
Stravinskys Concerto for Piano and Wind.
The many other highlights have included
recording Steve Reichs Variations for Two
Pianos, Vibraphones and String Quartet,
and performing the Bartk Sonata for
Two Pianos and Percussion at Kings
Place. I have also had the honour to play
in masterclasses for many of the famous
musicians who visit here, including Imogen
Cooper and Stephen Kovacevich.
I believe that the Academys holistic
teaching system has made me want always
to be a better and better musician. It has
given me all the tools necessary to succeed
once I graduate.
Head of Piano
Professor Joanna MacGregor OBE, FRAM
One of the worlds most innovative
musicians, a celebrated pianist of a wide
and diverse repertoire, performing in major
concert halls; she studied at the Academy.
Has performed as soloist in over 60 countries,
and released over 30 recordings, ranging
from Bach, Scarlatti, Ravel and Debussy
to jazz and new music. Founder of her
own label SoundCircus, now with Warner,
she curates major festivals regularly
(Bath, Royal Opera House, Luxembourg,
Dartington Summer School), and
broadcasts on both TV and radio.
The Piano Faculty has a worldwide
reputation for training pianists as soloists,
chamber musicians and accompanists. It
attracts talented students from all over the
world, making it one of the Academys most
diverse and exciting departments.
Our undergraduate and postgraduate pianists
are intelligent, proactive and professional,
and are given plenty of opportunities to
perform. We encourage students to design
and curate their own concerts, commission
and collaborate, and to think about their roles
as twenty-first century musicians.
We encourage our pianists to perform as
much as possible, whether its an informal
concert in the Henry Wood Room or a
major concerto in Dukes Hall. All pianists
can take part in the annual Summer Piano
Festival, where we showcase students
playing a huge array of repertoire in original
and imaginative contexts: chamber and solo
music, early keyboards in the Museum,
multimedia and film collaborations, and
drama and poetry collaborations.
The Academy offers two areas of Principal
Study for pianists:
Piano Solo (undergraduate and postgraduate)
Focus on solo repertoire, concerto
performance and all aspects of professional
training. Students work closely with their
piano professor, but also have opportunities
to play to Visiting Professors and in public
masterclasses.Training also includes regular
chamber music and accompaniment,
working with composers and visual artists,
and opportunities to explore early keyboards.
Piano Accompaniment
(postgraduate only)
Specialist piano accompaniment lessons
with both singers and instrumentalists.
Chamber music collaborations are frequent
and performed regularly. These ensembles
are coached by professors of piano and from
other departments. Students can also
choose to receive lessons in solo piano work.
12 | 13
For the Academys Rptiteur course, see

Royal Academy Opera (page11). Some
rptiteur experience is also offered to
students studying in the Piano Faculty.
Our professors include celebrated

performers and pedagogues, recording
artists and festival directors. Teachers
are allocated after successful auditions;
students can express a desire to study with
a specific teacher and the Head of Piano will
review such requests. Visiting Professors
come in frequently to work with students
in masterclasses, give lectures, and teach
one-to-one lessons.
Professors of Piano
Professor Joanna MacGregor OBE, FRAM
(Head of Piano)
Sulamita Aronovsky MA, FRSA, Hon ARAM

Nicola Eimer DipRAM, MMus, ARAM
Professor Christopher Elton FRAM
(Professor Emeritus of Keyboard)
William Fong PPRNCM, Hon ARAM

Ian Fountain Hon RAM
Rustem Hayroudinoff ARAM
Diana Ketler ARAM
Professor Hamish Milne FRAM
Pascal Nemirovski Hon ARAM
Tessa Nicholson Hon ARAM, LRAM
Carole Presland MusB, GRNCM, PPRNCM, Hon ARAM
Tatiana Sarkissova Grad (Moscow State Cons.), Hon ARAM
Colin Stone
Visiting Professors
Imogen Cooper CBE, Hon RAM
Visiting Professor of Interpretation of Piano and Song
Pascal Devoyon Hon ARAM
(Broadwood Visiting Chair of Piano, pictured above)
Stephen Hough CBE, Hon RAM

Kathryn Stott Hon RAM
Yevgeny Sudbin FRAM
Piano Ensemble Coaching
Michael Dussek FRAM (Head of Piano Accompaniment)
John Reid ARAM (Chamber Music Administrator)
James Baillieu ARAM
Ian Brown
Julius Drake Hon RAM
Nicola Eimer DipRAM, MMus, ARAM
Diana Ketler ARAM
Malcolm Martineau MA, Hon RAM
Andrew West ARAM
If you are an accompanist or rptiteur,
you must bring your own soloist(s) to your
audition please contact the Registry
at least three weeks in advance if you
experience difficulties in arranging this.
Recent student successes include
> Jayson Gillham: First Prize, Montreal
International Piano Competition 2014
> Florian Mitrea: winner of Lagny-sur-Marne
Competition in Paris, 2014
> Andrejs Osokins: Finalist and Laureate of
2014 and 2012 Rubinstein Competitions
> Matthew Fletcher: Accompanists Prize
winner at Kathleen Ferrier Awards 2014
> Isata Kanneh-Mason: Keyboard Finalist,
BBC Young Musician 2014
> Belle Chen: founder and artistic director
of multimedia Heard Behaviour
> Chiyan Wong: Naxos contract to record
Liszt transcriptions
> Karim Said: three solo recitals in Southbank
Centres The Rest is Noise Festival, 2013
> Chiao-Ying Chang, Fournier Trio: winner
of the Parkhouse Ensemble Award 2013,

Wigmore Hall and Southbank debuts
> Viviana Lasaracina: Young Concert Artists
winner, New York, 2013
> Christina McMaster: performances at
Southbank Centre and The Forge
> Anna Dmytrenko: New York recital debut,
prizewinner in the New York International
Piano Competition
> Kei Takumi: finalist and prizewinner at
Hamamatsu International Piano Competition
> Thomas Primrose: Accompanists Prize
winner at the Young Ferrier Competition
> Finnegan Downie Dear: joint winner of
Gerald Moore Award 2013; making it
success for the Academy in seven out
of the last eight competitions
Academy graduates include
> Benjamin Grosvenor (a skill and talent not
heard since Kissins teenage Russian debut

Gramophone)
> Freddy Kempf (If it is true that an artists
finest years come with age, then the mind
boggles at the possibilities The Guardian)
> Ashley Wass (Wass has a magic touch
Gramophone)
^
> Lly
r Williams (One can only marvel at this
extraordinary artist The Guardian)
> Yevgeny Sudbin (A blistering recital...
superb Daily Telegraph)
Department Administrator:
Emily Mould BMus, MMus
Telephone 020 7873 7405
Open Day: Tuesday 23rd Sept. 2014
Composition &
Contemporary Music
www.ram.ac.uk/composition
Carter Callison
Since beginning my studies at the Royal
Academy of Music, I have been involved
in many different aspects of Academy
life. Not only have I developed many new
techniques that have helped me express
my musical intentions, but I have also had
the opportunity to collaborate with many
professional ensembles. These have
included commissions for the BBC Singers,
the Spitalfields Summer and Winter
Festivals, as well as collaborations with
numerous student ensembles.
The composition faculty has been

extremely influential in fostering my own
musical voice. My decision to attend the
Academy has not only helped make me a
better composer, but has given me many
opportunities that have helped me at the
early stages of my career. In addition to
working as the Manson Composition
Fellow, I have begun to pursue a PhD
with a focus on string scordatura.
Head of Composition
Philip Cashian BMus, DMus, Hon ARAM
A rewarding and highly individual
composer ( The Observer), his music has
been performed and broadcast worldwide
recently including Ojai Festival (California),
Musikmonat (Basle), St Paul Chamber
Orchestra, Esprit Orchestra (Toronto),
Aldeburgh, Spitalfields and Huddersfield
Contemporary Music Festivals and BBC
Proms amongst many others. Recordings
are available on the NMC, Usk, Riverrun
and BGS labels. He has also devised and
led numerous projects with children and
amateur musicians.
Composition at the Academy has an
international reputation centred on
intensive project-based undergraduate
(four-year BMus) and postgraduate
(two-year MMus, one-year MA, postMasters one-year Professional Diploma
and three-year PhD) programmes.
Work is rehearsed and recorded in regular
workshops with instrumental and vocal
students. Many opportunities arise for student
compositions to be played by ensembles
and orchestras, and commissions are
offered to write for a large number of
events with professional performers
both within and outside the Academy.
A seminar series underpins all studies and
features such guest composers as Hans
Abrahamsen, Gerald Barry, Brian Eno,
Beat Furrer, Simon Holt, Oliver Knussen
and Martijn Padding.
Undergraduate BMus
The four-year BMus in Composition is
designed to reflect the opportunities and
challenges faced by todays music creator.
Postgraduate composers are expected to

become involved in concerts and different
kinds of collaborative work, and to make
the most of the Academys thriving
environment.
Professors of Composition
Christopher Austin BA, Hon ARAM
Professor Simon Bainbridge FRCM, Hon RAM
(Senior Professor of Composition)
Gary Carpenter LRAM, Hon RAM, ARCM

Dr Philip Cashian BMus, DMus, Hon ARAM
(Head of Composition)
Dr Tansy Davies
Paul Patterson FRAM, FRNCM, FRSA
(Manson Chair of Composition)
Dr David Sawer BA, DPhil, Hon ARAM

Visiting Professors
Sir Harrison Birtwistle CH, FRAM
Tod Machover
Professor Sir Peter Maxwell Davies CH, Hon ARAM
James Newton Howard Hon ARAM
Professor Bent Srensen
Supporting Studies
Dr Timothy Bowers BMus, DPhil, FRAM, ARCM
(Alan Bush Lecturer) (Practical notation, Techniques & Analysis)
The undergraduate curriculum includes

individual tutorials, orchestral workshops,
weekly composition and analysis seminars,
orchestration classes, Media Music
Ensemble, electronic techniques, Writing
for Theatre and education workshops.
Dr scar Colomina i Bosch MMus, PhD

(Orchestration)
Kirsten Cowie BMus, Hon ARAM (Recording Engineer)

Dr Peiman Khosravi MMus, PhD (Creative Technology)
Paul Morley (Music and Contemporary Culture)
Dr Patrick Nunn BA, ACC (WCMD), PhD, LRAM, ARAM
(Techniques of composition)
Postgraduate MMus or MA
Composition postgraduates can choose
either a one-year MA or a two-year MMus
programme. Both of these intensive
programmes have a demanding schedule
of project-work.The aim is for students
to consolidate their technical skills and to
gather experience of composing in as
wide a range of professional contexts as
possible, whilst stimulating the development
of their particular compositional personalities.
14 | 15
Critical reflection is conceived as vital to

this balance of internal and external stimuli,
so all postgraduate composers engage in
academic project-work: either a Research
Project or Concert Project (the organisation
and presentation of a concert built around
the composers own music).
Recent Highlights
Regular workshops and recording sessions
with Academy Symphony Orchestra
> Collaborative projects with the brass,
percussion and woodwind departments
> Workshops or performances of music
composed over the year, in total more than
eighty works
> Workshops and concert of student work
with Blossom Street Singers
> Performances of student works at
Spitalfields Music
> Concerts, discussions and composition
classes with visiting composers
Oliver Knussen (pictured above),
George Benjamin, Sir Harrison Birtwistle,
Dan Dediu, Beat Furrer, Betsy Jolas,
Thea Musgrave and Judith Weir
> Undergraduate recording sessions with
a studio orchestra, Symphonic Wind
Ensemble and Manson Ensemble
> Performances of student works at Kings
Place and The Forge, Camden
> Regular workshops with Sir Peter
Maxwell Davies
> Workshops and concert of student work
with CHROMA
> Projects with Bristol School of Animation
> Collaborative project with choreographers
at Roehampton University
> Electroacoustic works performed as part
of Nonclassical club night
> Student performances at Paris Conservatoire
> Student performances at the British
Composition Season in Bucharest
> Student choral works performed at Dartington
International Summer School
>
Illustrious Past Students

Craig Armstrong, Sir Harrison Birtwistle,
At the Academy I was soon mixing
Ruth Byrchmore, Cornelius Cardew, Brian
with teachers and pupils constantly
Ferneyhough, Nicholas Maw, Michael
engaged with the problems serious
Nyman, Paul Patterson, Augusta Read
music faces in a frivolous age
Thomas, and many recent graduates
including Luke Bedford, Nimrod Borenstein, Paul Morley, The Observer
James Brett, Joe Duddell, Adam Gorb,
Elena Langer, Alwynne Pritchard, James
Radford, Martin Suckling, Luis Tinoco and
Benjamin Wallfisch.
Philip Knight MMus
Telephone 020 7873 7379
Jazz
www.ram.ac.uk/jazz
Flo Moore
I decided I would like to study at the
Academy after taking part in Junior
Academy the previous year, and was
delighted to be offered a place on the
degree course.
Its been a fantastic opportunity to work
with some of the UKs leading jazz
musicians, and with many international
artists. Recent highlights have included
masterclasses with John Hollenbeck and
Ambrose Akinmusire, as well as a great
week with Dave Holland it is always so
valuable to hear from people who speak
from experience at a high level.
Being exposed to so many different
playing and writing styles has been great
preparation for the many performance
situations I expect to encounter in the
future. There is a unique emphasis on
composition and arranging Ive found
this particularly useful as its encouraged

me to write original material that I can use
for my own projects.
I have made some great friends here,
and its been a privilege to study in an
environment with so many supportive
and enthusiastic musicians. Its an ideal
opportunity to build musical relationships
that will continue beyond the Academy and
into our professional lives.
Head of Jazz Programmes

Nick Smart BABM, PGDip, LGSM, Hon ARAM
Internationally renowned jazz educator,
trumpeter and musical director, Nick is
in regular demand to musicians of all
generations on the London and European
jazz scenes. He also records and tours
with his own projects Nick Smarts
Trogon, Black Eyed Dog and Trio. As a
sideman he has performed with international stars including George Russell,
Bob Brookmeyer and John Hollenbeck,
as well as being a member of the Kenny
Wheeler Big Band and the regular soloist
with the James Taylor Quartet.
The Academy has for many years now
produced the most outstanding array of
exciting, versatile, creative and employable
musicians to emerge on to the jazz scene.
So what is so unique about studying at
the Academy that equips our graduates to
achieve such consistently high levels? We
offer an ideal supportive environment in
which to learn and experiment with this
extremely broad art form. There is a strong
emphasis on performance and composition,
with opportunities to play with your own
groups at the Academy and also at the
many venues with which we have strong
links, including the 606, the Vortex, the
Forge, Ronnie Scotts and Kings Place.
The course benefits from small numbers,
enabling you to receive a personalised
education and close support throughout
your studies. The students of each yeargroup grow and develop as an ensemble,
playing together extensively in projects and
classes as well as collaborating with other
players. This interaction between peers
naturally develops to a level where lifelong
musical associations are formed.
The finest jazz musicians have always been
complete musicians with a unified voice
through their improvising, composing and
arranging: from Duke Ellington to Herbie
Hancock, Wayne Shorter to Kenny Wheeler.
We strive to continue this tradition with a
full and varied course covering many aspects
and forms of jazz and applications within
other genres. We aim that, by graduation,
you will have found your own creative voice
and will be equipped with a versatile set of
skills to enable you to pursue the future you
want as a working musician.
You can find Academy graduates wherever
innovations are being made. John Escreet
and Orlando le Fleming are working in New
York, and in London Kit Downes, Gwilym
Simcock and Jasper Hoiby, among many
others, have enjoyed countless successes.
16 | 17
We run a four-year BMus undergraduate

programme and MA and MMus
programmes of 12 years. At post-Masters
level we offer a one-year Professional
Diploma and one-year Advanced Diploma.
International Jazz Artist in Residence

Dave Holland
Bass (electric and acoustic)

Jeremy Brown | Tom Herbert
Jasper Hoiby | Michael Janisch
Visiting Professor of Jazz

John Hollenbeck
Drum Kit
Martin France | Ian Thomas | Jeff Williams
Composition & Arranging

Pete Churchill
Creative Technology
Peiman Khosravi MMus, PhD
Aural & Transcription

Tom Cawley ARAM
Jazz LRAM teaching qualification

Nick Smart
World Rhythms
Barak Schmool
Ensembles
Projects reflect the diversity of the jazz
scene.Tutors are selected from our
outstanding faculty alongside visiting artists
including Chris Batchelor, Tim Garland, Jim
Hart, Mark Lockheart, Oren Marshall, Seb
Rochford, Mark Sanders, JeanToussaint,
Will Vinson and Mike Walker
History
Alyn Shipton PhD | Martin Speake LTCL, FTCL
Keith Nichols GGSM, Hon ARAM
Jazz Supporting Studies
Nikki Iles Hon ARAM
20132014 Highlights
Big Band projects with John Hollenbeck,
Dave Holland, Keith Nichols Early Jazz
project, South African project with Byron
Wallen and Stuart Hall, plus a concert of
Saxophone
students own compositions
Martin Speake | Stan Sulzmann FRAM
> Masterclasses and composition clinics with
Iain Ballamy | Julian Siegel
Dave Holland, Jerry Bergonzi, Will Vinson,
Andy Panayi | James Allsop
John OGallagher, John Abercrombie
and Marc Copland, Ambrose Akinmusire
Trumpet
Quintet, John Hollenbeck and the Claudia
Nick Smart | Mike Lovatt
Quintet, Steve Argelles, Ronan Guilfoyle,
Trish Clowes and Luke Styles
Trombone
> Kenny Wheeler Jazz Prize: 2013 winner
Gordon Campbell | Mark Bassey
Lauren Kinsellas album to be released by
Edition Records in Autumn 2014
Voice
Nia Lynn | Pete Churchill | Norma Winstone > Professional Development seminars with
Chris Hodgkins (Jazz Services), Denys
Baptiste (Arts Council England), Jon Newey
Piano
(Jazzwise), Helen Mayhew (JazzFM), Dave
Tom Cawley | Nikki Iles | Gwilym Simcock
Stapleton (Edition Records)
Liam Noble
> Academy student gigs at Kings Place,
Ronnie Scotts, the Forge, Pizza Express,
Guitar
the 606, the Spice of Life and the Vortex
John Parricelli | Mike Walker | Phil Robson
> Museum exhibition of Kenny Wheelers
archive of original music and memorabilia,
Vibes
plus a series of concerts and lectures
Jim Hart | Anthony Kerr
Repertoire/Improvisation
Pete Churchill | Martin Speake
Nick Smart | Tom Cawley
Violin
Christian Garrick
>
Philip Knight MMus
Telephone 020 7873 7379
Open Day: Monday 22nd Sept. 2014
Historical
Performance
www.ram.ac.uk/historical
Jordan Bowron
My journey as a period instrumentalist
began when I developed a keen interest
during my final stages as an undergraduate.
I felt that the Academy was the place for
me to take those next crucial steps.
There is a highly disciplined approach here
to developing as a professional not just
in your principal study, but in a broad range
of areas to make you as employable as
possible. Some of these include regular
drop in sessions with your academic
tutor, talking about your aspirations and
discussing ways in which you can tailor
your own learning to achieve your goals.
Its never quiet your schedule will
always be packed with a fascinating range
of classes, both academic and practical,
and endless performing opportunities.
We also have regular classes on tuning
and temperaments, baroque dance
and continuo. Non-keyboard players
are expected to be competent in basso
continuo and reading figured bass.
Some highlights for me have included
performing with Laurence Cummings and
the Baroque Orchestra at Kings Place, solo
opportunities in the Bach Cantata series
including working closely with Masaaki
Suzuki and a Wigmore Hall concert and
tour to Copenhagen with Rachel Podger.
The Academy has really understood and

has supported my wanting to balance
an active freelance career alongside
my studies. This enables me to make a
confident and successful transition into my
full professional life when I graduate.
Studying at the Academy really offers you
everything you could need to make you the
employable musician that you aspire to be.
Head of Historical Performance

Margaret Faultless
MA, FTCL, ARCM, Hon FBCU
Internationally renowned specialist

in historical performance practice,
violinist, director and co-leader of the
Orchestra of the Age of Enlightenment,
Margaret has been Head of Historical
Performance since 2012. She directs
orchestras all over Europe on modern
and period instruments, is the Artistic
Director of Music for Awhile, Director
of Performance Studies at Cambridge
University and Director of Studies of the
European Union Baroque Orchestra.
Many of the most outstanding performers
in the current generation of historical
performance specialists studied at the
Academy. Intensive training in all aspects of
historically informed performance practice
and interpretation combines with a full
involvement in Academy life through a range
of projects and performance opportunities.
Students learn a great variety of skills
and approaches that will equip them to
be a professional musician specialising in
historically-informed performance.
Students gain unrivalled experience in
ensemble playing alongside outstanding
orchestral opportunities for performances
at the Academy and beyond. Two years
ago, the famed Kohn Foundation Bach
Cantata Series was joined by another
major undertaking, to perform all Haydns
symphonies over the next ten years in a
variety of performance opportunities, on
period and modern instruments, from selfdirected classes and chamber versions to
workshops and orchestral concerts.
Principal-study tuition is provided on period
instruments by professors who are active
as soloists and in leading period instrument
ensembles. Additional sessions throughout
the course discuss the main areas of
historical performance practice from the
Renaissance to the Romantic with practical
emphasis as well as theoretical explanation.
All students participate in the dance project
each year. Other classes include sessions
for strings, recorder and viol consorts,
oboe band, basso continuo, repertoire and
professional development.
The Academy is custodian to many fine
instruments in baroque/classical set-up,
including violins by Stainer, Jacobs and
Klotz, and which are available for students.
The Becket Collection, a significant
collection of baroque and classical
instruments, was very generously donated
by Elise Becket Smith, enabling many
students to experience performing on
historical instruments, both in chamber
ensembles and orchestras. The Academy
also boasts a comprehensive library of rare
manuscripts and editions.
18 | 19
Mainstream students are encouraged to

take up Historical Performance as a second
study and are always welcome to perform
in small- and large-scale projects in the
Historical Performance department.
A harpsichord tuned to A=415 or A=440 is
available at London auditions, but no piano
Strings
Rachel Podger FGSMD, AGSMD, Hon RAM
(Micaela Comberti Chair of Baroque Violin)
Margaret Faultless MA, FTCL, ARCM, Hon FBCU

(violin, Head of Historical Performance)
Pavlo Beznosiuk AGSM (violin)

Nicolette Moonen (violin)
Simon Standage MA, Hon RAM (violin)
Matthew Truscott FRAM (violin)
Elizabeth Wallfisch FRAM (violin and viola)
Jane Rogers (visiting teacher, viola)
Jonathan Manson AM, Hon ARAM (cello,
viola da gamba)
Chi-Chi Nwanoku MBE, FRAM (double bass)

Elizabeth Kenny MA, ARAM (lute, theorbo)
Woodwind
Pamela Thorby (recorder)
Danil Brggen Hon ARAM (Visiting Professor of Recorder)
Peter Holtslag Hon ARAM (Visiting Professor of Recorder)
Lisa Beznosiuk Hon RCM (baroque flute)
Katharina Spreckelsen ARCM, Hon ARAM
(baroque oboe)
Andrew Watts (baroque bassoon)

Brass
See page 25.
Historical Keyboards
Carole Cerasi Hon ARAM (harpsichord, fortepiano)
Terence Charlston MA, MMus, ARAM, FRCO
(harpsichord, basso continuo)
Consultant Visiting Professor

Christopher Hogwood CBE, MA, HonMusD
Some Past Students

Joseph Crouch (2000), cello
Sarah McMahon (2001), cello
Richard Sweeney (2001), lute
Sarah Moffatt (2002), violin
Frances Norbury (2002), oboe
Sarah Sexton (2002), violin
Huw Daniel (2003), violin
Alfonso Leal Del Ojo (2004), viola
Joel Raymond (2004), oboe
Pawel Siwczak (2008), keyboard
Chris Bucknall (2009), keyboard
Rachel Chaplin (2010), oboe
Emily Ashton (2011), cello
Tom Foster (2011), harpsichord
20132014 Highlights
> A sixth year of sell-out performances in the
Royal Academy of Music/Kohn Foundation

Bach Cantata Series, shortlisted for the
Royal Philharmonic Society Awards 2012
and 2013, including guest appearance by
Masaaki Suzuki (pictured above)
> Academy Baroque Soloists directed by
Rachel Podger present A Bohemian Bazaar
at Wigmore Hall and at the Tivoli Festival
> Concerts and workshops in a ten-year
project to perform all Haydn Symphonies,
directed by Margaret Faultless
> Baroque project at Hatchlands Park, directed
by Lisa Beznosiuk
> Baroque Dance showcase with Mary Collins
> Masterclasses and Performance classes
with Rachel Podger, Danil Brggen and
Laurence Cummings
> Chamber concerts at the Academy
> Gresham series at Spitalfields with
Christopher Hogwood
Dont miss the Royal Academy of
Musics outstanding Sunday lunchtime
series surveying all of Bachs cantatas
The Times, February 2013
William Crotch Chair

Laurence Cummings MA, ARCM, Hon RAM, FRCO
Philip Knight MMus
Telephone 020 7873 7379
Musical Theatre
www.ram.ac.uk/mth
Liberty Buckland
The Academys Musical Theatre course
has obvious attractions: the worldclass teaching staff, the phenomenal
reputation, the opportunities to work
with professionals currently active in
the industry. But the reason I wanted so
desperately to study here was the culture
of designing the training individually for
each student. We were told from the
beginning that they dont want to affect
the things we already do well just add
to and improve the skills we need.
All the students have had such diverse
backgrounds and experiences before doing
the course (I have an undergraduate maths
degree), so part of the joy has been finding
what we could learn from each other, as
well as from the teachers! We are treated
as a company of actors rather than students
in training.
After our showcase I was lucky enough to

sign with an agent. In the weeks since then
Ive had some auditions, which are entirely
terrifying. The course really prepares you
for them, too I knew what to expect, and
how to manage my nerves.
Without a doubt though, the best thing Ive
got from this course is a network of support
that goes beyond the nine months you
spend here: the people on the course with
me, the staff and the alumni. I know this
will be invaluable as I embark on this most
unpredictable and rewarding of careers.
Head of Musical Theatre

Bjrn Dobbelaere MMus
Music director/supervisor to West End
and international productions of Phantom
of the Opera, Les Misrables, Fiddler on
the Roof, Miss Saigon, Chess, Cats, Guys
and Dolls, Mary Poppins, Sweeney Todd
and others. Regular guest conductor for
major musicals at Gothenburg Opera. Has
been involved in international educational
projects in the Middle East, Asia and
Scandinavia, and he has a keen interest
in promoting multimedia technology and
entrepreneurship in Musical Theatre.
Head of Musical Theatre since 2012.
Contemporary musical theatre demands
versatile performers of a high musical and
vocal standard, with strong dramatic and
verbal ability, together with dance and
movement skills. The Academys intensive
one-year MA (Master of Arts) in Musical
Theatre trains postgraduate (or equivalent)
students for a career in musical theatre. It
provides a direct link into the profession by
combining regular class work and one-toone tuition with practical opportunities.
Students have individual singing lessons,
repertoire coaching and spoken word
tutorials, as well as classes in voice and
the spoken word, extended vocal
techniques, dance, movement, acting,
singing, improvisation, history of musical
theatre, musicality, audition preparation
and extensive project work. Students also
take part in masterclasses and workshops
with visiting professionals, and in internal
competitions.
Applications should be made via CUKAS
(www.cukas.ac.uk). If you have any queries
about the application or audition process
please contact us: email [email protected]
or telephone 020 7873 7483.
Postgraduate Diploma in Musical
Direction and Coaching
This programme is structured according
to individual needs and experience, and
operates in tandem with the Musical Theatre
programme. Emphasis is placed on sightreading of piano/vocal scores (including
transposition), pianistic styles, conducting
technique, full score analysis, coaching,
and the management of all tasks related
to the musical preparation of projects,
from arranging, orchestrating, copying
and keyboard programming to leading and
conducting vocal and orchestral calls. If you
would like to apply, please contact us to
discuss further details.
20 | 21
Most Recent Student Successes

Musical Theatre and Musical Director
graduates are working extensively in the
West End, on UK tours, in international
productions and in TV/film.
See www.ram.ac.uk/mth for details of
some current and recent work.
Core Teaching Staff

Bjrn Dobbelaere MMus (Head of Musical Theatre)
Mary Hammond FRAM, LRAM
Specialist Musical Director Coaches

Bjrn Dobbelaere MMus
Andrew Friesner GMus RNCM, Hon ARAM
Mark Warman MA, ARCM, Hon ARAM
David White BA, FRAM
(Sondheim Professor of Musical Theatre Vocal Studies)
Karen Rabinowitz Hon ARAM

(Programme Leader, Director, teaching Acting and Movement)
Andrew Friesner GMus RNCM, Hon ARAM
Singing Teachers include

Ross Campbell ARCM, DipRCM (Perf)
Kevin Fountain LRAM, DipRAM
Ann James BA, LRAM, ARAM
Maureen Scott EVTS, CMT, Hon ARAM
Louise Shephard MA, Hon BC, ARAM
James Spilling BMus, ARAM, LRAM
(Musicality)
Marco Morbidelli BA, MA (Voice)

In 2013/14, Dance Teachers included
Julie Armstrong Hon ARAM
Rebecca Giacopazzi
Jayde Westaby
Alyssa Noble
Genevieve Nicole
Ashley Nottingham
Lucy Jane Adcock
Panel of Advisors
John Caird, Howard Goodall, Rob Halliday,
Howard Harrison, Charles Hart, James
Holmes, Sir Nicholas Hytner, Martin Koch,
Christopher Legge, Julia McKenzie Hon RAM,
Andrew Neil, Dame Diana Rigg, Matt Ryan,
Nick Skilbeck, Tony Slattery
Visiting Teachers
External directors, musical directors and
choreographers are employed for specific
projects, and have recently included:
Paul Warwick Griffin Guest Director
Drew McOnie Guest Choreographer
Naomi Jones Guest Director
Nathan M Wright Guest Choreographer
Peter Cregeen Television Director
Matthew White Guest Director
Matt Ryan Guest Director
Jennifer Whyte Guest Musical Director
Raul Cassinerio Guest Choreographer
Sam Spencer-Lane Guest Choreographer
Daniel Bowling Guest Musical Director
Guy Retallack Guest Director
Torquil Munro Guest Musical Director
Paul Harris Guest Choreographer
Mark Etherington Guest Musical Director
Matthew Lloyd Guest Director
Julian Bigg Guest Musical Director
Repertoire Coaches include:

Stuart Barr MPhil, MA, PGAdvDip RCM, Hon ARAM
Stephen Hill FLCM, ARCM, Hon ARAM
Sam Kenyon BA, ARAM, LRAM
Stuart Morley BMus, PGDip, DipRAM, ARAM
Louise Shephard MA, Hon BC, ARAM
20132014 Highlights
Performances with Sir Elton John live
on BBC Radio 2 in Concert, in the iTunes
Festival from Londons Roundhouse and
at the London Palladium to celebrate his
receipt of the first ever BRITs Icon Award
> Showcase for agents and casting directors
> Concert 191418: The Other Theatre of
War, in conjunction with the Academys
Museum
> Major productions including A Man of No
Importance, Little Women and a cabaret:
Till the Clouds Roll by... the evergreen
songs of Jerome Kern (also performed at
St James Theatre)
> Masterclasses and lectures with David
Charles Abell, Tony Castro, Andrew Lippa,
Steve Ross, Frances Ruffelle, Jeremy
Sams and Gareth Valentine
> Competitions judged by David Charles
Abell, Seann Alderking, Darius Campbell,
Daniel Evans and Tamara Harvey
>
Department Co-ordinator:
Stephen Minay BA
Telephone 020 7873 7483
Open Evenings: Thursday 9th and
Thursday 23rd Oct. 2014
Woodwind
www.ram.ac.uk/woodwind
Charlotte Ashton
Since coming to the Academy, I have
developed so much as a musician. The huge
choice of teachers was what initially drew
me to the Academy and Ive learnt so much
from them, both in my individual lessons and
in masterclasses.
The opportunity to perform frequently has
helped me gain confidence when working
under pressure, and has eased the stress
leading up to concerts and auditions.
Aside from my own flute technique, I have
also been developing how I play with other
people, both in an orchestral setting and
within a smaller ensemble. The Academy
strongly encourages chamber music, and
I have found working regularly with other
wind players invaluable to my orchestral
awareness and technique. I have been lucky
enough to have some fantastic performance
opportunities, including a memorable trip
to Brazil, chamber group performances in
high-profile London venues and side-byside projects with professional orchestras.
All of these help to bridge the daunting
gap between student life and becoming a
professional musician.
Head of Woodwind
Keith Bragg AGSM, Hon RAM
Studied with Judith Pearce and William
Bennett, then in Paris with Maxence
Larrieu. Principal Piccolo of the
Philharmonia Orchestra since 1982,
and Chairman of the Philharmonia from
1990 to 2005, he has performed with all
the major London orchestras. A founder
member of the Elysian Wind Quintet,
the leading British ensemble of its kind
for over twenty years, which performed
at major festivals all over Europe and
developed a formidable reputation in
contemporary music.
The Woodwind Faculty provides a thorough
and broad-based training in all significant
aspects of preparation for entry to the music
profession. Teamwork is a key element in
the department and students are free to
work with more than one professor.
Individual lessons for Principal Study and
related instruments are complemented
by intensive training in orchestral studies,
art of teaching, reed-making and basic
instrument maintenance. Students are
led by one of a team of eminent soloists
in regular performance classes, giving an
opportunity to experiment and to explore
communication skills.
Chamber music for wind and for mixed
ensemble is a major part of the departments
programme. Concerts are frequent; all
ensemble work is coached and the standard
of performance is very high.
Flute
William Bennett OBE, Hon RAM
Visiting Professors of Clarinet

Andrew Marriner (Principal, London Symphony
(international soloist; Principal, English Chamber Orchestra)
Orchestra and Academy of St Martin in the Fields)
Keith Bragg AGSM, Hon RAM (piccolo)
Patrick Messina
(Principal Piccolo, Philharmonia Orchestra)
(Principal, Orchestre National de France)
Samuel Coles Hon ARAM (Principal, Philharmonia)

Michael Cox Hon ARAM (Principal, BBC Symphony Orchestra)
Paul Edmund-Davies Hon ARAM (Principal, ENO)
Kate Hill Hon ARAM (Principal, Britten Sinfonia and
Saxophone
Simon Haram Hon ARAM
(Principal, London Sinfonietta)
Co-Principal, English Chamber Orchestra)
Sophie Johnson (Principal Piccolo, BBC Concert Orchestra)

Karen Jones GSMD, Hon ARAM
Bassoon
Amy Harman Hon ARAM
(Principal, City of London Sinfonia)
(Principal, Philharmonia Orchestra)
Helen Keen (Principal Piccolo, Royal Philharmonic Orchestra)

Patricia Morris Hon ARAM (piccolo)
John Orford Hon RAM, ARMCM

(Principal, London Sinfonietta)
David Chatterton Hon ARAM, AGSM, Cert Ed
(former Principal Piccolo, BBC Symphony Orchestra)
Clare Southworth GRNCM, PPRNCM, Hon ARAM
(former Principal Contra-bassoon, Royal Philharmonic

Orchestra)
(international soloist and tutor)
Visiting Professor of Bassoon

Robin ONeill Hon ARAM
Visiting Professor of Flute

Emily Beynon
(Principal, Philharmonia Orchestra)
(Principal, Royal Concertgebouw Orchestra)
The Academys Woodwind Faculty

operates a side-by-side sit-in scheme with
the Philharmonia Orchestra. Students are
coached in important repertoire before
playing in rehearsal with the orchestra.
Oboe
Christopher Cowie Hon ARAM
Recent masterclasses have been given

by Emmanuel Abbhl, Meyrick Alexander,
Laurent Ben Slimane, William Bennett,
Emily Beynon, Roger Birnstingl, Maurice
Bourgue, Wissam Boustany, Samuel
Coles, Gareth Davies, Paul Edmund-Davies,
Andrea de Flammineis, Martin Frst, Simon
Haram, Daniel Jemison, Jonathan Kelly,
Maxence Larrieu, Marco Lugaresi, Andrew
Marriner, Lorna McGhee, Patrick Messina,
Alexei Ogrintchouk, Robin ONeill, Antony
Pay, Robert Plane, Julie Price, Graham
Sheen, Helen Simons, Jacques Tys,
Matthias Ziegler and Jacques Zoon.
(Principal Oboe, London Philharmonic Orchestra)
(Principal Oboe, Philharmonia Orchestra)
Jill Crowther Hon ARAM

(Principal Cor Anglais, Philharmonia Orchestra)
Ian Hardwick
Celia Nicklin FRAM (former Principal, Academy of
St Martin in the Fields and London Mozart Players)
Melanie Ragge MA, MPhil, Dip RCM, Hon ARAM, LRAM

(New London Chamber Ensemble)
Timothy Rundle
(Sub-Principal Oboe, Philharmonia Orchestra)
Visiting Professor of Oboe

Jonathan Kelly
(Solo (Principal) Oboe, Berliner Philharmoniker)
Clarinet
Timothy Lines Hon ARAM
Angela Malsbury Hon RAM
(former Principal, London Mozart Players)
Chi Yu Mo (E flat; Principal, London Symphony Orchestra)

Keith Puddy FRAM, FTCL
LRAM (Art of Teaching)

Janet Way Hon ARAM
20142015 Highlights
Performances of significant chamber
works given with Academy professors,
both at the Academy and in venues outside
> Performances by Academy Symphonic
Wind including major works by Strauss,
Dvork, Jancek, Mozart, Haydn and Brahms
>

Recent graduates play with the Berlin
Philharmonic, BBC orchestras, CBSO,
English National Opera, Gothenburg Opera,
Hong Kong Philharmonic, Iceland Symphony
Orchestra, London Philharmonic Orchestra,
London Symphony Orchestra, New York
Metropolitan Opera, Royal Concertgebouw
Orchestra, Royal Philharmonic Orchestra,
Royal Swedish Opera, Suisse Romande and
others.
> Recent graduates include Adam Walker,
Principal Flute, London Symphony Orchestra.
>
(former Principal, New Queens Hall Orchestra)
Christopher Richards
(Co-Principal, London Symphony Orchestra)
Laurent Ben Slimane (bass clarinet)

(Principal Bass Clarinet, Philharmonia Orchestra)
Mark van de Wiel MA, ARCM, Hon ARAM, DUniv

(Principal, Philharmonia Orchestra, London Sinfonietta)
22 | 23
Francesca Johnson BA
Telephone 020 7873 7320
Open Day: Friday 3rd Oct. 2014
Brass
www.ram.ac.uk/brass
Carys Evans
What I find most encouraging at the
Academy is being surrounded by so many
dedicated musicians who share very similar
ambitions. Having the support of both
professors and peers makes the hard work
so much more enjoyable its a team effort.
In the music world you need to get your
name out there, to play for the right people
at the right time, and being at the Academy
we are given so many opportunities to do
that. Im now in third year and studying with
three different professors all with their
own unique angles and ideas which is vital
to my learning.
Ive had innumerable valuable experiences

here starting with Shostakovich Five
in my first year, then recording discs
produced by the Principal, playing at
Wigmore Hall and commissioning brandnew music with my wind quintet, Notus
Winds, amongst others. I now freelance
with several professional orchestras and
ensembles in the UK as well as being
heavily involved with Open Academy. I am
aiming to combine playing with work in
music therapy.
The Academy is a great community to
be part of and ideal preparation for the
profession.
Artistic Director and Head of Brass

Mark David Hon ARAM
Principal trumpet of the Philharmonia
19922012, principal trumpet of Academy
of St Martin in the Fields and a member
of the Nash Ensemble. Has performed
as a soloist with the Philharmonia and
Academy of St Martin in the Fields in the
UK and Europe, and has given recitals in
the UK and abroad. Studied with John
Wilbraham at the Birmingham School
of Music and in Sweden with Hkan
Hardenberger. Appointed in September
2011, succeeding the late James Watson.
The Academys Brass Faculty has

established itself as one of the foremost in
the world. The distinguished resident and
visiting teachers of brass are active at the
highest professional level, and include
principals with Londons leading orchestras
and world-renowned soloists. Students
are thus kept in close touch with professional
developments and opportunities.
Orchestral and ensemble playing are central
to the curriculum, and the Academy expects
students to investigate all periods of
performance technique, from historical
performance to contemporary idioms.
As well as orchestral and chamber concerts,
regular rehearsals, sectionals and chamber
ensembles are led by distinguished
performers from both inside and outside
the Academy.
You can watch recent events, including a
live recording of the Brass Open Day, at
www.ram.ac.uk/brass
Director of Brass Ensembles
Elgar Howarth
Senior Tutor of Brass
Robert Hughes FRAM
Horn
Martin Owen FRAM (Principal, BBC Symphony Orchestra)
Michael Thompson FRAM
Aubrey Brain Chair of Horn (international soloist)
Richard Watkins FRAM

Dennis Brain Chair of Horn (international soloist)
Katy Woolley Hon ARAM (Principal, Philharmonia Orchestra)

International Visiting Professors of Horn
Alessio Allegrini
Radovan Vlatkovic Hon RAM
24 | 25
Trumpet
Paul Beniston BA, MMus, ARCM, FTCL
Historical Brass Instruments

Robert Farley Hon ARAM (natural trumpet and cornetto)
(Principal, London Philharmonic Orchestra)
(Principal, Hanover Band)
Mark David Hon ARAM (Artistic Director and Head of Brass)

Robert Farley Hon ARAM (Principal, Hanover Band)
Rod Franks Hon ARAM, Hon DUniv
John Hutchins BMus, LRAM, ARAM (natural trumpet)

Roger Montgomery BA, LLB, Hon ARAM (natural horn)
(Principal, Orchestra of the Age of Enlightenment)
Stephen Wick Hon ARAM (serpent and ophicleide)
(Principal, London Symphony Orchestra)
Will OSullivan ARCM, DipRCM
(London Gabrieli Brass)
Adam Woolf (sackbut and early trombone)

LRAM (Art of Teaching)
John Hutchins BMus, LRAM, ARAM
(Sub-Principal, English National Opera)
Gareth Small FRAM (Principal, Hall Orchestra)

International Visiting Professors
of Trumpet
Eric Aubier
Reinhold Friedrich Hon RAM
Derek Watkins Chair of Trumpet
Mike Lovatt
James Watson Associate Professor of
Trumpet
Jason Evans
Tenor Trombone
Ian Bousfield Hon RAM (international soloist)
Dudley Bright Hon RAM
Matthew Gee (Principal, RPO)

Mark Templeton FRAM, Hon ARAM
(Principal, London Philharmonic Orchestra)
International Visiting Professor

of Trombone
Jrgen van Rijen
(Principal, Royal Concertgebouw Orchestra)
Bass Trombone
Robert Hughes FRAM (formerly LSO)
Keith McNicoll
(Principal, Orchestra of the Royal Opera House)
Tuba
Patrick Harrild Hon RAM
Oren Marshall (Jazz)
Its amazing that such a large group is so Euphonium and Bass Trumpet
athletic and the solos are convincing...
James Maynard ARAM (LSO)
Altogether a fine tribute to brass culture
at the Academy
This CD is a must buy recording...
Gramophone reviews Academy Symphonic The highly gifted and talented young
Brasss American Icons, June 2011
brass players display qualities and
musical maturity well beyond
their years
The Brass Herald, March 2011
20132014 Highlights
Masterclasses with Eric Aubier, Ian
Bousfield, Dudley Bright, Pacho Flores,
Reinhold Friedrich, Hkan Hardenberger,
Roger Montgomery, Jrgen van Rijen,
Radovan Vlatkovic and Sarah Willis
(webcast live to thousands of viewers
around the world)
> Academy Symphonic Brass performances
conducted by Elgar Howarth
> Orchestral performances with significant
brass focus included Strausss Ein
Heldenleben conducted by Semyon
Bychkov, Rimsky-Korsakovs Scheherazade
conducted by Yan Pascal Tortelier
> Performances both at and outside the
Academy by Academy Trombone Choir and
Academy Horn Ensemble
>

Recent graduates play with BBC
orchestras, Birmingham Royal Ballet,
City of Birmingham Symphony Orchestra,
English Chamber Orchestra, English
National Opera, Hall, London Philharmonic
Orchestra, London Symphony Orchestra,
Netherlands Radio Philharmonic,
Philharmonia, Orchestra of the Royal Opera
House, Royal Liverpool Philharmonic
Orchestra, Royal Philharmonic Orchestra
and Scottish Opera.
Ensembles include Onyx and Superbrass.
Telephone 020 7873 7320
Open Day: Friday 26th Sept. 2014
Timpani &
Percussion
www.ram.ac.uk/percussion
Tom Lee
Im in my final undergraduate year at the
Academy, and have loved every minute
here. From the moment you set foot in
your first lesson, you know that everyone
here wants nothing but the best for you.
The percussion department has one of the
friendliest atmospheres you could hope
to find, and whatever facet of percussion
playing you want to excel in be it solo,
chamber or orchestral you can be sure
that all the staff and students will help and
support you to achieve your goals.
The teaching roster at the Academy speaks

for itself, as does the diverse range of styles
covered by our many masterclasses.
Every day is different as an Academy
percussionist - one moment youre
playing baroque timpani in the Bach
Cantata Series, the next youre getting a
jazz harmony lesson from Joe Locke, and
then youre sitting in a rehearsal of one of
Londons finest orchestras alongside your
teachers. It is this broad approach to the
world of percussion that I think makes the
Academy unique, and the best place to
develop into a young professional.
Head of Timpani and Percussion

Neil Percy Dip RCM, ARCM, Hon RAM
Principal Percussionist with the London
Symphony Orchestra, who has worked
closely with many artists and conductors
including Pierre Boulez, Andr Previn, Elvis
Costello and John Williams. As a soloist
Neil has performed with Pierre Boulez,
the late Sir Colin Davis, Elgar Howarth,
Karl Jenkins, Kent Nagano, Steve Reich,
Franois-Xavier Roth and the late Ravi
Shankar. He has given masterclasses
in Europe, the USA and Asia, and has
coached many leading youth orchestras.
Head of Department since 2000.
The Timpani and Percussion Department
has a worldwide reputation for its provision
for students, and for its training in the multifaceted world of timpani and percussion.
The members of staff include principal
players with Londons leading orchestras,
international soloists, and leading session
musicians, all of whom are active in
music-making of the highest professional
standard.
Orchestral training on timpani and percussion
instruments in all its forms is high on the
agenda, and the Academys wide range
of orchestras and ensembles, together
with its extensive collection of quality
instruments and practice facilities, present
outstanding opportunities for all students.
Timpani and Percussion lessons are
complemented by regular faculty
activities such as repertoire classes and
masterclasses, together with chamber
music coaching for percussion ensembles
and mallet groups. Areas of related study
include classes in Latin American, ethnic
percussion and drumset, emphasising
rhythmic awareness in both solo and
ensemble situations.
The Academy has an extensive provision
for marimba and solo percussion. Regular
masterclasses from many of the worlds
leading solo percussion specialists offer
excellent opportunities for the aspiring solo
percussion student.
Our aim is to expose students to a
variety of related study areas whilst not
compromising standards. We hope to
enable graduates to have full, rewarding
and varied careers by providing them
with the skills needed for their continual
development. Employability is key to the
ethos of the department.
26 | 27
Eminent soloists, orchestral principals and

ensemble leaders are regular visitors to
the Academy. Past guests include Airto
Moreira, Birger Slsbruck, Dame Evelyn
Glennie, Oladum (Afro-Brazilian ensemble),
Anthony Kerr, Christopher Lamb, Rainer
Seegers, Keiko Abe, Juanjo Guillem, Alan
Cumberland, David Friedman, Keith Aleo
and Philippe Spiesser.
Other recent visitors have included She-e

Wu, Steve Gadd, Iian Pattinson, David
Hockings, Makoto Nakura, Mike Mainieri,
Anders strand and Kurt-Hans Goedicke.
International Visiting Professor of

Vibraphone
Joe Locke
The departments first CD, Reich for

Percussion, an ambitious project featuring
music composed over a period of 30 years,
was released in 2013 and acclaimed by the
composer: All I can say to Neil Percy and
all the musicians is BRAVO! It is a superb
recording which I found technically and
emotionally satisfying... a first-rate musical
achievement Steve Reich.
International Visiting Professor of Timpani

Marinus Komst
Students are eligible for the annual Zildjian

Cymbal Prizes. First prize is $2,000; second
prize is a visit to Zildjian International in the
UK, to select cymbals of their choice.
(international soloist and recording artist)
(Principal Timpani, Royal Concertgebouw Orchestra)
International Visiting Professor of

Drum Set
Peter Erskine
20132014 Highlights
> Masterclasses given by Philippe Spiesser,
Tony Bedewi, Adrian Spillett, David

Jackson, Birger Slsbruck and Maraca2
>Free on Fridays Percussion Showcase
> Evening concert featuring Lou Harrisons
The Royal Academy of Music is grateful for
Concerto for Organ with Percussion
the generous support of Zildjian Cymbals
Orchestra
and Yamaha UK.
Plans for 20142015
> Visit by Steve Reich, including performance
Professors of Timpani
Simon Carrington GRSM, ARCM, Hon ARAM
of Drumming with Owen Gunnell and Colin
(Principal Timpani, London Philharmonic Orchestra)
Currie and masterclass on Drumming and
William Lockhart
Nagoya Marimbas
> Recording of Lou Harrisons Concerto for
(Principal Timpani, English National Opera)
Organ with Percussion Orchestra
> Masterclasses given by She-e Wu
Professor of Baroque Timpani
Benedict Hoffnung ARAM
(Principal Timpani, London Mozart Players)
Past students include
Dame Evelyn Glennie OBE (1985)
International soloist
Professors of Percussion
Neil Percy Dip RCM, ARCM, Hon RAM
Makoto Nakura (1993) International soloist
(Principal Percussion, London Symphony Orchestra)
Colin Currie (1998) International soloist
Andrew Barclay Hon ARAM
Simon Lowdon (2002)
(Co-Principal Percussion, London Philharmonic Orchestra)
Principal Percussion, Royal Scottish National Orchestra
Stephen Quigley ARAM
Chris Ridley (2002)
(Principal Percussion, Royal Philharmonic Orchestra)
Professor of Solo Repertoire

and Concerti
Colin Currie FRAM (international soloist)
Professor of Marimba
Eric Sammut Hon ARAM (international soloist)
Professors of Drum Set, Latin American
and Ethnic Percussion
Paul Clarvis Hon ARAM
Dave Hassell Hon ARAM

(session musician and renowned clinician)
Principal Timpani, Orchestra of the Royal Opera House
Mark Robinson (2005)

Assistant Principal Timpani/Tutti Percussion, Sydney Symphony
Erika hman (2008)

Assistant Principal Timpani, Hall Orchestra
Academy percussion alumni perform

regularly as orchestral and session players
all over the world.
Telephone 020 7873 7320
Open Day: Tuesday 23rd Sept. 2014
Conducting
www.ram.ac.uk/conducting
Victor Jacob
I did a lot of singing when I was at school
in Paris and was inspired to take up
conducting after working there with
orchestras. I chose to come to London for
the all-round training at the Academy
on the conductors complex relationship
with the orchestra as well as detailed
practical work on gesture, use of hands,
baton technique and more.
I have worked with many good players and
singers here, and made friends with them.
I have particularly enjoyed working on
opera, and right now Im organising my own
orchestral concert of operatic excerpts.
I have picked up a lot by observing Royal
Academy Opera rehearsals, and by sitting
in when visiting conductors rehearse
with Symphony Orchestra after we have
worked on the same repertoire ourselves.
I took part of a rehearsal in preparation for
Sir Mark Elders Verdi concert and by
chance I could fill in the tenor aria too!
I have also very much enjoyed exploring
the balance between accompaniment
and leading that is needed in concertos.
I think its important to be grounded as a
conductor, and giving and receiving are
both important.
Head of Conducting: Sian Edwards

Sian Edwards studied with Sir Charles Groves,
Norman Del Mar and then Prof. Ilya Musin
at the St Petersburg Conservatoire. Winning
the first Leeds Conductors Competition led
to concerts with the CBSO, RSNO and Halle
Orchestra, and opera with Glyndebourne,
Scottish Opera and ROH; since then Sian
has worked all over the world, conducting
the major symphonic and operatic repertoire
and many world premieres. Appointed in 2013
to succeed Colin Metters, Sian continues her
performing career, including engagements
with the ROH, London Sinfonietta, Theater
an der Wien and Ensemble Modern.
The Academys postgraduate Conductors
Course is being re-launched in Autumn
2014 as a principal-study pathway within
the Academys acclaimed two-year
Master of Arts programme. Building on
the internationally recognised success
of the past thirty years, the programme
aims to provide young conductors with
an intense period of study that will give
them experience in a wide range of music.
The programme begins with a highly
structured first term of training in technical
and rehearsal skills that are developed
in classes with two pianos, with small
ensembles and with orchestra. Following
this, students will have opportunities
to be integrated into the work of other
departments at the Academy, including
early music performance, opera,
contemporary music, and education and
outreach. Symphonic music will form the
basis of continuing technical development
in classes with pianos or small ensemble;
as students start their second year there
will also be emphasis on accompaniment,
and students will be encouraged to make
their own connections with Academy
singers and instrumentalists.
The Academy has one of the most exciting
performance schedules in the world, with
many visiting conductors and soloists of
international renown. All rehearsals are
open to students, and masterclasses or
discussions with guest conductors are
set up whenever possible. There are also
occasional opportunities to actively assist
a guest conductor, and as the conducting
students progress, more podium time will
become available. There will be chances to
work on repertoire with the Wind, Brass and
Percussion symphonic repertoire classes,
the Manson Ensemble (contemporary
music) and the String Ensemble.
Opera is one of the major activities at the
Academy, with everything from frequent
productions of opera scenes with piano to
three fully staged operas a year. There are
opportunities to become involved in many
of these activities, and singers are also
invited to take part in conducting classes to
work on recitative and accompaniment.
28 | 29
All conducting skills are based on the

demands of the music. Therefore, general
musical development and a deepening
understanding of how to learn scores are
central to the programme. Aural training
is another essential component and will
take place in small classes of three or four
students. The training is challenging and
wide-ranging, helping conductors to feel
confident in their listening abilities in an
orchestral setting. Keyboard skills are not
an essential requirement for entry onto the
programme but there are opportunities to
develop these if the student wants to.
In addition to regular classes and tutorials
a series of professional development
seminars are arranged, in which Academy
professors and outside experts are
invited to work with the students for
example, Dr Raymond Holden (Sir John
Barbirolli Reader in Music) for history and
performance style, Dr Timothy Jones
(Deputy Principal, Programmes and
Research) for analysis, Paul Hughes (BBC
Symphony Orchestra) for programme
building and planning. There are also
sessions with Patrick Russill (Head
of Choral Conducting) and the choral
conductors, where students have a chance
to experience choral repertoire, both
singing and conducting.
Professors of Conducting
Sian Edwards
Raymond Holden PhD, Hon ARAM (Contextual Studies
The closing date for receipt of applications

is 5th January 2015.
Auditions for orchestral conductors are
held in February/March 2015. Auditions
take place over two days in London only.
Detailed requirements are available at
www.ram.ac.uk/conducting or from the
Registry.
Conducting options for other students
Conducting is offered at undergraduate
level in introductory classes to all students,
and as intermediate and advanced electives
for students who wish to pursue it to a
higher level.
Notable alumni include
Paul Brough
Principal Guest Conductor, BBC Singers
Jessica Cottis
Assistant Conductor, Sydney Symphony Orchestra
Richard Farnes
Music Director, Opera North
Rumon Gamba
Chief Conductor, Aalborg Symfoniorkester
Edward Gardner
Music Director, English National Opera
Christian Ludwig
Leading international conductor
Susanna Mlkki
Principal Guest Conductor, Gulbenkian Orchestra
Ludovic Morlot
Music Director, Seattle Symphony
Chief Conductor, La Monnaie, Brussels
Paul Murphy
in Performance Practice and Performance History)
Principal Conductor, Birmingham Royal Ballet
Colin Metters Hon RAM (Professor Emeritus)

Mark Shanahan (Operatic Repertoire)
Ilan Volkov
In 2013/14, guest professors included

Martyn Brabbins, Mark Shanahan,
Christopher Austin and David Zinman.
MD and Principal Conductor, San Francisco Ballet
Leading international conductor
Martin West
Mark Wigglesworth
Music Director designate, English National Opera
Telephone 020 7873 7405
Open Day: Sunday 16th Nov. 2014
Choral
Conducting
www.ram.ac.uk/choralconducting
DavidTodd
I chose the Academy because I knew that
the Choral Conducting department has
a very strong reputation under Patrick
Russill, and that the course here enabled
time to make the most of the choral music
scene in London. Having previously done
an academic music degree, I was keen to
spend time honing my practical and aural
skills, and reaching a deeper understanding
of the role and influence that a conductor
can have when working with choirs.
The course here has provided me with

outstanding teaching in gestural conducting
(including valuable lessons in baton
technique), as well as regular aural classes
and singing lessons. We have also had a
number of masterclasses with outside
choirs, one of the most interesting probably
being with David Hill and the BBC Singers.
A highlight of the course is our links with

international teachers, and for me this
recently led to an opportunity to watch
teaching at the Sibelius Academy in
Helsinki. After the course I plan to keep
expanding the portfolio of conducting
work that I have developed alongside my
studies here.
Head of Choral Conducting

Patrick Russill MA, Hon RAM, Hon FRCO, Hon FGCM
Organ Scholar at New College, Oxford,
studying with David Lumsden and
Nicholas Danby. Director of Music at
the London Oratory since 1999. He has
conducted in Scandinavia, Germany,
Italy and Asia as well as the UK. Work as
a choir trainer on DG Archiv, Hyperion,
Herald and EMI labels. Musical Editor of
The Catholic Hymn Book (1998). Visiting
Professor of Choral Conducting, Leipzig
Hochschule fr Musik und Theater.
Chief Examiner (Organ and Choral
Direction), Royal College of Organists.
The Academys distinctive postgraduate
Choral Conducting course has been
developed from its pioneering Church Music
programme. Established in 1997, the two-year
course embraces a comprehensive range of
sacred music for concert and service plus
selected secular repertoire, culminating
in the award of an MMus or MA. Choral
Conducting is offered at undergraduate
level as an optional choir-training class,
not as a Principal Study.
The modern British choral tradition (both
English and Latin) is taken as the practical
and stylistic basis for exploration of a
broad sweep of European sacred
repertoire, related secular music and
historically informed performance practices.
Studies include conducting and rehearsal
techniques, repertoire, performance practice
and interpretation, editing, and vocal
technique. These are complemented by
contextual studies which examine the
repertoire (chant, chorale and hymn, as well
as art-music) and its relationship to the liturgy.
Students observe and work with a variety
of choral groups, taking advantage
of the outstandingly diverse range of
opportunities that London offers. There are
opportunities to work with members of the
Academys Chamber Choir, and the course
has close working relationships with the
BBC Singers, the Choir of Royal Holloway,
University of London, the Joyful Company
of Singers, the Renaissance Singers of
London and the adult professional and
childrens choirs of the London Oratory.
The closing date for the receipt of

applications is 5th January 2015.
Entrance auditions will be held in
February 2015. Auditions take place in
London only. You will rehearse a small
unaccompanied choir in one specified
Renaissance work and a later piece of
your own choice. You will be required to
sight-sing and aural ability will be tested.
Keyboard skills are not required. For
detailed audition requirements please
see www.ram.ac.uk/choralconducting
or contact the Registry.
Professors
(Head of Choral Conducting)
Paul Brough MA, ARAM

Jeremy Summerly MA, MMus, Hon RAM
Alexander Ashworth MA, DipRAM, PGDip, LRAM,
ARAM (Vocal Technique)
Cathal Garvey BMus, MA, LTCL (Baton technique)
20132014 Highlights
A days masterclass and concert conducted
by students with the BBC Singers and their
chief conductor David Hill
> Masterclasses with Simon Carrington
(Professor Emeritus, Yale University), Timo
Nuoranne (Sibelius Academy), Paul Brough
and Jeremy Summerly
> An intensive three-day course on works
from the Scandinavian tradition with Timo
Nuoranne
> A weeks residency at Neresheim Abbey in
Germany, together with Academy Chamber
Choir and organ students, including
liturgical services, concert and BBC
broadcast
> Classes with the Choir of Royal Holloway,
University of London, the Joyful Company
of Singers and the Renaissance Singers of
London
>
Recent students include

Matthew Berry (2002)
Conductor, Commotio: Naxos recording artists
Visiting Professors
Professor Roland Brger Hon ARAM
(Head of Choral Conducting, Leipzig Hochschule
fr Musik und Theater)
David Hill MA, Hon RAM, FRCO, Hon FGCM, Hon DMus
James ODonnell MA, FRCO, Hon RAM, FRSCM, KCSG,
Steven Fox (2003)

Artistic Director, Clarion Music Society, New York;
Director Musica Antiqua St Petersburg, Russia
Stefan Vanselow (2004)

First Prize, Riga Choral Conducting Competition 2005;
Director, Cantamus Dresden
Hon DMus
Mihaela Cesa-Goje (2005)
Dudamel Conducting Fellow 2011/12, Los Angeles

Philharmonic Orchestra
Esther Jones (2007)

Director, Brighton Festival Youth Choir;
Associate Director, National Youth Choirs of Great Britain
Rachel Staunton (2009)

Co- Founder and Musical Director, London Youth Choirs;
Assistant Musical Director, National Youth Choirs of Great Britain
David Stevens (2009)

Master of the Choristers, St Annes Cathedral, Belfast
Greg Hallam (2010)

Conductor, Swansea Bach Choir
Hilary Campbell (2012)

Conductor, Blossom Street: Naxos recording artists
30 | 31
Telephone 020 7873 7405
Open Day: please contact us for an
individual appointment
Harp
www.ram.ac.uk/harp
Elen Hydref
During my time at the Academy I learned
skills ranging from solo and orchestral work
to contemporary music and jazz with worldclass teachers. As a freelance harpist Im
extremely grateful for the diversity of the
course, as I feel prepared to take on any
work that comes my way. My teachers
continue to support me, and I feel confident
that the friendships we formed will always
be maintained.
Highlights of my time at the Academy
include recitals at Colston Hall and the
Chichester Festival, chamber music
concerts at Kings Place and Drapers Hall
and performing with Academy Symphonic
Brass in the Dukes Hall. Thanks to the
recommendations of my teachers I also
performed the Debussy Danses with

the Orchestra of St Johns, and was
invited to give a recital at Harp Masters
in Switzerland. After winning the Camac
Harp Competition I shared a recital with
Isabelle Moretti. The Academys many
performance classes and masterclasses
made me feel confident and well-prepared
for all concerts, internal and external.
I left the Academy last summer and since
then have already played in the Royal Opera
House Orchestra, Norwegian National
Opera, London Chamber Orchestra and
Royal Philharmonic Orchestra. My debut
solo CD was released in November and Im
currently giving recitals across England and
Wales, through the Countess of Munster
Recital Scheme.
Head of Harp
Karen Vaughan LRAM, FRAM
Studied at the Academy and with Maria
Korchinska. Founder member of Scottish
Chamber Orchestra, Principal Harp of
Royal Scottish National Orchestra, then
London Symphony Orchestra Co-Principal
harpist from 1984. Has played for such
eminent conductors as Abbado,
Bernstein, Boulez, Sir Colin Davis,
Gergiev, Haitink and Tilson Thomas,
and appears on numerous recordings
and film soundtracks. In 2008 and 2010
she gave masterclasses for the YouTube
Symphony Orchestra.
The harp has played a major role at the
Academy since the earliest days. In addition
to studying solo, concerto and chamber
repertoire, students also take part in regular
classes in orchestral, operatic and
contemporary performance, early harp, jazz
and improvisation, technical advancement,
art of teaching and harp ensemble concerts.
The Academys numerous orchestras and
ensembles provide experience in all styles
of performance from classical to avantgarde and jazz. In addition, the Academy
regularly hosts masterclasses and many
students have achieved major successes
in national and international competitions.
The harp department commissions new
works annually, and its Harp Showcase
concerts attract a wide audience.
Visiting Professors
Milda Agazarian
(Russian Academy, Moscow and Gnessin Special School
of Music)
Catrin Finch BMus, FRAM

(international soloist)
Notable alumni
Recent Harp graduates perform as soloists
and in many orchestras and chamber
ensembles worldwide as well as teaching
at every level. Some graduates include:
Isabelle Moretti
Jimin Lee (2011)
(international soloist and professor of harp at CNSMD,

Paris Conservatoire)
Prestigious teaching position in Korea
Isabelle Perrin Hon ARAM
Hong Kong Harp Teaching Faculty
(Co-Principal, Orchestre National de France; professor

of harp at cole Normale, Paris; Professor at the Norwegian
Academy of Music)
Erika Waardenburg
LauYee Yeung (2009)

Claire Jones (2009)
Former Harpist to HRH The Prince of Wales, concerto
performances with English Chamber Orchestra and
Philharmonia, solo recording artist
(Senior Professor of Harp Extraordinaire at the conservatoires

of Amsterdam and Utrecht)
Cline Saout (2004)
Professor of Jazz Harp

Park Stickney MM (Juilliard), BM (University of Arizona),
Dr Chaerin Kim (2003)
Hon ARAM
Birmingham Contemporary Music Group and City of

Birmingham Symphony Orchestra
Tutor at Harvard University
Catrin Finch (2002)

International soloist, former Harpist to HRH The Prince of Wales
Main sponsors:
Holywell Music.
Professors of Harp
Karen Vaughan LRAM, FRAM (Head of Harp and
Orchestral Studies) Co-Principal, London Symphony Orchestra
Frances Kelly MA
(Early Harp Tutor)
Alison Martin GGSMD (Opera Tutor)

(Principal, English National Opera)
Charlotte Seale ARCM, Premier Prix,

Brussels Conservatoire, Hon ARAM
Helen Tunstall GRSM, ARCM , Hon ARAM
(Contemporary Music Studies) (Principal, London Sinfonietta)
Catherine White MM (Juilliard), BM (Curtis)

Professor Emerita of Harp
Professor Skaila Kanga LRAM, FRAM
(Principal, Academy of St Martin in the Fields and London Mozart
Players; composer and international recording artist)
32 | 33
20132014 Highlights
> Recitals by Chantal Mathieu, Remy van
Kesteren and Isabelle Moretti with Dame
Felicity Lott
> Masterclasses with Chantal Mathieu, Catrin
Finch, Isabelle Moretti and Skaila Kanga
> Chamber concerts in Tuesday lunchtime
series and for Gresham College and
Vinehall School
> Departmental recitals including Academy
Harp Ensemble in Regent Hall, Southwark
Cathedral and Charlton House
> Camac Competition: joint winners 2014
Elizabeth Bass and Klara Woskowiak
> Skaila Kanga Harp Prize: 2014 winner
Anne Denholm
> Chamber music fellowship 2014/15:
Heather Wrighton with Aurora Trio
> Showcase concert at the departments
main sponsors, Holywell Music
> Recording of all Paul Pattersons solo harp
music by past and present students
Ruth Potter (2001)

Principal Harp, Trondheim Symphony Orchestra
Suzanne Willison (1999)

Principal Harp, Royal Philharmonic Orchestra
Anne-Sophie Bertrand (1994)

Principal Harp, Frankfurt Radio Symphony Orchestra
Catherine Beynon (1993)

Solo harpist, Orchestre Philharmonique de Luxembourg
Telephone 020 7873 7405
Open Day: Wednesday 1st Oct 2014
Classical
Guitar
www.ram.ac.uk/guitar
Michael Butten
Ive been studying at the Academy for four
years now, and Ive thoroughly enjoyed
everything about it and all of the
opportunities Ive had here which have
helped me to develop into the musician
I am today. Ive done things I never thought
I would for example, for Royal Academy
Opera Ive played guitar, banjo and even
bass drum in The Lighthouse by Sir Peter
Maxwell Davies, as well as theorbo in
Cavallis Il Giasone. Ive also had a great
time working in smaller ensembles
with a huge range of musicians from
other departments.
Our teachers are of the highest calibre and
they cover every facet of the guitar, from
chamber music to solo lessons, with
performance classes with Fabio Zanon
and David Russell every term. This has
given me the confidence to try my hand
in international competitions and young
artist schemes and to play my very best
in them.
The environment in the Academy is one in
which everyone has the chance to thrive
amongst professors and visiting teachers
who are at the top of their profession. The
Academy has given me the ability to adapt
to any musical challenge that is thrown at
me, and to succeed in my chosen career.
34 | 35
Head of Classical Guitar

Michael Lewin FRAM, DipRAM
Michael Lewin studied with Hector Quine
at the Academy and later in Spain with
Jos Tomas. He has performed as guitarist
and lutenist with the Royal Shakespeare
Company, many UK opera companies
and La Piccola Scala, Milan. In addition
to solo concerts, Michael has played and
recorded with leading ensembles and
orchestras throughout Europe.
Regular adjudicator at major national
and international competitions.
Vice-President of the European Guitar
Teachers Association, 19962006.
The Academy has established itself as a
foremost international centre for the study
of the classical guitar, with a comprehensive
curriculum and unique musicological
resources which encourage students to
reach the highest standards as soloists,
ensemble players and teachers. The
expertise of the department embraces all
aspects of guitar performance, from the
concert platform to the theatre, ballet, opera
house and recording studio, as well as
specialisms in the main historical periods.
Head of Classical Guitar

Michael Lewin FRAM, DipRAM
20132014 Highlights
Open Day Masterclass with David Russell
>Barbirolli Lecture with John Williams
> Masterclass with Fabio Zanon
Visiting Professors
> Showcase Concert of solo music from the
David Russell FRAM
two Elizabethan eras in the presence of
John Williams OBE, Hon RAM
John McLeod and Sir Peter Maxwell Davies
Fabio Zanon MMus, LRAM, DipRAM, FRAM
an Bulat of solo guitar music
> Recital by Srd
Consultant
from Croatia
> Masterclass with Julian Byzantine
Julian Bream CBE, Hon RAM
> Concert for the Lennox Berkeley Society:
Guitar and Voice
Music of the Half-Light
> Ensemble concerts involving woodwind,
Christoph Denoth MA
Each year there is a prestigious series of
Timothy Walker Hon ARAM
strings, accordion and vocal students
> Masterclass with Edoardo Catemario
masterclasses, lectures and concerts.
> Concerto performances for the Malcolm
Among the distinguished visiting artists
Guitar Ensembles
have been the Assad Duo, Manuel
Stephen Goss BA, PhD, LRAM, ARAM
Arnold Trust in London and Northampton
> Lennox Berkeley and the Classical Guitar
Barrueco, Edoardo Catemario, Eduardo
Fernndez, Eliot Fisk, Sharon Isbin, the
If you are auditioning for the undergraduate performance of the complete works
> Fernando Sor anniversary lecture/recital by
Los Angeles Guitar Quartet, David Russell,
programme, you should present three
David Starobin, David Tanenbaum, John
pieces and postgraduates four pieces from:
Luigi Attademo
> Student performances at Colston Hall in
Williams and Julian Bream (who for almost > a contrapuntal work written between
half a century adjudicated his prize each
c.1550 and c.1750
Bristol, Hepworth Gallery in Wakefield,
> a movement in sonata form
year). Eminent luthiers, such as David
Manchester Mid-day Concerts and the
> a theme with variations
Rubio, Paul Fischer and Jos Romanillos,
University of Londons Senate House, as
> a dance movement
have also been invited to discuss
well as in China, Germany and Australia
> a work, or movement(s), written after 1950.
developments in guitar construction.
Successes for students and recent alumni
Other special events have featured
Established guitar duos are also invited to
Milo Karadaglic (2006)
International artist with IMG/Deutsche Grammophon; Rodrigo
the composers Leo Brouwer, Stephen
audition at postgraduate level, performing
Concerto disc tops classical charts; performances with LPO and
Dodgson, Hans Werner Henze, Nicholas
a programme of three contrasted duo
other leading orchestras; guest on Michael Parkinsons Sky Arts
Maw, Sir Richard Rodney Bennett and
pieces; each member of the duo will also
Masterclass with current undergraduate Merlin Miller
Sir Peter Maxwell Davies and an
be required to present one solo piece.
Srdan Bulat (current postgraduate)
Second Prize, London International Guitar Competition
International Guitar Duo Festival. The
promotion of student compositions for
For details of the Julian Bream Trust
Michael Butten (current postgraduate)
Concerts at major British venues on International Guitar Foundations
the guitar also forms an integral part of
Scholarship see www.ram.ac.uk/
Young Artist Platform scheme and with the Berkeley Ensemble
the departments work.
scholarships
Mircea Gogoncea (current postgraduate)
First Prize, Julian Arcas and Second Prize, Gredos San Diego
In competitions around the world, from
I had these ideas about music and
International Guitar Competitions
the Worshipful Company of Musicians
how I wanted to sound, but I needed
Princes Prize and Mairants Award in the
somebody to steer it. Michael was
Andrey Lebedev (current postgraduate)
Julian Bream Trust scholarship; Tillett Trust award; First Prize,
UK to the Trrega Competition in Spain
incredible because he never stopped
Gisborne International Music Competition in New Zealand
and the GFA , Parkening and Concert
me from expressing myself the way I
Artists Guild competitions in the USA,
wanted to, but he always helped me
Joo Lima (current undergraduate)
First Prize, Fundo International Guitar Competition
Academy guitarists have regularly won
express myself better
top prizes. Many successfully pursue
Milo, Daily Telegraph
Mircea Gogoncea (current undergraduate)
Awarded the inaugural David Russell Guitar Prize
international careers.
Michael Butten (current undergraduate)
Awarded the 2014 R.A.M. Club Prize
The Royal Academy of Music continues
to dig out overlooked musical treasure...
these players found power and drama
everywhere
Karen Ingram BA, Hon ARAM
Daily Telegraph reviews Lennox Berkeleys
Telephone 020 7873 7380
complete works for guitar, May 2014
Open Day: Tuesday 28th Oct. 2014
>
Organ
www.ram.ac.uk/organ
Joseph Beech
Having previously focused on church
music, I decided to study at the Academy
primarily to focus on solo repertoire and
to broaden my musical horizons through
the varied curriculum which is offered
here. Alongside having a roster of worldrenowned professors, we follow a diverse
scheme of work including classes in:
improvisation, technique, organology,
keyboard skills and harmonium.
We have access to numerous organs
across London and further afield, as well
as use of the Academys own excellent
facilities which include a fine four-manual
Rieger (1987), a beautiful Italian organ
built by the Sanarica brothers (1763) and a
number of smaller practice instruments.
The jewel in the crown is the fabulous
symphonic organ in the Dukes Hall, built
just last year by Orgelbau Kuhn. Recent

study trips to Hamburg and Paris have
proffered access to historic instruments;
these trips have been complemented by
masterclasses given by world-renowned
specialists in Continental traditions.
The Academys focus on chamber music
extends to the organ department, with
students regularly undertaking ensemble
projects in collaboration with the other
departments. Were also encouraged to
take advantage of the unrivalled music
scene in London (both in churches
and concert halls) our teachers
really appreciate how beneficial these
experiences are in the course of our
individual musical development.
Head of Organ
David Titterington
MA, Hon DMus, Hon DUniv, Hon FRCO, Hon RAM
Organ Scholar at Pembroke College, Oxford,

and the Conservatoire de Rueil-Malmaison,
Paris, with Marie-Claire Alain and Susan
Landale (Premir Prix lunanimit). Gives
recitals and masterclasses worldwide and
is a member of many international juries.
Has premiered many important works
and records extensively. Visiting
Professor, Ferenc Liszt Academy,
Budapest. Artistic Director of St Albans
International Organ Festival and Organ
Curator at St Johns, Smith Square.
The Academys comprehensive and
specialist organ curriculum has a worldwide reputation. The course includes
contemporary music seminars,
improvisation, integration with Historical
Performance studies, the history and
repertoire of the organ and workshops
by distinguished guest teachers such as
Marie-Claire Alain, Kenneth Gilbert, Piet
Kee, Kei Koito and Daniel Roth. In June
2002 a pioneering harmonium course
began under the direction of Anne Page.
The one-year Organ Foundation Course

is designed primarily for gap-year
students preparing either for Oxbridge
organ scholarships or for those wishing
to develop their organ playing and choral
direction skills to a high level before
university or conservatoire studies.
Welte Restored, a recording on the unique

recently-restored organ at Salomons near
Tunbridge Wells, was released in 2011.
The release features automatic Orchestrion
rolls, Philharmonic rolls recorded by famous
organists of the day, and more conventional
Students have regular access to organs
performances made by Academy students.
in the classical and 19th-century French
It was prepared in collaboration with
symphonic traditions. The four-manual
Canterbury Christ Church University and
classical organ by Rieger in nearby St
Marylebone Parish Church is part-owned by can be heard at www.ram.ac.uk/music
the Academy and used as its main teaching
Grand Chorus, a double-CD of 22 historic
instrument.
and important organs south of the
Thames, was recorded in collaboration with
The new Sir Elton John/Ray Cooper Organ,
the Southwark and South London Society
built by Orgelbau Kuhn, was installed
of Organists.
in the Dukes Hall in 2013. You can find
specifications of the three-manual
symphonic instrument, along with a record Professors of Organ
Gerard Brooks MA, FRCO, PGCE (Improvisation)
of the building and installation process, at
www.ram.ac.uk/organ.
Clive Driskill-Smith MA, MPhil, FRCO, ARCM
Susan Landale BMus, Hon ARAM, Hon FRCO
A rare Neapolitan organ of 1763 by
William McVicker BA, PhD, LRAM, ARCO,
Hon FIMIT, Hon ARAM (Organology)
Michelangelo & Carlo Sanarica, restored in
Italy by the renowned Riccardo Lorenzini,
Anne Page BMus, Hon ARAM (Harmonium)
was inaugurated in 2004.
David Titterington MA, Hon DMus, Hon DUniv,
Hon FRCO, Hon RAM
Undergraduate students take weekly
academic classes in addition to their weekly
individual lessons.
Visiting Professors
Bine Katrine Bryndorf (Royal Danish Academy)
Postgraduates follow a curriculum designed Jon Laukvik (Stuttgart Hochschule)
for their individual needs. Performance
James ODonnell MA, FRCO, Hon RAM, FRSCM, KCSG,
practice projects are supervised by specialists Hon DMus
and frequently take the form of overseas
Lionel Rogg Hon DMus, Hon FRCO
visits where repertoire study is matched to
a specific organ-building tradition.
LRAM (Art ofTeaching)
and Junior Academy
Other areas of study for both undergradates Anne Marsden Thomas BMus, FRCO, FRSCM,
ARAM, Dip RAM, LRAM, ARCM
and postgraduates include Masterclasses
and Performance Classes, Performance
Practice, Specialist Keyboard Skills for
Organists, Technique Classes, Organology,
Chamber Music, Study Trips, Harmonium
and Art of Teaching.
36 | 37
Politicians could do worse than pay

a visit to the Royal Academy of Musics
department of organ studies to see
how substantial change can be
achieved the august conservatoire
knows a thing or two about instituting
and managing change, not for changes
sake but for the advantages it offers
to students. Even the super-hungry
and obsessively curious among those
selected to join the Academys annual
intake of organ students are unlikely
to be undernourished by the learning
experiences developed by Titterington
and his colleagues
Choir and Organ magazine
Matthew Martin (2000)
Organist, The London Oratory
Stephen Grahl (2003)

Organist & Director of Music, Peterborough Cathedral
Daniel Cook (2003)

Sub-Organist, Westminster Abbey
Bart Jakubczak (2003)

Organ teacher, Fryderyk Chopin University of Music, Warsaw;
Prix de la Presse, Lausanne International Bach Competition
Thomas Wilson (2006)

Precentor, Westminster Cathedral; Director of Music,
St Marys Cathedral, Sydney
Arnfinn Tobiassen (2007)

Kantor, Avaldsnes Church, Norway
David Pipe (2007)

Assistant Director of Music, York Minster
Peter Holder (2013)

Sub-Organist, HM Chapel Royal, St Jamess Palace
Ourania Gassiou (2006)

Organist-in-residence, The Megaron, Athens
Joseph Beech (current student)

Organ Scholar, The London Oratory
Alexander Binns (current student)

Organ Scholar, Southwark Cathedral
Jeremy Lloyd (current student)

Organ Scholar, Peterborough Cathedral
Michael Papadopoulos (current student)

Organ Scholar, St Albans Cathedral
Eileen-Rose McFadden Hon ARAM
Telephone 020 7873 7351
Open Day: Spring 2015
Classical
Accordion
www.ram.ac.uk/accordion
Bartosz Glowacki
The Royal Academy of Music truly is the
place where you can fully explore yourself
as a musician. Here you can meet the
greatest musicians face to face, and learn
from everything that they say and do.
For me, the Academy creates so many
fabulous opportunities to develop every
aspect of my musical education, and to
prepare for my future career.
Thanks to the Academy, I have performed
in great venues like Wigmore Hall,
Royal Festival Hall and the Purcell Room.
The happiest thing for me is seeing
evidence every day that the classical
accordion is in symbiosis with the
Academys life. Here, we accordionists
can collaborate with and be inspired by
other musicians in chamber music
and together with promising composers
we can create a magical world of sound.
Head of Classical Accordion

Owen Murray
GRAM, DipRAM (Copenhagen), Hon RAM
Born in the UK, studied with Mogens

Ellegaard at the Royal Danish Academy
of Music in Copenhagen, graduating with
the Music Teacher Education, principal
subject accordion in 1980 and the
Diploma (Soloist) in 1982. Many recitals
both in the UK and overseas. Pioneering
founder of the Academys Accordion
department, Head of Classical Accordion
since 1986, awarded Honorary
Membership of the Academy in 1993.
The Academy was the first British

conservatoire to introduce teaching for
the classical accordion. The specialist
curriculum complements other courses
and includes masterclasses, performance
practice, accordion history, repertoire,
instrument maintenance and art of
teaching classes.
Head of Classical Accordion

Owen Murray GRAM, Dip RAM (Copenhagen), Hon RAM
20132014 Highlights
Two Accordion Showcase concerts in the
Academys David Josefowitz Recital Hall
> Martynas Levickis (2012 graduate) secured
Visiting Professor
a five-CD contract with Decca
Friedrich Lips (Moscow), Hon ARAM
> Bartosz Glowacki performed in Luke
Bedford world premiere at Linbury Studio
Murray is an inspirational teacher
Theatre, Royal Opera House; solo recital at
The Times, January 2007
Sanok Accordion Festival, Poland; recitals
with Deco Ensemble at Bristols Colston
The accordion is thoroughly integrated
We run a four-year BMus undergraduate
Hall, University of London Senate House
into the life and work of the Academy
programme and MA and MMus
through a strong and wide-ranging
programmes of 12 years. At post-Masters and Wigmore Hall; work with City of
London Sinfonia and Welsh National Opera
chamber music programme. The response level we offer a one-year Professional
of contemporary composers to the
Diploma and one-year Advanced Diploma. > Ilona Kukka Onnetar and Katariina
Ahjoniemi performed in Jonathan Doves
instruments emergence is reflected in
The Adventures of Pinocchio
continuing collaborations with composition Recent students
students and established composers.
Search YouTube for performances by
recent students including
> Amadej Herzog
Apart from many concert opportunities
> Servane Le Moller
within the Academy, accordion students
> Martynas Levickis
have performed at leading music festivals
> Rafal Luc
in the UK and abroad. In 1998 the entire
> Milos Milivojevic
accordion department made its Proms
> Ksenija Sidorova
debut with the BBC Symphony Orchestra
> Borut Zagoranski
at the Royal Albert Hall. In 2006 three
students and Owen Murray were invited
by Gyrgy Kurtg to perform at his 80th
Photo: Owen Murray (left) with Visiting
birthday celebration concert in Budapest.
Professor Friedrich Lips.
Academy accordion students have enjoyed
considerable success in major competitions.
Distinguished accordionists who have given
concerts and masterclasses at the Academy
include Iaki Alberdi, Jon Faukstad, Lars
Holm, Friedrich Lips, Matti Rantanen, Mie
Miki, Massimiliano Pitocco, Viacheslav
Semionov, Oleg Sharov, Peter Soave
and Mika Vyrynen.
>
In December 2010 Owen Murray became

the first Briton to be awarded the prestigious
Silver Disk for special accomplishments
in the field of accordion culture.
38 | 39
Karen Ingram BA, Hon ARAM
Telephone 020 7873 7380
Open Day: Thursday 13th Nov. 2014
Research
Adriana Festeu
My studies at the Academy began with
Royal Academy Opera, where I had the
opportunity to work on roles with the
Academys internationally renowned
coaches and teachers. Thanks to them I
discovered the importance of selecting
repertoire that fits perfectly with a singers
voice-type. Those two years have proved
pivotal in my development as a singer as I
questioned my own vocal category. It was
at this point that I became interested in the
Academys research programme, which is
performance practice-led.
www.ram.ac.uk/research
Research at the Academy is centred on

the interaction of performers, composers
and scholars. We maintain a strongly
collaborative environment, in which
intellectual and creative curiosity is
encouraged in both students and staff
alike. An evolving dialogue between
all members of our community aims
to re-evaluate and build on our musical
heritage and performance traditions, and to
generate new types of creative practice.
Much of the research activity is practicebased, focused on the practical aspects
of music in the areas of performance
and composition. This encompasses
the analysis and application of collection
materials (including manuscripts, marked
scores, historic instruments, and museum
artefacts) as well as the critical and
reflective study of practice itself. In addition,
staff researchers have collaborative
relationships with researchers from other
disciplines, including instrument-making,
the visual arts, architecture, art history,
museum curatorship and computing.
Research by staff at the Academy informs
and enhances all areas of teaching,
whether through testing the boundaries
of innovative professional practice, the
exploration of performance traditions and
key historical figures, or the currency of
academic modules. The Academys regular
research events are open to students, staff
and members of the public. These include
interviews with leading figures from the
music profession, lecture recitals, academic
papers and experimental workshops. The
research events are filmed for archival
purposes and make up the Academys
Performance Research Collection.
The world-leading quality of research at
the Academy was recognised in the 2008
Research Assessment Exercise, where
the Academy was rated highest of the UK
music conservatoires in terms of research
quality. The Academy has a successful
record in attracting research funding, and is
unique among the conservatoire sector in
having two AHRC Fellows in the Creative
and Performing Arts.
40 | 41
The Academys research degrees are

aimed at performers and composers who
already have highly developed skills and
focused career aspirations. Students work
with an individual supervisor and a team of
creative staff at the Academy to develop
their work through engaging in a substantial
research project. This will normally be
directly connected to and driven by creative
activity as a performer or composer but
will also require a critical context and
critical reflection.
The Academy aims to approach practicebased research in ways that are distinctive
to the institution and its environment.
These are encouraged through an ongoing
series of research workshops and through
educational developments on the taught
degree programmes. Research degree
students are thus invited to become part
of an active community and to take a lead
in furthering practice-based approaches to
research questions and processes.
The Academy offers two-year MPhil and
three-year PhD awards. Offered as awards of
the University of London, both programmes
ensure their distinctiveness by being based
on the same premise as all other Academy
degrees: of students reflecting the highest
possible practical standards.
Head of Postgraduate Programmes

Professor Neil Heyde BMus, MMus, PhD,
LMusA, Hon RAM
As a soloist and chamber musician

Neil Heyde has recorded, performed and
broadcast internationally. His work at
the Academy focuses on relationships
between performers and composers,
both past and present, and he has
written on analytical and collaborative
issues. He is cellist of the Kreutzer
Quartet and is currently working on the
uvres Compltes de Claude Debussy
and projects with the visual arts and film.

(Senior Professor of Composition)
Dr Amy Blier Carruthers BMus, MMus, PhD, LRAM

Dr Timothy Bowers BMus, DPhil, FRAM, ARCM
(Alan Bush Lecturer)
Sarah Callis BA, PhD, Hon ARAM

Gary Carpenter LRAM, Hon RAM, ARCM
Dr Philip Cashian BMus, DMus, Hon ARAM
(Head of Composition)
Roderick Chadwick MA, MMus, LRAM, ARAM

Briony Cox-Williams BMus, MMus, PhD, ARAM, FTCL
Hannah French BMus, MMus, LRAM
David Gorton BA, MMus, PhD, ARAM
(Postgraduate Tutor and Associate Head of Research)
Neil Heyde BMus, MMus, PhD, LMusA, Hon RAM

(Head of Postgraduate Programmes)
The closing date for receipt of applications

(MPhil in the first instance, with transfer to
PhD usually taking place in the second year
of study) is the end of January each year.
Raymond Holden PhD, Hon ARAM
Please email [email protected] if you

have any questions about the research
degree programme.
Deputy Principal (Programmes and Research)
Teaching Delivery
For both MPhil and PhD, you will be
allocated 30 hours of supervision per year.
You may apply for a further year to complete
or write up your portfolio or dissertation
at a reduced rate. Supervision hours are
divided between academic and practical
supervision as required.
(Sir John Barbirolli Reader in Music)
Roy Howat MA, PhD, Hon ARAM (Keyboard Research Fellow)

Colin Huehns MA, PhD, ARAM
Timothy Jones MA, DPhil, LTCL, Hon RAM
Daniel-Ben Pienaar BMus, MMus, DipRAM, FRAM
(Curzon Lecturer in Performance Studies)
Christopher Redgate ARAM
My PhD research focuses on the female

zwischenfach voice, which is loosely
defined as a category between the
soprano and mezzo-soprano. Since
vocal classification can sometimes be
controversial, I set out to investigate the
vocal characteristics of this voice and
its most suitable repertoire. Research
methods include score analysis and
auto-ethnography centred on my own
repertoire; interviews with reputable
opera singers, conductors and casting
agents including Frederica von Stade,
MPhil/PhD in Performance Practice

Aims
The research degree in Performance
Practice is designed to encourage
postgraduate performers to engage in
practice-based or practice-focused
research at the highest level. Such
involvement and training will help already
experienced performers to exert an
enhanced leadership within the music
profession, and within higher education
institutions specialising in performance
study. The programme is specifically
designed to encourage the development of
new methodologies, new insights and new
knowledge within performance research.
Entry
On application (to MPhil in the first
instance), you will submit a detailed
research proposal of around 2,000 words
outlining the research you wish to pursue
and the methodologies that would support
it (including the proposed method of linking
academic to practical research outcomes).
(AHRC Creative and Performance Research Fellow)
David Sawer BA, DPhil, Hon ARAM

Peter Sheppard Skrved LRAM, FRAM
(Viotti Lecturer in Performance Studies)
Nick Smart BABM, PGDip, LGSM, Hon ARAM

(Head of Jazz Programmes)

(Sterndale Bennett Lecturer in Music)
Nicholas Walker LRAM, ARAM
Jennifer Larmore, Jane Glover, as well as

my own teacher, Lillian Watson, are also
assisting me in understanding this voice
category. All of these have contributed
to the development of a disc of arias,
which will aim to capture my optimum
repertoire and inform my approach to
auditions and my professional practice
more widely.
The proposal should suggest how your

thesis will contribute to the disciplines of
performance research and to your own
development as a performer. You should
also submit evidence of your standards of
written and practical work, both of which will
be considered at the entrance interview.
Assessment
Submissions can range from a Performance
Portfolio (length to be negotiated in relation
to the project) and written commentary
of 1020,000 words (MPhil) or 1525,000
words (PhD) to a written dissertation of
3050,000 words (MPhil) or 5070,000
words (PhD) plus supporting performance
material as required. The written
commentary accompanying a Performance
Portfolio submission should articulate and
provide a context for the performancedriven research questions governing the
submission as a whole and should make
clear the significance of the performances
by employing academically appropriate
lines of enquiry.
Supporting Studies
Research students attend and take part
in doctoral seminars, research skills
training and performance research events.
MPhil/PhD in Composition
Aims
The MPhil/PhD in Composition is
designed to encourage you to pursue
your artistic development to the highest
possible level and to reflect critically on
the significance of your compositional
activity through analytical exploration and
(where appropriate) collaborative work in a
performance environment. Such intensive
and wide-ranging study will allow you to
extend your scope and effectiveness as
a composer, while offering you a training

relevant to the task of teaching or lecturing
in composition.
Entry
On application (to MPhil in the first
instance), you will submit a portfolio of
compositions. If you are selected for
interview you will then be required to
provide a detailed research proposal of two
pages of A4 outlining the planned content
of your portfolio (including any plans for
collaborative work) and the analytical and
critical questions to be addressed in the
accompanying written component.
Assessment
As a final assessment, you will submit
a portfolio of compositions of around 45
minutes (for the award of an MPhil) or
60 minutes (for the PhD). The portfolio is
linked to a written commentary of 10
20,000 words for MPhil, and 1525,000
words for PhD which should articulate and
provide a context for the compositionallydriven research questions governing the
submission as a whole, and which should
reflect on the creative processes involved
in producing the portfolio.
Supporting Studies
Research students attend and take part in
doctoral seminars, composition research
seminars, research skills training and
research events.
Life at the Academy
Facilities
at the
Academy
London
Britains capital is an exciting and inspiring
city. Over one third of Londons residents
were born outside the UK, and more than
300 languages are spoken here: as one
of the worlds most cosmopolitan cities,
it offers an unrivalled range of cultural and
leisure activities.
The Academy is outstandingly located at
the apex of Regency London, within easy
reach of many of the citys finest cultural
institutions, including the Royal Academy
of Arts, Wigmore Hall, Kings Place, the
Wallace Collection, Asia House, the British
Museum and the National Gallery.
The Academy includes all the requirements
of a modern conservatoire:
>
>
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>
>
>
>
>
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>
>
>
over 100 teaching and practice studios,

rehearsal and lecture rooms
an extra 18 practice rooms plus two chamber
music spaces at Cross Keys Close: the
new practice and rehearsal centre a few
minutes walk down Marylebone High
Street, opened in January 2014
several large concert rooms
the 120-seat David Josefowitz Recital Hall
the Sir Jack Lyons Theatre
the Dukes Hall, a 400-seat concert venue
recently updated recording studios, with
audio links to major performance spaces
throughout the building
a fully up-to-date Creative Technology Suite
a well-equipped library
an excellent canteen serving healthy
and value-for-money meals, including
vegetarian options
a museum which displays some of
the Academys valuable and historic
instruments and manuscripts and which
hosts regular public research events
the Academy Chimes shop, which stocks
a very wide range of printed music, books
and accessories
The Academy is open during term-time
from 7am to 11pm (10pm at weekends) and
on a more restricted basis during vacations.
Cross Keys Close is open 8am9pm
Monday to Saturday and 10am6pm on
Sunday during term time.
42 | 43
At the Academy, you will study only

minutes away from the green spaces
of Regents Park and the many vibrant
restaurants, bars and shops of Marylebone
Village. Our location at the heart of the
transport network provides easy access
from all parts of London and beyond.
Living accommodation
The Academy has access to a wide range
of accommodation, including halls of
residence in the University of London.
Computers and e-learning
The Academy is enabled for wireless
internet access from students personal
computers and mobile devices. Students
have free access to an Academy email
address and the internet as well as to
an increasing range of online academic
resources. Computer workstations are
available throughout opening hours,
equipped with the latest software, including
word-processing, spreadsheets, desk-top
publishing and music notation. Students
benefit from a dedicated printing system
with multi-function devices distributed
throughout the building.
As well as recording and video editing
studios, there is a computer room with
specialist audio-editing and composition
facilities.
Instruments
The Academys collection of over 250
prestigious stringed instruments, in modern,
classical and baroque set-up, is regarded
as the finest of its type in the world. There is
also a varied stock of woodwind and brass
instruments and a substantial collection of
modern copies for period performance.
See page 50 for details.
The Academy regularly updates its stock
of pianos. On-site piano maintenance
and rebuilding technicians ensure that
all instruments are kept in top condition.
Students Union
The SU supports various societies, provides
welfare and international representation, and
holds regular meetings to ensure students
can voice their opinions. Students are also
represented on all academic committees.
Social events are an essential part of Academy
life. As well as packed Freshers and RAG
weeks and a legendary summer ball, the SU
organises themed parties, karaoke, comedy
and movie nights. Academy students have
full access to the University of London Unions
superb sports, leisure and social facilities.
Junior Academy
Junior Academy offers courses at the
Royal Academy of Music on Saturdays for
talented and committed young musicians
of secondary school age (1218) as well
as a dedicated Junior Jazz course. Primary
Academy (age 812) provides for the
musical development of the most able
younger musicians. There are also more
general preliminary courses (age 4 8).
Full details can be obtained from Junior
Academy at the main Academy address;
telephone 020 7873 7380;
email [email protected]
Museum, Library and Collections
See page 50.
Performance
Director of Artistic Planning
Nicola Mutton BA, Hon ARAM
Telephone 020 7873 7327
www.ram.ac.uk/events
See page 4 for recent highlights.
John Adams
Senior Concert & Orchestra Manager

Liz Williams BMus, Hon ARAM
Concert & Orchestra Manager
Rosie Larkins BMus
Orchestral Librarian
Stuart Garden Dip TCL
Concerts & Prizes Administrator
Concerts & Programmes Administrator
Kathleen Rule BA, MA
External Bookings Manager
Lizzie Sambrook BA, MA
Performance is the key focal point of study

at the Academy. Our training prepares
students for an increasingly demanding and
diverse professional life and encompasses
chamber, symphonic and operatic
repertoire, historical performance, media
music as well as musical theatre and jazz.
Orchestral Training
Orchestral training is delivered through
a range of quick-learn projects, designed
to reflect the time-critical rehearsals of
professional orchestral life, as well as more
intensive projects. Such distinguished
conductors as Martyn Brabbins, Semyon
Bychkov, Sir Mark Elder, Edward Gardner,
Trevor Pinnock, Jac van Steen, Robin Ticciati
and Yan Pascal Tortelier visit regularly to
work with Academy orchestras. Special
orchestral and ensemble projects are also
devised by Pierre-Laurent Aimard, Visiting
Professor of Music.
Royal Academy Opera productions give
orchestral students valuable experience of
this important area of work, teaching them
the particular skills required in the opera pit.
Sectional rehearsals for all orchestral
projects are led by experienced players
from the UKs major orchestras.
The Academy holds the Association of British
Orchestras Bronze Charter, confirming
its commitment to best practice in all
orchestral activities.
44 | 45
The Royal Academy is internationally

known and recognised as
representing the highest values
of music and musical society
Daniel Barenboim
Principal Guest Conductors

Yan Pascal Tortelier Hon RAM
Trevor Pinnock CBE, Hon RAM
Klemperer Chair of Conducting
Semyon Bychkov
Visiting Professor of Music
Pierre-Laurent Aimard Hon RAM
Maxim Vengerov Hon RAM
Sir Colin Davis Fellow of Conducting
Robin Ticciati
Many Academy students play in the European

UnionYouth Orchestra, Gustav Mahler Jugendorchester and Britten-Pears Orchestra.
Chamber Music
Students are expected to become versatile
and experienced chamber musicians.
Coaching is available from all Academy
professors: those who have special
responsibility for this important area
include members of the Alberni, Maggini,
Endellion and Badke Quartets. The RT
Vanbrugh, Emperor and Wihan Quartets
are frequent visitors. Ensemble Study
Days, taking place at least once a term, give
serious ensembles specialised coaching
and advice from a team of Academy and
external chamber musicians. The fast-track
Davey-Poznanski Scheme, for up to four
quartets selected by competitive audition,
provides extra opportunities and dedicated
support for keen and talented ensembles.
Mentoring for first-year students is also
available from the CAVATINA Chamber
Music Fellow students, who assist with
practical challenges and offer peer support.
Many past Chamber Music Fellows
including the Aurora Orchestra, Badke
Quartet, Jerusalem Quartet, Leopold
Trio and Fournier Trio have gone on to
establish prominent international careers.
Performances by chamber ensembles are
an integral part of Academy life. In addition
to their programme requirements, students
are invited to perform in the high profile
public Tuesday and Thursday series and
Free on Fridays lunchtime concerts, as
well as composer festivals and numerous
recital series in London and further afield.
Eminent chamber musicians provide
coaching for all concerts and projects.
Contemporary Music
The Academy is particularly active in new
music. The Academy Manson Ensemble
regularly takes part in side-by-side projects
with London Sinfonietta and performs in
major festivals around the UK. Mainly New
projects offer student instrumentalists and
composers the opportunity to work with
leading composers.
The Royal Academy of Music... a

place from which lots of wonderful
music emanates
Sean Rafferty on BBC Radio 3
The Academys jazz programme
has produced a remarkable crop of
newcomers in recent times
The Guardian
Trevor Pinnock
Christoph von Dohnnyi
Composer-performer collaborations take

many shapes and sizes, ranging from
regular projects led by Visiting Professor
Sir Peter Maxwell Davies to collaborations
with choreographers and animators.
Historical Performance
The firmly established Academy Baroque
Orchestra and the Becket Ensemble
perform under Margaret Faultless,
Laurence Cummings and Rachel Podger.
The acclaimed Academy/Kohn Foundation
Bach Cantata Series offers professional
performance opportunities to vocal and
instrumental students.
Brass Ensembles
Brass ensembles of all shapes and sizes,
including Royal Academy of Music Brass
Soloists, Symphonic Brass, Brass Band,
Trombone Choir and Horn Ensemble are
particularly active in the Academys diary,
with numerous projects every term.
Wind Ensembles
Wind ensembles, like brass ensembles,
continue to produce a fine range of
acclaimed recordings on the Academys
label of seminal works for wind ensemble
and arrangements of major works: see
opposite. Termly concert projects give
students the opportunity to explore core
symphonic wind repertoire.
String Ensembles
The Sainsbury Royal Academy Soloists,
a string ensemble of fourteen players
selected by audition and directed by
Clio Gould, perform around the UK and
internationally. Recent concerts have taken
place at Wigmore Hall, Bath Abbey and the
Bury St Edmunds Festival. The Soloists
have also toured Korea under the direction
of Jack Liebeck.
Jazz
Each year wind, brass and percussion
students have the opportunity to
collaborate with the jazz department,
working with eminent jazz musicians
including Iain Ballamy, Paul Clarvis,
Peter Erskine, Dave Holland, Joe Locke
and Keith Nichols.
Massaki Suzuki
Musical Theatre
Students from all departments are
able to work with successful West End
musical directors in an annual Christmas
Show, Agents Showcase and two major
summer productions. In 2013, the Musical
Theatre Company recorded a full twohour programme for BBC Radio 2s Friday
Night is Music Night with the BBC Concert
Orchestra and Academy alumni.
External bookings
The Academy secures over 400 bookings
for students each year to provide
performance experience as well as the
opportunity to gain valuable external
contacts and develop their professional
skills. These opportunities include paid
recitals in leading UK festivals and venues,
as well as corporate and private events.
Creative Music Leadership
The Academy is committed to widening
participation. See Open Academy, page 46.
Competitions
The Academy encourages students
to participate in internal and external
competitions, giving opportunities to
learn new repertoire, as well as to gain
experience performing to distinguished
adjudicators and to the public.
Recordings and Media Music

In Music and Media Application sessions,
orchestral students work with Academy
composition students and an experienced
recording engineer and skilled session
conductor/composer, to gain experience
in media sessions such as working to a
click track.
Recent releases include:
> Trevor Pinnock conducts the premiere
recording of Anthony Paynes chamber

reduction of Bruckners Second Symphony:
the second in a series of Academy releases
on the Linn label, taking inspiration from
Schoenbergs Society for Private Musical
Performances.
> Reich for percussion: seminal and diverse
Students have access to state-of-the-art
works dating from 1971 to 2005.
music software and professional-quality
> Trevor Pinnock conducts Mahlers Fourth
studios designed to enhance the learning
experience and stimulate musical creativity. Symphony in miniature on Linn.
The Academy studios are set up for small- > Frank Zappa: Manson Ensemble conducted
by Franck Ollu. New arrangements of
scale recordings and can also link to a
classic Zappa songs as well as pieces he
number of rooms around the Academy for
wrote for Ensemble Modern and Ensemble
larger recording projects. Complete video
Intercontemporain.
production facilities allow filming through
> American Icons: Works for brass by
to final delivery on DVD using industryCopland, Gershwin, Barber and Bernstein.
standard equipment and software to
Academy Symphonic Brass conducted by
produce professional-quality results.
the late James Watson. This CD is a must
buy recording The Brass Herald.
The top-quality recordings on the
> Richard Strauss: Complete works for brass.
Academys own ever-expanding label
Academy Symphonic Brass conducted by
(see www.ram.ac.uk/music) are regularly
the late James Watson.
broadcast on national and international
> Richard Strauss: Complete works for
radio and can be heard online at Spotify
wind ensemble. Royal Academy of Music
and the Naxos Music Library. Selected
Symphonic Wind conducted by Keith
recordings are sold by iTunes and other
Bragg. Its a magnificent performance
online retailers, and are distributed to
Gramophone.
shops throughout the UK. All proceeds
> Song Circles third recording: Goethes
are used to fund future recordings.
Girls and Mrikes Men.
Open
Academy
Music
Business
Head of Open Academy

Julian West BA, Hon ARAM
Head of Professional Development

Marc Ernesti BA, MMus
Open Academy Administrator

and Projects Manager
Cate Dennes BA, PGCE
Telephone 020 7873 7442
The courses at the Academy were a

revelation for me. They showed me
ways in which I could use my musical
abilities to contribute to society...
whilst still seeking performing
opportunities of the highest standard.
Ive been made a more versatile and
employable musician
Adam Clifford, percussionist and
Academy alumnus
For proximity to the upper echelons

of the classical world, the Royal
Academy of Music is nigh on
unbeatable... A healthy professional
development scheme means that
students are regularly involved
in numerous and varied external
bookings and, for many students,
only the legacy and legend of
Londons classical music scene
will do
Muso
I had no idea that what I wrote could

be so important
Open Academy participants comment
Open Academy combines a series of creative

projects which challenge preconceptions
of what music conservatoires do.
The Academys mission has always been to
provide musical training at the highest level.
Open Academy extends this opportunity
beyond enrolled students and out into the
fullest range of society. Academy students
also benefit directly by engaging in innovative
creative learning and participation projects,
and discovering an application of their skills
beyond the traditional concert platform.
Widening participation initiatives are now
part and parcel of the work carried out by all
UK orchestras, opera companies, festivals
and concert venues. Indeed they are intrinsic
to the very identity of many organisations,
often with principal players and leading
artists shaping and guiding the programmes
of work. Skills and experience in working in
this field are highly valued by employers.
A young, relatively unknown ensemble who
are able to approach a festival with a good
biography, an exciting evening programme,
and an afternoon workshop to engage
with a wider audience, are much more
likely to get the gig. Similarly, composers,
singers and jazz musicians are finding
increasing amounts of their work, and
career satisfaction, in engaging with people
creatively, away from the concert platform.
46 | 47
I think this sort of initiative is beneficial

All undergraduates are given the
to everybody. The higher-education
opportunity to participate in Creative Music
Leadership projects, and to gain experience students get a welcome reality-check
on the perception of their art and skills,
in creative leadership. Working as an intern
while also getting a preview of the
with an experienced leader and partner
intricacies of teaching... The pupils
organisation, students devise and deliver
get an insight on what higher studies
professional education projects whilst
involve and on the role of music in
receiving training on the job. Sessions
life, and boosts their confidence in
with top workshop leaders, performers,
their abilities to create something
composers and teachers cover such topics
as collaborative composition, improvisation, beautiful, which can be simultaneously
ephemeral (as a product) and longproject planning, performing for new
lasting (as a learning experience). But
audiences and evaluation. Project partners
maybe more importantly, such events
include Wigmore Hall, Spitalfields Music,
have repercussions on surrounding
Orchestra of the Age of Enlightenment,
communities beyond the visibility of the
English Touring Opera, Glyndebourne
events themselves. While not requiring
Opera and Kings Place. Projects often
extensive amounts of resources, they
take the opportunity to draw on the skills
propagate values and skills across a
of the many eminent musicians who visit
group of people and induce creative
the Academy, including Sir Peter Maxwell
Davies, Edward Gardner, Sir Mark Elder and exchanges, giving participants and their
relationships the chance to experience
Yan Pascal Tortelier.
(or witness) possibly life-changing
moments and a sense of belonging to
Undergraduates can spend more time
their community, and maybe something
exploring the diverse skills needed to
even greater
become a skilled workshop musician by
Creative Music Leadership alumna
taking a specialist, hands-on Advanced
Creative Music Leadership option in
The children came back to school full of
their fourth year. Postgraduates can
utter excitement and enthusiasm; the
explore work in this field as part of their
very special atmosphere rubbed off on
professional portfolio.
and inspired them more than we could
have predicted!
Primary Music Teacher
The Royal Academy of Music is acutely

aware of just how quickly the music
profession changes, which creates
opportunities for those who understand
the mechanisms behind these changes
and are prepared to adapt.
In addition to Academy faculty and staff

who hold particular expertise in the Music
Business, we are proud of a dynamic
network of external mentors from the music
sector on our team, including:
Our new Music Business strand strives to

equip students with a critical understanding
of key concepts and processes in the music
business, and the supporting skills needed
to harness opportunities the future industry
will hold.
Director, Cheltenham Music Festival
Meurig Bowen
David Butcher FRSA
Chief Executive, Britten Sinfonia
Jonathan Irons
Promotion Manager, Universal Edition, Vienna
Dr Sibylle Jackson
Director of Artist Management, Hazard Chase Ltd
This strand combines structured course

offerings and academic supervision;
placements with major industry players
for those so inclined; individual career
support and further resources; and it also
has an active agenda in mostly practiceled research and consultancy, which has
included work on national cultural treasures
such as the centenary of Brittens birth
in 2013 or, currently, a major music software
application.
Whether students opt for self-contained
workshops or choose to further specialise
in Music Business and Management during
their studies, there are ample opportunities
for networking, academic and personal
career development.
Mentors complement the teaching

provision and, in some cases, also supervise
industry placements for those choosing the
Music Business strand during the course of
their studies.
Industry placements
At the Academy we believe that a
sophisticated understanding of the music
business is part of being a step ahead
as a well-trained, professional musician.
Industry placements can play an important
role in that, and the internships with one of
our first-class partner organisations are an
opportunity to complement your principal
study or other musical interests, and
enrich your education. All internships are
intended to acquaint you, from the inside,
with processes and procedures in the
music business; in addition, they will equip
you with transferable skills and additional
expertise that will be useful whether your
aspiration is a portfolio career or a selfgoverned ensemble which, after all,
could be anything from your own duo
right up to the Berlin Philharmonic.
The Professional Development Adviser
and I have worked really closely. I had
a very clear plan of what I wanted to
achieve while I was here, and they
have been a great resource for me.
Professional Development is hugely
worthwhile. Most musicians are
freelancers, and having a business brain
is hugely important. So many people
try and do it on their own when they
dont need to
Sasha McCulloch, Masters student cellist
Student
Support
International
Students
English LanguageTutor (Postgraduate)
Janet McAlpin MA, PGDip, Hon ARAM
English LanguageTutor (Undergraduate)
Gill Barnes BA
Arguably no city in the world offers the

diversity of London. The Academys truly
international community is similarly varied,
with many cultures and nationalities
represented.
The Academy has a team of specialists
dedicated to supporting students who need
to develop their communication skills in
English. Our English Language teachers
have much experience with coaching
students from all over the world, and they
have expertise in music and the arts.
Depending on their particular needs,
some students will be required to
attend an intensive English course at the
Academy before the start of the academic
year. Others will attend weekly classes
throughout the academic year in support of
their programme of study.
Sir Mark Elder
Pastoral and Academic Support

See Tutors, pages 52 and 54
Counsellor/Co-ordinator Student Support
Dani Singer BA, PGDip, MAPC, UKCP / BACP Snr Accr,
Information for international students is

issued annually and the Admissions Officer
is pleased to give advice. For visa information
see www.ram.ac.uk/international-students.
In 201213, international students at the
Academy came from Armenia, Australia,
Austria, Azerbaijan, Belgium, Bulgaria,
Canada, Chile, China, Colombia, Costa Rica,
Croatia, Czech Republic, Denmark, Eire,
Estonia, Finland, France, Germany, Greece,
Hong Kong, Hungary, Iceland, Israel, Italy,
Japan, Jordan, Kazakhstan, Korea, Latvia,
Lithuania, Malta, Mauritius, Netherlands,
New Zealand, Norway, Oman, Philippines,
Poland, Portugal, Romania, Russia, Serbia,
Singapore, Slovenia, South Africa, Spain,
Sweden, Switzerland, Taiwan, Thailand,
Trinidad & Tobago, Turkey and the USA.
In addition, all students can benefit from

the Help Desk. This is a tutorial facility for
students seeking help or advice for specific
communication tasks, or for those who
want to top-up particular English skills.
Hon ARAM
Access and Disability Judith Fink

Additional Support Tutor (dyslexia/
dyspraxia): Paula Bishop-Liebler
BA, MMus, DipRSA SpLD, LRAM, ARAM
Head of Alexander Technique

Paul Moore LTCL, MStat, Hon ARAM
Reinhold Friedrich
The Academy provides a range of

well-established support provisions,
co-ordinated by the Counsellor.
Alexander Technique
The Academy has taught Alexander
Technique for over twenty years. Students
normally receive twenty lessons throughout
the year. These one-to-one lessons are
intended to be an introduction to the
technique and are educational rather than
therapeutic. Students learn how to use
themselves in the best way possible, and
thereby function at their best whilst also
avoiding injury.
Noise and Avoiding Hearing Loss
The Academy takes students long-term
health very seriously. We have extensively
monitored sound levels in a wide range of
Academy rooms, and the results are used to
schedule rehearsals and allocate students
to projects to avoid excessive weekly
exposure. All students attend compulsory
noise seminars and undertake audiometric
(hearing) tests.
Counselling
The Counsellor provides a free, confidential
service to all students. This encompasses
emotional support, general welfare and
performance-related health concerns.
Psychology-based performance classes
are available to help students enhance their
performance.
48 | 49
Chaplain
The Academy has access to a Chaplain
who serves the pastoral and spiritual
needs of the Academy community, of
all faiths or none.
Dyslexia and Disability
The Academy has extensive experience
of supporting students with specific
learning difficulties and disabilities. We
are pleased to offer in-house support from
a specialist in music and specific learning
difficulties. We also co-ordinate any access
arrangements, usually through our Personal
Learning Plan scheme. This is a confidential
service available to applicants and students.
Health
The Academy has close links with the local
medical practice, Paddington Green Health
Centre, where the doctors (GPs) have
expertise in working with musicians and
can help access a broad range of medical
specialists.
Please contact Dani Singer, email
[email protected], if you have questions
about any of the areas above.
Career Development
In addition to structured courses,
workshops and the study-specific
professional development offered by
departments, students are supported
through individual career advice.
See also Music Business, page 47.
Alumni Network
Over the years, wherever you are in the

world, you can use the Alumni Network to
reunite with old friends and share news,
and take advantage of the benefits and
discounts on offer.
Head of Alumni Development

Ruth Byrchmore BMus, MMus, FRAM
Alumni Network Producer
Helen Wills BA, Hon ARAM
Financial Assistance
The Academy is able to assist some
students towards the costs of their fees
and living expenses. See page 58, and
www.ram.ac.uk/financial-support
Equality and Diversity
The Academy values and promotes an
inclusive learning environment where
all students may thrive and realise their
full potential. Our aim is to provide a
welcoming and accessible environment
for all students, staff and visitors, free from
discrimination.
Our Equality and Diversity policy, Equality
Scheme, Objectives and Action Plan set
out how we aim to promote and advance
equality and diversity here at the Academy.
Further information is available at
www.ram.ac.uk/equality.
If you would like to receive this prospectus
(or sections of it) in alternative formats,
please contact [email protected]
The Alumni Network offers support for your

transition from student to graduate and
beyond, providing all former students of
the Royal Academy of Music with a wideranging professional support service and
social network, whether they graduated
many decades ago or within the last few
years. Membership is free to all alumni
who have studied at the Academy for a
minimum of one year.
When you graduate you will automatically

join the Alumni Network, which will give
you immediate access to a worldwide
community of Academy alumni. Youll be
able to access job listings, professional
development opportunities and alumni
news, and events. You will also be eligible
for an Alumni Card which carries with it a
range of benefits.
The Alumni Network has also set
up a number of international offices
which are supported by a team of
alumni ambassadors who provide local
information, assistance, networking and
event opportunities for returning, travelling
and already residing alumni.
The annual concerts and social events

calendar forms the backbone of a living and
relevant Alumni Network. Many events
are linked directly to the Academys main
schedule of public performances, but also
included is a range of exclusive alumnionly events, including behind-the-scenes
insights, receptions and pre-concert talks.
Family workshops and reunions also form
part of the annual social calendar for Alumni
Network members.
See www.ram.ac.uk/alumni for more
details.
Programmes of Study &

How to Apply
Museum,
Collections
and Library
Deputy Principal
(Programmes and Research)
Museum and Collections

Telephone 020 7873 7443
Library
Telephone 020 7873 7323
Head of Museum and Collections

Angela Doane MA, MLSci
Curator of Art and Iconography
Janet Snowman MA, Hon FRAM, FRSA
Curator of Instruments
Barbara Meyer
Exhibitions and Collections Curator
Joanna Tapp MA
Instrument Loans Co-ordinator
Samantha Self MA
Digitisation Assistant Ian Brearey
Librarian
Kathryn Adamson MA, Dip Lib, Hon FRAM
Assistant Librarians
Rosalind Cyphus BMus, Dip Lib, Hon ARAM
Museum
The Academy is home to world-renowned
collections of musical materials that enrich
our performance culture, inform our
teaching, focus our scholarship, and form a
visible, public symbol of our shared musical
heritage. The Royal Academy of Music
Museum contributes to musics capacity
to inspire, unite, console and stimulate.
The Museum exists for the benefit of all
Academy students and staff past and
present, and the general public.
Housed in the Academys no.1 York Gate,
an 1823 building by John Nash and designed
as part of the approach to Regents Park,
the galleries include early pianos and
famous violins, manuscripts from the Library
Special Collections, images and other
artefacts, plus a programme of temporary
exhibitions and displays. The Academys
Museum regularly holds lecture-recitals,
seminars, workshops and other events,
which include performances that draw
upon the Academys collections.
Collections
The Academy holds a treasured collection
of over 250 stringed instruments.
It includes a world-leading group of
Cremonese instruments by such makers
as Antonio Stradivari, Nicol Amati, Andrea
Guarneri and Giovanni Battista Rogeri.
This is an important playing collection for
students, recent alumni and some staff, as
well as being used for research and display.
50 | 51
(Systems management)
Adam Taylor MSc (Cataloguing)

Library Assistants
Lesley Daniel MSc, Andrew Morris BA,
Claire Sharpe MA, Ilse Woloszko GradDipMus
Special Collections Cataloguer
Barbara Diana PhD
The Academys keyboard collection
showcases the development of the piano
from 1764 to 1850. It features English,
French and Viennese-style pianos, and
highlights links between the instruments
and makers, composers and performers.
These keyboard instruments are maintained
to playing standard, are available to students
to enhance their studies, and can be seen
by the visiting public.
In the Museum War Music: Notes from the
First World War (April 2014 to March 2015)
is a temporary exhibition exploring music
from the battlefields, concert halls and
camps of the First World War part of the
global centenary commemorations.
The Academy holds a wide variety of other
important collections. Other instrumental
collections include horns formerly
owned by Aubrey and Dennis Brain, early
instruments from the collection of David
Munrow, and the Becket Collection of
period instruments which enables students
to gain experience of performance on
period instruments.
Many important artworks, prints and
drawings, photographs and other
iconographic materials, are accessible
online through the Academys online
catalogue. More information about the
Museum, its collections and activities
is available via www.ram.ac.uk/museum
The Library has the facilities one would

expect for undergraduate and postgraduate
students, and also has historical collections
of international significance making it a
recognised centre for research. Students
can apply for access to the University of
London Library and the British Library if
they require yet further resources.
The Library has over 200,000 items,
including autograph materials by
Beethoven, Mendelssohn, Liszt and
other seminal nineteenth-century figures.
There are also remarkable collections
of performance materials, ranging from
sixteenth-century lute books in the
Robert Spencer Collection to autograph
manuscripts by Purcell, Sullivan, Vaughan
Williams and other leading composers,
to marked scores from the collections of
Sir Henry Wood, Sir John Barbirolli, Lord
Menuhin, Otto Klemperer and Sir Charles
Mackerras, which offer unique insights into
the working methods and interpretative
ideals of these twentieth-century giants.
The Orchestral Library has about 4,000 sets
of parts, constantly augmented with new
acquisitions. Important research collections
include the libraries of Sir Henry Wood and
Otto Klemperer. The Orchestral Library is
administered by the Concerts Department
(see pages 4445).
Undergraduate
Programme
Academic
and Supporting
Studies
(BMus)
and Year-In Programmes
Head of Undergraduate Programmes
Anthony Gritten MA, MPhil, PhD, FRCO, FRSA,
ACHEP
BMus Year Tutors

Christopher Atkinson MA, PhD, PPRNCM,
Hon ARAM
Timothy Bowers BMus, DPhil, FRAM, ARCM

John Hutchins BMus, LRAM, ARAM
Martin Outram MA, FRAM
Principal Study
This is the focal point of a students
musical development and is taught to a
professional level on both an individual
and group/class basis.
Each student receives one hour of oneto-one tuition per week in Principal Study.
A small number of Second Study
opportunities are available through
competition, and in many cases students
will take a Related Study (e.g. piccolo for
a flautist). Students are assessed by an
annual examination in May/June and
through various Faculty Activities.
The Tutor System
The four BMus Year Tutors are available to
discuss the performance and academic
options available to students, timetabling,
progress, and any other aspects of their
programme of study. With responsibility
for both academic and pastoral welfare,
Tutors monitor the overall progress of
every student and act as an effective and
important representational link between
the student and the institution.
Professional Development Activity

Orchestras and Ensembles
In addition to regular chamber music, the
Academy provides comprehensive orchestral
training: see page 44.
Ensembles for Singers
These include choirs as well as varied
classes such as acting, movement, Italian
song, German language and lieder, French
song, English song, and opera. In Years 3
and 4 these elements are divided into two
courses: Stagecraft and Opera, and the Craft
of Singing in Modern European Languages.
Jazz
The undergraduate jazz programme leads
to a dedicated BMus (Jazz) degree. See
page 17.
Composition
The Academys undergraduate composition
curriculum uniquely integrates the
traditionally distinct areas of media and
concert composition. See pages 1415.
As a student composer you will receive
a rigorous and comprehensive technical
training whilst learning to apply your skills
by working regularly and closely with a
variety of ensembles. From Year 3, you
will specialise in either media or concert
work, also retaining close contact with the
alternative major through special seminars
and practical projects.
Exchange Programmes
The Academy has exchange agreements
with conservatoires across the world.
These are normally for students on an
undergraduate/first cycle programme who
have reached the Academys Year 3 entry
level. The Academy has been awarded an
Erasmus University Charter, and exchanges
are also available with institutions in North
America, Australia, Japan and Korea.
Exchanges can be for one term, one semester
or a full academic year. If there is no exchange
agreement with your institution, or if a
reciprocal student cannot be found, you
may be offered a Year Abroad studentship.
Please ask your own institutions exchange
co-ordinator for further information.
52 | 53
Year-In Programmes
If you wish to benefit from undergraduate
training at the Academy but do not require
a full programme of study leading to a
qualification, we offer Year-In opportunities.
Further information is available from
www.ram.ac.uk/year-in or from the
Registry.
Year-In programmes provide you with tailormade studies according to your individual
strengths and needs with the same
performance opportunities as are provided
for degree students, and appropriate
academic subjects. You will receive a
transcript of your studies, but no award
(degree or diploma).
The categories are:
Gap Year if you wish to spend a year
at the Academy after school and before
taking up a full-time undergraduate
programme at another institution. Audition
requirements are the same as for BMus
Year 1 entry.
Year Abroad if you are a non-UK student
on a music degree outside the UK and wish
to incorporate studies at the Academy
into your home institutions degree
programme, when there is no existing
exchange agreement in place. Study can
be for one term, one semester or a full
academic year. We encourage you to
commence the placement in September.
Organ Foundation if you are a gap-year
student preparing for an Oxbridge organ
scholarship, or if you wish to develop your
organ/choral direction skills before your
formal university or conservatoire training.
The Royal Academy of Musics

big band showed the class of the
emerging jazz generation
The Guardian
The performances were exceptional
The Times
Truly impressive facilities for
performance and rehearsal
The Guardian University Guide
Academic and Supporting Studies

Dominic Alldis Hon ARAM
Christopher Atkinson MA, PhD, PPRNCM, Hon ARAM
Harry Blake BA, MMus
Timothy Bowers BMus, DPhil, FRAM, ARCM
(Alan Bush Lecturer)
Paul Brough MA, ARAM

Ruth Byrchmore BMus, MMus, FRAM
Briony Cox-Williams BMus, MMus, PhD, ARAM, FTCL
Marc Ernesti BA, MMus
(Head of Professional Development)
Costas Fotopoulos BMus, MMus

Hannah French BMus, MMus, LRAM, ARAM
Anthony Gritten MA, MPhil, PhD, FRCO, FRSA, ACHEP
Paul Harris FRAM, ARAM, GRSM, LRAM, ARCM,
MTC (Lond), HonTCL
Neil Heyde BMus, MMus, PhD, LMusA, Hon RAM

Alexander Hills BMus, MMus, PGDip, DMA
(Sir John Barbirolli Reader in Music)
Colin Huehns MA, PhD, ARAM

Aya Kawabata BMus, MMus, LRAM

Peiman Khosravi MMus, PhD
Daniel-Ben Pienaar BMus, MMus, DipRAM, ARAM
(Curzon Lecturer in Performance Studies)

(Head of Choral Conducting)
Academic Studies
Academic Studies are essential to
every students creative development.
A comprehensive range of courses is
offered across the disciplines of History,
Musicology, Analysis, Performance Practice
and Composition, as well as Aural Training,
Keyboard Skills, Technology, and Conducting
courses which are designed to reinforce
students critical awareness as performers
and/or composers.
Core modules develop essential areas

of musicianship and introduce other vital
literacy skills during Years 1 and 2 of the
BMus. All subjects may be studied further
at elective level.
Years 1 and 2 of the BMus comprise a

common core. In Years 3 and 4, students
select their own specialisms from a wide
range of electives. The programmes
flexibility encourages students to pursue
their own individual interests in order to
prepare for a range of careers within the
music profession.
Keyboard Skills
This module covers score-reading, harmonisation, improvisation and accompaniment.
Techniques and Analysis

This two-year course aims to develop
understanding and appreciation of music at
a technical level. Pastiche composition aims
to provide facility in manipulating musical
materials and ideas. Analysis of musical
processes cultivates an ability to make
informed performance decisions. Electives
in T&A are available in Years 3 and 4.
Introduction to Technology
Students are introduced to recording
techniques and use state-of-theart software and studios in creative
technology-based courses, which
are designed to enhance the learning
experience and stimulate creativity.
Introduction to Performance Traditions

An investigation of performance traditions
and interpretative issues, which equips
students with tools to investigate repertoire
in both historical and contemporary contexts.
Topics in Western Music History
This module focuses on the musicological,
social and political context of composers
within the western art tradition, and includes
formal chronological surveys of historical
periods and discussions of selected works.
This module questions and challenges
received terms and definitions in music
history.
Aural Skills
Compulsory during the first two years of
the BMus, training focuses on pitch,
rhythm, texture, timbre, tuning, analytical
and stylistic awareness.
Introduction to Conducting
All students are taught the basic elements
of baton technique, from beating patterns
to influencing sonority.
Principles of Education and

These explore two strands of professional
development: teaching skills and outreach.
Principles of Education leads into the
optional Licentiate of the Royal Academy
of Music (LRAM) teaching diploma.
Online registration for the LRAM begins in
enrolment week, and there is a fee of 300.
Creative Music Leadership is run by Open
Academy (see page 46), and may be
pursued at advanced level as an elective.
Electives
Offered from the third year onwards, electives
encourage exploration of specific repertoire
(e.g. Mozart Operas, Brahms, Messiaen, etc.)
and development of areas of specific technical
expertise (e.g. Instrumentation, Recording
and Digital Editing, Historical Performance,
Music Business and Management, etc.).
(Sterndale Bennett Lecturer in Music)
Nicholas Walker LRAM, ARAM (Keyboard Skills)

Julian West BA , Hon ARAM (Head of Open Academy)
Classes run as seminar groups, and

students are expected to engage
with emerging critical ideas and take
the initiative in individual project work.
Postgraduate
Programmes
Massaki Suzuki
Introduction
The Academy provides an enormous range
of opportunities for postgraduate students,
including a broad selection of elective
professional development courses. In
order to get the most out of this dynamic
environment students are expected to take
a proactive approach to their programme
of study. Each department has fixed
Principal Study requirements that set a
carefully chosen range of professional
criteria you need to be able to meet. In
addition, all Masters degree students
complete a Professional Portfolio that
provides an open framework designed to
encourage you to make the very best of
the extraordinary range of opportunities
available at the Academy. This ethos is
carried over into project work for MMus and
research degree students. The aim of the
programmes is to provide the necessary
encouragement and direction to help you
get the most out of working with your peer
group as well as from the expertise of staff
and visiting specialists.
Head of Postgraduate Programmes

Prof. Neil Heyde BMus, MMus, PhD, LMusA, Hon RAM
Senior Postgraduate Tutor and
Associate Head of Research
Senior Postgraduate Tutor
Postgraduate Tutors
Harry Blake BA, MMus
Briony Cox-Williams BMus, MMus, PhD, FTCL
Amy Blier-Carruthers BMus, MMus, PhD, LRAM
The Teachers
Senior Professor of Composition
Philip Cashian BMus, DMus, Hon ARAM

Head of Composition
Anthony Gritten MA, MPhil, PhD, FRCO, FRSA, ACHEP

Alexander Hills BMus, MMus, PGDip, DMA
Sir John Barbirolli Reader in Music
Roy Howat MA, PhD, Hon ARAM (Keyboard Research Fellow)

Daniel-Ben Pienaar BMus, MMus, DipRAM, FRAM

Curzon Lecturer in Performance Studies
Peter Sheppard Skrved LRAM, FRAM

Viotti Lecturer in Performance Studies

Sterndale Bennett Lecturer in Music
Our Range of Programmes

Master of Arts in Performance (MA)
> MMus in Performance
> Master of Music (MMus) in Composition:
see pages 1415
> Master of Arts (MA) in Musical Theatre:
see pages 2021
> Professional Diploma (ProfDip)
> Advanced Diploma in Performance
> Advanced Diploma in Opera: see pages 1011
> MPhil and PhD in Composition or
Performance Practice: see pages 4041
LRAM teaching diploma

Many postgraduates additionally
choose to study for the Licentiate of
the Royal Academy of Music (LRAM)
teaching diploma. The diploma provides
a comprehensive, practically-based
introduction to the principles of teaching.
Online registration for LRAM begins in
enrolment week, and there is a fee of 300.
The MA in Musical Theatre and

Postgraduate Diploma in Musical
Direction and Coaching are both one-year
programmes: see pages 2021.
Introduction
Performers can select from two Masters
degrees, the MA and the MMus. These
Performance Masters degrees are aimed
at aspiring professional performers who
have normally completed an undergraduate
course to a high level of performance
before entry. The flexible programmes of
study provide training to meet the demands
of the profession and support for the
development of an individual professional
profile in an environment in which students
are able to reach the highest possible
standards. The programmes aim to form a
bridge to a performance career and those
who apply should have a clear idea of their
future aims.
The nine-month ProfDip is for students

who have identified a particular area of
potential specialism. It provides a platform
for specialist professional development.
Applicants will normally have completed
or be completing a Masters-level degree
closely related to the proposed specialism.
Students are involved in the full gamut of

ensemble and complementary activities:
chamber music, orchestras, opera, early
music, contemporary music, church music
etc., as arranged by faculty and monitored
closely by the Postgraduate Tutors, who
assist in balancing the workload.
The nine-month Advanced Diploma in

Performance is designed for students who
have achieved a Distinction at Masters
level (or its APEL equivalent) to undertake a
further year of intensive study, with a higher
level of autonomy than in our MA, MMus
and ProfDip programmes, and with an
emphasis on innovative practice. In addition
to principal study tuition students receive
professional mentoring.
Students at this level are expected to

perform regularly. There are opportunities
to play in lunchtime and early-evening
concerts, to perform concertos with the
Academys orchestras, and to participate in
performance classes and masterclasses,
Composer Festivals and the Academys
wide range of competitive prizes and
ensemble performances.
The MMus in Performance options

are similarly flexible, but the normal
expectation is that studies will take two
years. Only a small number of students
are permitted to take the one-year option
(which attracts a significantly higher fee).
The MMus in Composition is an intensive
two-year (24-month) programme. In
exceptional cases students can be allowed
to take it as a one-year MA.
>
Which Programme is right for you?

The Academys postgraduate programmes
offer a flexible and co-ordinated scheme
of awards; from explicitly professional
preparation in the MA to doctoral studies.
54 | 55
Programme Duration
The MA is normally a two-year programme,
but in certain cases students can
be allowed to take it in one year. An
assessment of suitability for a one- or twoyear programme will be made at audition,
according to the applicants standard on
entry, educational needs and funding
position. This can be reviewed during the
first term of study.
If you are applying for the MMus, you must

provide:
> One piece of academic written work
> A Project Proposal in which you describe
your plans and aims for a potential research
project. This proposal is primarily a way for
us to gauge your readiness to undertake a
research project: for more details, see
www.ram.ac.uk/mmus-written-requirements
The Advanced Diploma in Opera is an

intensive two-year (21-month) programme.
For the two-year MPhil and three-year
PhD, which are both available in either
Composition or Performance Practice,
see pages 4041.
Once admitted to the Academy, all

postgraduate students receive regular
tutorial advice to help with their educational
and career decisions. There is provision for
postgraduate performers to transfer from
MA to MMus after one year for one further
year of study, provided the necessary
criteria have been met.
Daniel Barenboim with the Principal
Principal Study (MA and MMus)

Learning Outcomes
You will be equipped technically and
musically to demonstrate a distinctive
interpretative personality in both solo and
ensemble live concert performances. You
will have gained confidence and experience
with the range of skills expected of them
in their area of the music profession, and
learned critically to evaluate your own
performance.
The MA in Performance focuses on a

performers professional development, and
is designed to allow maximum flexibility
for students to concentrate upon the range
of activities offered within their faculty,
and to develop their own performance
initiatives. The Professional Portfolio (see
below) provides a framework for students
to prepare for a quickly evolving profession
and is supported by a large team within the
Academy.
The MMus performance programme
is for students who wish to expand
and develop high-level performance
opportunities alongside practically-oriented
academic study and research. Students
come from diverse backgrounds, and may
be conservatoire or university graduates
with a range of career aspirations. Students
follow elements of the MA programme, and
in addition explore their research interests
through a research project. The MMus has
been created in response to the changing
demands of the music profession and a
shift of focus among concert promoters and
recording companies to work on a projectby-project basis.
All work is focused directly on your
developing performance profiles, with the
aim of opening possibilities and supporting
the highest aspirations. The MMus
programme is taught by a team within
the Academy and visiting experts, and all
students take part in a weekly workshop
session which provides opportunities to
explore the implications of the research
perspectives in a direct practical context.
Assessment
Final Recital (or equivalent)
> Concerto Assessment (or equivalent)
> Profile Report on Faculty Activity, including
reports from individual lessons, concerts,
performance classes, ensembles, etc.
>
Professional Portfolio (MA and MMus)

Learning Outcomes
You will be equipped to present a portfolio
as summary of those aspects of your work
while at the Academy that are of most
importance for the development of your
individual professional profile. A key aim is
the development of confidence in adapting
presentational skills to the demands of
particular professional contexts.
All students produce promotional materials
and a reflective commentary, but there is
also a range of elective opportunities for you
to extend your professional development in
a range of areas.
Project Work (MMus only)
Learning Outcomes
You will have learned to establish
research aims relevant to your individual
development as musicians, and to draw on
a range of research processes which allow
such aims to be realised at a high level. You
will have developed a critical awareness
of how your work relates to developments
within the profession and within practicebased research and/or musicology.
Application
Procedure
Entry
Qualifications
www.ram.ac.uk/entry-requirements
Bringing together exceptional young

players from leading music schools
in NewYork and London was a great
idea... incandescent performance
New York Times, August 2012
...the youngsters assembled here
werent exactly novices. Students at
Londons Royal Academy of Music and
NewYorks Juilliard School, they are
on the cusp of the profession.To judge
from the verve they showed here,
they will be entering at a high level
The Times, August 2012
Pablo Heras-Casado
Dates for your Diary

1st October 2014
Application deadline for London auditions,
including composition portfolios, recordings
and MMus essays (except MPhil,
Conducting, Choral Conducting, Musical
Theatre and auditions in North America).
Application deadline for auditions in East
Asia. Please also contact the relevant
centre (see page 59). Dates for East Asian
auditions are subject to confirmation.
1st November 2014
Deadline for Musical Theatre applications.
Early November 2014
Notification of dates for auditions in London
in December.
Mid-November 2014
Notification of dates for Musical Theatre
auditions.
November 2014
Auditions in Beijing, Guangzhou, Hong
Kong, Seoul, Shanghai, Singapore, Taipei
and Tokyo.
1st to 12th December 2014
Auditions in London. You should expect to
be called on any weekday during this period.
Results from London and East Asia auditions
will normally be available in CUKAS by
Christmas.
5th January 2015
Application deadline for Conducting and
Choral Conducting, and for auditions
in North America.
19th January 2015
Application deadline for MPhil.
Late January 2015
Notification of audition times for
Conducting, Choral Conducting and
North American auditions.
56 | 57
February 2015
Conducting and Choral Conducting
auditions in London.
February/March 2015
Auditions in North America.
Week commencing 9th March 2015
Interviews for MPhil.
Application Procedure
See www.ram.ac.uk/apply for details.
If you are applying for the MMus
programme, you will need to provide written
work (as detailed on your department page
at www.ram.ac.uk/departments). If the
Admissions Board decides that the MMus
is not suitable for you, you may be offered
a place on the MA (Master of Arts)
programme instead.
If you have a disability and require
assistance with the application procedure,
please contact the Disability Advisor
[email protected] or the Admissions
Officer, [email protected]. See
page 59 for audition access arrangements.
Open Days
Open Days are designed for the public to
observe Academy work-in-progress. They
are directed particularly towards candidates
who may wish to consult specific staff
on any aspect of the Academy experience.
Open Days are organised from late
September by each department. For details
please see the relevant departments web
page from www.ram.ac.uk/departments.
You are welcome to come to any of our
many free public concerts during term-time
to sample the Academys dynamic
atmosphere more informally.
Deferred Entry
The Academy does not consider
applications for deferred entry.
Allocation of teachers and

Consultation Lessons
The Academy takes great care over the
allocation of students to teachers. Every
effort is made to accommodate students
preferences but the final allocation is at
the absolute discretion of the Principal.
Consultation lessons may be organised
with a professor prior to entry, for which
there may be a charge, payable to the
professor. Please contact the relevant
department to organise this (for contact
details, see www.ram.ac.uk/departments).
The Academy does not discriminate against
students on grounds of age, sex, disability,
ethnicity, religion, etc. We do, however,
judge applicants critically on their personal
suitability for a course of study according
to ability and their potential to develop into
professional musicians. The Academys
Disability Statement can be viewed at
www.ram.ac.uk/disabilities
Contacts
Head of Academic Administration:
Melanie Mullin BA
Admissions Officer and International
Co-ordinator:
Edward Kemp-Luck MA, ARCM, FRCO, Hon ARAM
Awards and Registry Administrator:
Daly Sarcos BSc
Registry Services Officers:
Gwenllian Llyr BMus, MMus
Hannah Buswell BMus
Telephone +44 (0)20 7873 7393
Entry Qualifications for

Undergraduate Programmes:
BMus, Gap Year, Organ Foundation
Minimum Age at Entry
Normally 18 on 1st September preceding
the start of the programme.
Entrance Standards
Evidence of professional performing
potential in your Principal Study, sound
general musicianship and a good aural
response. As a guide to the minimum
technical standards expected, consult the
syllabuses for Associated Board of the
Royal Schools of Music (www.abrsm.org)
examinations at Grade 8 and DipABRSM or
Trinity/Guildhall (www.trinitycollege.co.uk)
examinations at Grade 8 and Associate
Diploma (ATCL) level.
There is no formal minimum standard in
keyboard skills, but an ABRSM Grade 5
minimum (or equivalent) is desirable in
piano if keyboard is not your Principal Study,
to enable you to improve your general
musicianship.
Academic Qualifications for BMus
(UK and Ireland)
> England and Wales: Passes in two GCE
Advanced-level (A2) or Pre-U certificate
examinations, including Music. A pass
at AS level counts as half an A-level
> Scotland: B-grade and at least four C-grade
passes in Highers, including Music. An
AC grade Advanced Higher qualification is
considered to be equivalent to an A-level pass
> Ireland: B-grade and at least four C-grade
passes in the Senior Leaving Certificate
(Higher Level)
Other Qualifications which are accepted
as equivalent to Music A-level:
> A pass in ABRSM Grade 8 (Theory)
plus a pass in ABRSM or Trinity/Guildhall
Grade 8 (Practical), or
> A BTEC National Award in Music
The following will satisfy fully the

matriculation requirement:
> BTEC Level 3 extended diploma or National
Diploma (three full units in Music at Merit
or higher), or
> Access to Higher Education diploma,
in Music, or
> International Baccalaureate: the Diploma,
including music as a Group 6 subject.
International Academic Qualifications
You may check whether we accept your
qualifications by visiting our website at
www.ram.ac.uk/entry-requirements,
but you should send copies of official
transcripts or certificates with your
application form, including English
translations where necessary. If
subsequently offered a place, you must
bring original documentation for enrolment.
Postgraduate Programmes
Minimum Age at Entry
Normally 21 on 1st September preceding
the start of the programme.
Entrance Standards
Performance level at least equivalent
to a recognised music diploma in your
Principal Study.
Academic Qualifications
You should normally be completing or
have completed a full-time (undergraduate)
programme of musical study. To matriculate
onto the MA and MMus, you must possess
a good Honours degree (normally in Music)
or a recognised equivalent. For the MPhil
you must possess at least an upper second
class honours degree, and it is preferable
also to have a Masters degree. For the
Professional Diploma or Advanced Diploma
(Performance) you should gain a Distinction
or equivalent standard in the final recital of
your current or recent Level 7 postgraduate
study programme.
Other Matriculation Options

If you are a mature candidate or have a nonstandard educational background, see
www.ram.ac.uk/entry-requirements
for alternative assessments (APEL).
Exchange and Year-Abroad
Please refer to Year-In Programmes
on page 52.
English Language Requirements for
International Students
If English is not your first language,
you must demonstrate your language
proficiency if required by the Admissions
Board.
The Academy will accept either of these
two tests:
> International English Language Testing
System (IELTS academic tests)
> The Pearson academic test
Information about test centres can be
obtained from www.ielts.org and
http://pearsonpte.com
You should take the examination for either
IELTS or Pearson soon after accepting a
place at the Academy to ensure that your
result reaches the Registry by 1st May
2015. Your score must be at least:

IELTS Pearson
BMus or PGDip
5.5 51
MA
6.0 58
Professional Diploma 6.0
58
Advanced Diploma 6.5
64
MMus/MPhil 7.0 70
If you are joining Postgraduate Vocal

Studies or Opera, you must score at least
IELTS 6.0 / Pearson 58 in the Listening and
Speaking sections of the test.
If you need a visa to study in the UK, you
may also need to meet the UK Visa and
Immigration language requirements. See
www.ram.ac.uk/study for details.
Fees and
Awards
It was amazing to come to a place

where I thought everyone was going
to be very snotty and posh and to
find other people of my age who loved
singing as well and were normal.
Its a brilliant place and I definitely
wouldnt be here without it
Katherine Jenkins television interview
with Piers Morgan, October 2009
Your
Audition
Delectably performed... In a piece

teeming with delightful ensembles
there is good singing all round.
Beg for a return its sold out
The Times, November 2011
Application Fees
Application fee for Musical Theatre
(including Musical Direction and Coaching):
74
> Application fee for Conducting and Choral
Conducting auditions in London: 100
> Application fee for all other London
auditions: 95 (or 110 after the
advertised closing date)
> Application fee for auditions in Asia: 95
(or 110 after the advertised closing date)
> Application fee for auditions in
North America: 150
>
If you withdraw before attending the

audition, you will not be entitled to a refund.
If you apply after the advertised deadline,
you must pay the late fee and you may be
placed on a waiting list for an audition if the
timetable is full. The Academy fee will be
refunded if we are unable to offer an audition.
Estimated average living costs

11,500 per academic year.
Scholarships
See www.ram.ac.uk/financial-support
Entrance scholarships are awarded on
the basis of merit to selected candidates
following audition. The Academy prides
itself on being able to accept students
purely on the basis of their potential
and talent, and will therefore try to help
deserving candidates as much as possible.
The amount available for scholarships
varies from year to year, with some
funding coming from the Academys own
endowments and the rest secured through
the generosity of individuals, companies,
trusts and foundations.
Other Financial Assistance
BMus students on UK or EU fees are
additionally eligible to be considered
for support through fee waivers: see
www.ram.ac.uk/undergraduate-tuition-fees
Tuition Fees
For fees for full-time programmes for
201516, please see www.ram.ac.uk/fees.
Annual fees for 201415 are:

Home/EU International Each year the Academy offers to
international students one Undergraduate
BMus
9,000 20,100
and one Postgraduate Associated Board
of the Royal Schools of Music Scholarship,
MA
10,480 20,850
covering fees and part-maintenance for the
MMus
10,550 21,000
duration of undergraduate programmes,
and for one or two years for postgraduate
MMus (Intensive 1-year) 12,670 23,275
programmes.
Professional Diploma 9,600 19,600
MPhil/PhD
5,870 12,875
Advanced Diploma
(Royal Academy Opera)
17,000 17,000
Musical Theatre
14,200 18,300
Musical Direction
7,000
7,000
Year Abroad (pro rata) 10,480 10,480

Organ Foundation
and Gap Year
10,400 20,180
For ELQ (equivalent or lower qualifications)

fees, please see www.ram.ac.uk/fees.
58 | 59
The Academy may be able to assist some

students (normally postgraduates and
full-fee paying international students)
towards their study costs through the
bursary system. If you are eligible, details
will be sent with your offer letter. Enrolled
students who experience difficulties with
living costs may also seek assistance from
the Academys Hardship funds.
Awards and Loans for BMus students

from the UK and European Union
Candidates with UK or EU fee status who
are applying for the BMus programme should
visit www.gov.uk/student-finance
to be assessed for a tuition fee loan.
UK-fee candidates can also be assessed
for maintenance awards. These awards
are administered through the Student
Loans Company.
Similar arrangements exist for EU (non-UK)
students, who can apply for a tuition fees
loan through www.gov.uk/student-finance.
(Maintenance awards are available only to
UK students.)
Payment of Tuition Fees
Most UK and European Union students will
be entitled to pay fees at the home rate
provided they have not already gained a
qualification at the same level as the
programme they are joining, and meet
certain residency conditions which are
detailed at www.ram.ac.uk and at
www.ukcisa.org.uk and in the notes
sent out with application forms.
Annual fees are normally payable in advance
with a 25% deposit due in mid-April
and the balance due by the middle of
August.
We recommend that all students plan to
find their own funding sources to cover
tuition fees and living costs. See
www.ram.ac.uk/financial-support for
suggestions.
Audition Requirements
Full details appear on the department pages
at www.ram.ac.uk/your-audition please
check these regularly. You are welcome
to contact the Registry or the department
administrator if you have any queries.
The precise format for auditions will vary
according to Principal Study. In most cases
auditions will last from 20 to 30 minutes.
As time is limited, you may be interrupted
before you have performed a complete
piece. You may be given sight-reading or
quick study tests.
Musicianship and keyboard skills tests
may be required of all prospective
undergraduates, who are also asked to
bring a short piano piece to demonstrate
their level of keyboard skills.
Written paper: all undergraduate candidates
auditioning in London take a 50-minute
written paper which comprises
harmonisation of a short melody and a
choice of short essay questions of a general
musical nature. The Academy regrets that it
cannot issue specimen papers.
You are advised to bring your own
accompanist, but if you cannot do this,
the Academy provides accompanists for
the London and New York auditions. There
is no charge, and you will be allocated a
short rehearsal with them in your warm-up
time immediately before your audition.
We regret we cannot arrange additional
rehearsal time before the audition date.
Access Arrangements
Please inform the Registry well in advance
if you will have any access requirements
when you come for audition in London or
New York. This will enable us to discuss
your needs and have the appropriate
arrangements in place for you.
Notification of Results
The Registry will notify all candidates of the
result of their audition through CUKAS
as soon as possible. All offers made are
conditional upon the candidate achieving
the stated educational and language
requirements.
International Candidates
If you live in Europe, you must attend
the main London auditions in December
2014 (Spring 2015 for Conducting, Choral
Conducting or Research degrees). Other
international candidates are strongly
advised to do likewise (but also see below).
Please see www.ram.ac.uk/apply
for full details of all international auditions.
Candidates from North America
If you live in Canada or the USA, you must
audition in either London (December 2014,
or Spring 2015 for Conducting, Choral
Conducting or Research degrees) or North
America (February/March 2015, in New York).
Auditions in North America are not open
to candidates for Opera, Percussion, Jazz,
Organ, Harpsichord, Conducting, Choral
Conducting, Musical Theatre, Rptiteur or
Research degrees. The application deadline
to audition in North America is 5th January
2015 and the application fee is 150.
Candidates from East Asia
Auditions take place in Beijing, Guangzhou,
Hong Kong, Seoul, Shanghai, Singapore,
Taipei and Tokyo. If you live in East Asia, you
must attend one of these auditions or the
main auditions held in London in December
2014. Auditions in East Asia are not open
to candidates for Opera, Percussion,
Jazz, Composition, Conducting, Choral
Conducting, Musical Theatre or Research
degrees. It may not be possible to audition
Harp, Organ or Historical Performance
candidates because of limitations at the
host venues.
Deadlines for auditions in East Asia are
specified by the relevant centre: please see
www.ram.ac.uk/auditions-in-asia. Enquiries
should be directed as follows:
PR China Centre
Professor Su Zhen,
Central Conservatory of Music,
43 Bao Jia Street, Beijing,
PR China 100031
Telephone/Fax +86 10 83511052
Hong Kong Centre

Warren Lee
Telephone +852 5181 2108
Japan Centre
Mrs Yoko Takamoto
65-1-203 Kamimaruko-tenjincho, Nakahara-ku,
Kawasaki-shi, Kanagawa-ken, 211-0007 Japan
Telephone/Fax +81 (0)44 744 1687
Mobile +81 (0)90 3451 5912
Korea Centre
Dr Jae Eun Shin DMA
Telephone +82 (0)10 9334 8749
Singapore Centre
Lim Yean Hwee, Artists Academy
217 East Coast Road #02-01/ #02-02
Singapore 428915
Telephone/Fax +65 (0)66591860
Mobile +65 (0) 98456226
Taiwan Centre
Miss Aki Lin, 8F1, #181, Chang-an E. Road,
Sec. 2, Taipei, Taiwan ROC
Telephone +886 (0)2 2772 9432
Fax +886 (0)2 2773 8834
Video Recordings
If you do not live in Europe, East Asia or
North America, the Academy will accept
videos (DVD all-region only) for most
Principal Studies. All recordings must be
received by 1st October 2014 and must be
authenticated by a person of authority. You
must complete both a CUKAS application
and our own DVD form, which is available
from [email protected]. Please note
that if you audition by recording, you will
not normally be eligible for an entrance
scholarship.
Visas
If you will need a support letter to help apply
for a visa for your audition in London, please
contact [email protected] after you have
submitted your Academy application.
Credits
HRH The Duchess of Gloucester at an Open Academy event
Carol McCormack (Director of Development)
Patron
Her Majesty The Queen
Director of Junior Academy

Howard Ionascu MusB
President
Her Royal Highness
The Duchess of Gloucester GCVO, Hon FRAM
Senior Administrative Officers

Head of Academic Administration:
Melanie Mullin BA
Every effort has been made to ensure the

accuracy of this Prospectus at the time
of publication. However, the Academy
reserves the right to vary its programme
and staffing according to circumstances.
Vice-Presidents
Lord Burns GCB, Hon FRAM
Sir Elton John CBE, Hon RAM
David Josefowitz CBE, Hon FRAM
Sir David Lumsden MA, DPhil, Hon RAM, Hon FRCO
Marketing and Communications Manager:

Peter Craik Hon ARAM
Honorary Trustee
Lord Armstrong of Ilminster
Academic Secretary:
Catherine Jury BA, Hon ARAM
Estates Manager:
Pete Smith GRSM, LRAM, FRAM
Members of the Governing Body

Dame Jenny Abramsky DBE
(Chairman)
Lady Sainsbury of Turville CBE, Hon FRAM

(Deputy Chairman)
The Rt Hon Jonathan Sumption OBE, Hon FRAM

(Deputy Chairman)
John Burgess
Robin Butler
Matthew Ferrey Hon FRAM
Lesley Garrett CBE, FRAM
Lady Suzanne Heywood
Professor Roger Parker Hon FRAM
Laurel Powers-Freeling Hon FRAM
Sir Martin Smith Hon FRAM
Professor Sir Richard Trainor FKC
Tony Travis Hon RAM
John Willan BMus, ARAM, FRSA, FCA
Senior Management
Principal:
Prof. Jonathan Freeman-Attwood
BMus, MPhil, Hon RAM, FKC
Deputy Principal:
Mark Racz BA, MFA, Hon RAM, Hon FBC
Deputy Principal
(Programmes and Research):
Timothy Jones MA, DPhil, Hon RAM, LTCL
Director of Development:
Carol McCormack Hon ARAM
Head of Finance:
Judith Barber BSc, CPFA, Hon ARAM
60
Chancellor of the University of London

Her Royal Highness
The Princess Royal LG, LT, GCVO
The Royal Academy of Music is a member
of the University of London, one of the
oldest and largest universities in the UK.
Through its Colleges and Institutes the
University of London offers the widest
range of Higher Education opportunities in
Britain, with over 2,000 courses and
unparalleled facilities for advanced research.
Photography by Hana Zushi.

Printed on paper manufactured using
75% recycled fibre (100% de-inked postconsumer waste) at a mill that has
achieved the ISO 14001 environmental
management standard.
Prospectus design and art direction:
INTRO www.introwebsite.com

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Welcome

For 190 years the Royal Academy of

Professor Jonathan Freeman-Attwood

Studied at University of Toronto and Christ

I am regularly asked what is special about

There are no great secrets to how we achieve

Mark Racz BA, MFA, Hon RAM, Hon FBC

The UKs oldest conservatoire is

DrTimothy Jones MA, DPhil (Oxon), Hon RAM

One of the most exhilarating opera

A masterly account of Peter Maxwell

Dave Holland, International Jazz Artist in Residence

Performance is at the heart of all our work at

We collaborate regularly with the Juilliard

Pianist Benjamin Grosvenor (2012) received

Studying at the Academy is a transformative

programmes in 2015: an Advanced Diploma

creative practice whether in the fields of

Your Principal Study

Principal Guest Conductors

Performance is the essential driving force

Sir Simon Rattle worked with Concert

Joint orchestral performances with Juilliard

Schuberts Unfinished Symphony

Stockhausens Gruppen side-by-side with

Monthly Bach Cantatas, including concerts

Musical Theatre company on BBC Radio 2

Recordings for a series of releases on Linn

Discussions with Dame Janet Baker, Alfred

Wigmore Hall performances by Academy

Appearances at Londons most prestigious

> Conductors and instrumentalists Pierre-

Laurent Aimard, Yuri Bashmet, Steuart

> Singers Sir Thomas Allen, Barbara Bonney,

Wolfgang Holzmair, Dame Kiri Te Kanawa,

> Composers John Adams, George Benjamin,

Sir Harrison Birtwistle, Pierre Boulez,

> Jazz artists Dave Douglas, Peter Erskine,

Dave Holland, John Hollenbeck, Stan Tracey,

> Directors John Copley, John Cox, Paul

Curran, David Pountney and John Ramster

Some recent highlights

Violin & Viola

Students have access to all professors here

Chamber Musician in residence 201415

Some 2013/14 student achievements

Maria Wloszkowska Grand Prix IIIrd M Elsky International

Violin Competition, Minsk

Alberto Casadei Making Music Young Concert Artists Award,

Wenhong Luo Yuri Bashmet Prize, Tertis Competition

Budapest Festival Orchestra

Lorenzo Meseguer Castille e Leon Symphony Orchestra

Kristine Balanas concerto soloist with Moscow Soloists and

Yuri Bashmet; Villa Musica three-year Residency Scholarship

Kirsty Lovie (violin) and James Kenny (double bass)

Some recent graduates successes 2013/14

William Melvin tutti Second Violin, LSO

> Academy Cello Ensemble watchful, musical,

committed playing Independent on Sunday