BIRMINGHAM CONSERVATOIRE

BIRMINGHAM
CONSERVATOIRE
BA (HONOURS) ACTING 11

About us
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Situated in the heart of England, Birmingham Conservatoire is a place where

talent develops, individual creativity flourishes and successful careers begin – all
against the backdrop of one of the UK’s greatest modern cities.

Our history as the conservatoire of the Midlands stretches back nearly 150 years,
to our early development as the music department of the historic Birmingham and
Midland Institute. Today we are a thriving international conservatoire with over 500
students on undergraduate, postgraduate and research programmes, as well as a
Junior department of over 200 students.

So that we can offer you the very best professional training, we ensure the
continuous development and improvement or our programmes by constantly
assessing and responding to the demands of the profession. In return, we expect
you to work hard, enjoy yourself and take advantage of all we have to offer.

Your time with us will be some of the most exciting of your life. Our aim is that
you should leave us as a happy, confident and self-possessed musician, ready to
make your mark.

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PRESIDENT
Sir Simon Rattle CBE

VICE PRESIDENT
Peter Donohoe FRNCM GRNCM ARNCM ARCM
DUniv (B’ham)

PRINCIPAL
Professor George Caird MA (Cantab) FRAM FRCM FRNCM HonFLCM FRSA

VICE PRINCIPAL
Professor David Saint BA BMus FRCO

HEAD OF RESEARCH
Professor Peter Johnson MA MusB (Cantab) DPhil (Oxon) FRCO

HEAD OF JUNIOR CONSERVATOIRE

Timothy English AGSM

REGISTRAR
Michael Hill MA (Oxon)

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In addition to being an international conservatoire, since 1970 we have also been part of one of Britain’s most proactive
universities, Birmingham City University (formerly University of Central England in Birmingham), giving our students
access to a range of benefits and opportunities few other music colleges can provide. As well as the Conservatoire,
Birmingham City University’s substantial arts training provision also includes Birmingham School of Acting, Birmingham
Institute of Art and Design, Birmingham School of Media and the National Writing Academy, putting us - and you - in the
best possible creative company.
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Contents 5

ADVICE FOR ALL APPLICANTS ABOUT THE CONSERVATOIRE ENSEMBLES JOINT COURSES
10 Why Music? 41 Facilities 114 Choirs 178 HND Popular Music Practice
10 Conservatoire or University? 44 Library 116 Orchestras and Large Ensembles 180 BSc (Hons) Music Technology
11 What’s it like to study here? 47 Instruments 118 Jazz 182 MA Digital Arts in Performance
13 Open Days
STUDENT SUPPORT
PROFESSIONAL DEVELOPMENT APPLYING AND AUDITIONING
ABOUT BIRMINGHAM 54 Personal and academic support
56 Accessing personal and academic support 122 Professional Development 186 Applications
17 The City 122 Performance Opportunities 188 Research Applications (MPhil /PhD)
56 Personal Development planning
17 Getting here and getting around 124 Concert Series 189 Joint Course Applications
56 Lifelong learning
18 Arts Scene 124 Festivals 190 Main Auditions
59 Music in the community
18 Where to see, hear and perform 126 Recording 190 Late Auditions
20 Getting involved 128 Musicianship Electives 191 International Audition Centres
22 Birmingham on a budget STUDYING 131 Supporting your development 192 Audition Recordings
22 Accommodation How it works 133 Enhancing your core skills 194 Scholarships and Financial Aid
62
22 Tuition Fees Bowed Strings 134 Broadening your musical knowledge
64
68 Plucked Strings 137 Professional Schemes
72 Orchestral Woodwind 140 External Engagements 198 How to find us
ADVICE FOR INTERNATIONAL APPLICANTS
76 Recorder and Saxophone 140 International Exchange 200 Partners
26 An International Conservatoire 201 Sponsors
78 Brass
26 Advice
82 Percussion
27 Useful Websites CONSERVATOIRE COURSES
84 Piano
28 English Language Requirements
86 Organ & Harpsichord
28 Summer Sessions 144 BMus (Hons)
88 Vocal & Operatic
30 Support while you study 150 BMus (Hons) Jazz
93 Choral Conducting
30 Working in the UK 154 GradDip Jazz
94 Jazz
156 PgCert Music
98 Composition
158 PgCert Music (Specialist Performance)
ABOUT OUR UNIVERSITY 100 Music Technology
160 PgDip/MMus Music
102 Research
34 The University 166 Advanced PgDip Professional Performance
105 Academic tutorial staff
36 Students’ Union 170 Research: MPhil/PhD
106 Coaching
38 After you graduate 174 Junior Conservatoire
108 Chamber Music
110 Early Music

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Welcome 7

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Thank you for picking up our prospectus. If you are a talented individual looking to pursue or further your career in music,
then you will find here a selection of flexible and challenging courses designed to meet the wide variety of needs of the
modern professional musician. We hope this prospectus will also give you a real sense of what it’s like to study with us – of
the atmosphere of dedication and support that we cultivate, and of the creative collaboration that goes on at the highest
level between our performers and composers. It is, of course, for every student to find their own future with an institution
that suits their personality, aspirations and style of learning. At a time when more and more musicians are choosing to join
Birmingham’s rapidly expanding musical scene, we hope you will choose to find your future here, alongside some of the most
talented and passionate musicians in the country.

PROFESSOR GEORGE CAIRD

PRINCIPAL
8 Advice for all applicants 9
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Advice for all applicants
WHY MUSIC?
There was a time when it was far easier to draw a box around
what was classed as a ‘music career’. Then, in the public
consciousness at least, being a ‘musician’ meant a) playing
in an orchestra, b) touring as a soloist, c) teaching or d) being
unemployed! Of course, it sounds ridiculous now, because
the music industry today is one of the broadest and most
dynamic fields in which to work, as well as a big player in the
national economy.
According to the Department for Culture Media and Sport
(DCMS), the UK music industry:
• generates nearly £5bn annually
• employs some 130,000 people, nearly 90 per cent
within small or medium enterprises
• is second only to the USA as a source of repertoire
• contributes to the third largest market in the world for
music sales
In a reality where sugar-coated pop bands, challenging
modern composers, cutting-edge jazz artists, cult DJs,
classical virtuosi, die-hard rockers, specialist period
performers and masters of indigenous music can all coexist
and inspire each other, there are more opportunities
for musicians than ever before. Music is an immensely
enjoyable, challenging and rewarding subject to study; and
one which is likely to lead you to an exciting full-time job
or diverse ‘portfolio’ career. This might involve combining
performance and/or composition with a huge variety of
other jobs that rely on the skill of highly trained musicians,
including production and engineering, music management,
teaching, publishing, concert promotion, community
workshops, recording, online music, music therapy, working
across art forms... it’s yours to create. Our courses will help
you get there.
CONSERVATOIRE OR UNIVERSITY?
Aspiring professional musicians can face difficult decisions
when considering where to continue their studies. The
reputation of the institution, quality of teaching, professional
training opportunities, location and cost of living must all be
considered. On a more intrinsic level, many music students
feel they must balance their need for vital specialist training
in performance or composition with their desire to have a
broad and varied university experience. great advantage that we are situated in the very heart of
As a part of a major university, we can offer all the benefits
of university student life in addition to the intensive individual
training with professional musicians available only in
conservatoires. You will learn in a dedicated building with
the creative atmosphere of a music college and, at the same
time, be part of a 25,000-strong community of students
pursuing a variety of courses and careers at the University.
At a time when students are justifiably expecting more from
higher education institutions than ever before, we can offer
you the best of both music college and university life.
FIND OUT MORE ABOUT:
14 Birmingham
34 Our partner faculties
41 Our facilities
53 Student support
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WHAT’S IT LIKE TO STUDY HERE?
Because of the calibre of the musicians they attract,
conservatoires are naturally competitive institutions,
yet our students enjoy an atmosphere of support,
motivation and collaboration. It is of huge importance
to us that you have the opportunity not only to develop
your practical skills, but also to explore different types
of and approaches to music. We therefore see it as a
Britain’s most diverse city, home to a vibrant and varied
musical and cultural community.
Our own student population is equally cosmopolitan,
drawn not just from the surrounding area, but from all
over Britain, the EU and overseas. So, wherever you
come from and wherever you see yourself going, it’s
likely that you will feel at home here.
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Advice for all applicants 13

See for yourself www.birmingham.org.uk

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www.birmingham.gov.uk

OPEN DAYS
Both the Conservatoire and the University hold regular
Open Days. Conservatoire Open Days are designed to give
Just a brief note to thank you
you a real insight into student life and involve introductory and everyone else involved
talks, guided tours, open rehearsals, performances and
chances to meet staff and students. If you cannot make it for putting together such a
to a Conservatoire Open Day, you are welcome to attend
a general University Open Day, where a Conservatoire fascinating, valuable, exhausting
representative will be available to answer questions. Please
note, however, that you will not normally be able to visit the
and hugely enjoyable day. I
Conservatoire on University Open Days. For information on
University Open Days, contact the University’s advice shop,
arrived as a complete ‘innocent’
Choices (T: 0121 331 5595 E: choices@bcu.ac.uk) or visit: but now have a really good
www.bcu.ac.uk
handle on what’s on offer and
Conservatoire Open Days occur twice a year in January and
June and run from 10am-4pm. Exact dates and an example more importantly a feel for the
timetable can be found on the website below, or for further
information please contact: wonderful ‘family’ atmosphere
Judy Francis
which somehow, someway, you
Open Day Co-ordinator create. I can think of no more
T: 0121 331 6905
E: judy.francis@bcu.ac.uk
supportive environment in which
www.conservatoire.bcu.ac.uk/open-days to study, learn, develop and
Upcoming Conservatoire Open Days have fun making music. The
Friday 18 June 2010 skill, commitment and passion of
Thursday 27 January 2011
all the teaching staff I met was
Our friendly and CONSULTATION LESSONS inspirational and I hope that I
supportive atmosphere
is one of the things that
If you’re considering a place at the Conservatoire, you may
request a consultation lesson with the relevant tutor, for
may be fortunate enough to
sets us apart, and the which a fee may be payable. Please contact our Admissions enrol this September.
best way to experience Team for further details:
it is to visit us. T: 0121 331 5901 VISITOR FROM OXFORD
E: conservatoire.admissions@bcu.ac.uk)
14 About Birmingham 15
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About Birmingham 17

Studying in Birmingham opens up the world. For students from outside the UK, it
offers an opportunity to improve English skills while taking advantage of excellent
professional opportunities. For all students, studying in Britain’s largest regional
city offers all the excitement, diversity and culture of a major city without the cost
of living in the capital.

THE CITY
Birmingham is unique. Situated in the heart of England, its bustling Chinese
Quarter and famous ‘Balti mile’ are obvious testaments to its multicultural nature.
There is a dazzling array of restaurants, shops, pubs and clubs on offer, plus
world-class sporting events and, of course, live music.

Yet when it all gets too much, in just 15 minutes you can be out of the city and
enjoying tranquil countryside. Popular West Midlands destinations such as
Stratford-upon-Avon, Warwick Castle, Ironbridge, the Cotswolds and the Malvern
Hills are all close by.

Find out more: www.visitheartofengland.com

GETTING HERE AND GETTING AROUND

With its own international airport and two major rail arteries, getting to and from
Birmingham is simple. Once you’re here, the city’s manageable size – around one
million people – makes it friendly and fast to get around. Within the city, local rail
and bus coverage is excellent and there are plans to extend the city’s tram line.
Plus, Birmingham’s location makes it an ideal base for musicians travelling to
engagements elsewhere in the UK (London is 90 minutes by train).

Find out more

about visiting
and how to find
us on page 198
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About Birmingham 19

ARTS SCENE WHERE TO SEE, HEAR AND PERFORM

Birmingham boasts a superb arts scene. Local theatres From traditional Irish to rock, contemporary classical to
include the Hippodrome (home of Birmingham Royal Ballet), bhangra, you can find it here. Many of Birmingham’s major
the Alexandra Theatre and the Birmingham Repertory music venues are just minutes away from us, including:
Theatre with its associated studio theatre,
The Door. • Symphony Hall: 2,262 seats, home to the renowned
City of Birmingham Symphony Orchestra (CBSO)
The Midland Arts Centre, set in Cannon Hill Park, stages a
• Town Hall: 1,088 seats, Grade 1 listed, reopened in
more eclectic range of theatrical events and films as well as
October 2007 following a £35m renovation
workshops and exhibitions. From megaplex StarCity to the
fabulously refurbished Electric Cinema, film fans can enjoy • Our own venues, particularly the Adrian Boult Hall
everything from arthouse to Hollywood to Bollywood. and Recital Hall are used by many of Birmingham’s
principal concert promoters (see page 41)
The city also has some of the finest art galleries in the
country – the Birmingham Museum & Art Gallery, housing • CBSO Centre: a flexible performance space used by a
the world’s leading collection of Pre-Raphaelite art, variety of groups, including Birmingham
contrasting with the modern, innovative work on show at the Contemporary Music Group (BCMG), Birmingham Jazz
Ikon Gallery. Each September, Birmingham’s ArtsFest, the and Birmingham Symphonic Winds
UK’s largest free arts festival, attracts more than 100,000 • 02 Academy Birmingham and National Indoor Arena:
visitors, and our own New Generation Arts showcase together with the National Exhibition Centre (located
presents the best work from emerging artists to audiences about 10 miles out of town), these venues host a huge
drawn from across the Midlands and beyond. variety of international artists, from living legends to
today’s hottest bands
Due in part to the resourcefulness of our own students and
alumni, jazz is now flourishing in the city, with several jazz
nights in local venues providing performance platforms for
our students and visiting artists. As well as the larger venues
mentioned above, intimate performance spaces dotted
around the city centre and further afield host a variety of
bands and many pubs double as venues. The Drum in Aston
is a particular hot-spot for jazz, owing to homegrown talent
Soweto Kinch’s Live Box sessions.

CBSO with Sakari Oramo

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About Birmingham 21

GETTING INVOLVED ORCHESTRAS AND INSTRUMENTAL ENSEMBLES

Although we aim to provide a full range of performing Birmingham Chamber Orchestra: www.birminghamchamberorchestra.com
ensembles and activities to keep you busy at the Birmingham Philharmonic Orchestra: www.bpo.org.uk
Conservatoire, one of the great advantages of studying in
Birmingham is the huge array of excellent professional Birmingham Symphonic Winds: www.bsw.org.uk
development opportunities that will be available to you as a CBSO Youth Orchestra: www.cbsoyouthorchestra.com
student or graduate. Central England Ensemble: wwwcentralenglandensemble.co.uk
• Music Services – one of the largest services in the Chandos Symphony Orchestra: www.chandos.org.uk
country, Birmingham Music Service organises and Midland Youth Jazz Orchestra: www.myjo.co.uk
administers 19 Central Ensembles and 41 Area National Saxophone Choir of Great Britain: www.saxchoir.com
Ensembles. Fruitful relationships also exist with Dudley,
Queen’s Park Sinfonia: www.queensparksinfonia.org.uk
Staffordshire and Oxfordshire Music Services. Many of
our students teach for the Music Service and find the Sinfonia of Birmingham: www.sinfonia.org.uk
work both challenging and highly rewarding.
CHORAL AND OPERATIC GROUPS
• For aspiring singers and organists, Birmingham’s many
churches, as well as its Oratory and two cathedrals, St Birmingham Bach Choir: www.birmingham.bachchoir.com
Chad’s (Roman Catholic) and St Philip’s (Anglican), offer a Birmingham Choral Union: www.birminghamchoralunion.org.uk
number of choral and organ scholarships. Birmingham Festival Choral Society: www.bfcs.org.uk
• Alongside the major players (CBSO, BCMG etc), a City of Birmingham Symphony Choruses: www.cbso.co.uk/choruses
variety of performing ensembles and organisations Ex Cathedra: www.ex-cathedra.org
within Birmingham and the West Midlands offer
the chance to get involved at non-professional, semi- Operamus (youth opera): www.operamus.co.uk
professional or professional level (see oposite) Heart of England Singers: www.heart-of-england-singers.org.uk
St Chad’s Cathedral Choir: www.stchadscathedral.org.uk
St Philip’s Cathedral Choir: www.stphilipscathedral.org

COMPOSITION AND CONTEMPORARY PERFORMANCE

CoMA (Contemporary Music for Amateurs) West Midlands: www.coma.org

Famous for its diversity, Birmingham supports a wide range of organisations deliv-
ering music within the community, as well as one-off projects, including:
The Drum: www.the-drum.org.uk
mac: www.macarts.co.uk
Musicate: www.musicate.org
Sampad: www.sampad.org.uk
Sound Futures: www.soundfutures.org
Sound it Out: www.sounditout.co.uk
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About Birmingham 23

BIRMINGHAM ON A BUDGET TUITION FEES

Finance is becoming an increasingly important factor in The latest fees will be posted on our website
deciding where to study. Home to three major universities www.conservatoire.bcu.ac.uk as soon as they are available.
and a number of specialist training institutions, Birmingham
is a student-friendly city. There are plenty of places offering You may find it helpful to speak to a financial adviser in our
part-time work to music students, including venues such Student Services Unit, who can provide up-to-the-minute
as Symphony Hall and the CBSO Centre, as well as our own information on tuition fees and bursaries. The Unit also
venues. publishes a guide to Fees and Funding, containing practical
advice for prospective students. Contact Student Services for
In terms of making the most of the city, you’ll find that most a copy (T: 0121 331 5588 E:student.services@bcu.ac.uk) or
of Birmingham’s major attractions offer free or reduced- visit www.bcu.ac.uk/studentservices
price entry for students, with some music venues offering
special discounts for those studying at the Conservatoire. In accordance with requirements issued by the Office for Fair
Access, the University publishes an Access Agreement,
ACCOMMODATION available on the OFFA website www.offa.org.uk
Once you have accepted a place at the Conservatoire, the
University’s Accommodation Service will offer you help
in finding somewhere to live, either in one of its Halls of
Residence or in other University or private accommodation.
If you live a distance from Birmingham which precludes
commuting, you will normally be guaranteed University
accommodation for your first year.
Conservatoire students are most frequently housed in the city
centre, close to the Conservatoire.

For further information and application for University

accommodation, please visit:
www.bcu.ac.uk/accommodation

Apart from University accommodation, a wide variety of

housing options are available across the city and the cost of
living is relatively low. Renting a private house or flat tends to
vary between £55 and £90 per week.

Find out more

about scholarships
and financial aid
on page 194
24 Advice for international students 25
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Advice for international students 27

AN INTERNATIONAL CONSERVATOIRE
Students and staff come from all over the world to study and teach in the unique environment we offer. Our international
student population has risen and diversified greatly over the last ten years, with the result that the Conservatoire is now as
cosmopolitan as it is friendly and welcoming. So, whether you’re from a remote village in Shropshire or a remote village
in China, you can be sure that your study within the heart of Britain will be infused with a variety of cultural flavours and
influences.

ADVICE
If you are applying from outside the EU, we recommend you contact our Assistant Registrar Ruth Stanton
(ruth.stanton@bcu.ac.uk) before making an application. Ruth can provide advice on international qualifications, making an
application, fees and other matters.

Once you have accepted a place at the Conservatoire, the University’s International Advice Service will become another USEFUL WEBSITES
important resource for you. To make your trip to the UK as easy as possible, they provide pre-arrival information and run a The University’s International Advice Service maintains an extensive,
Meet & Greet Scheme. up-to-date and easy-to-use website for prospective international
students, so we recommend that you make it your first stop for
Once you arrive in Birmingham, an orientation programme will help to make you feel at home. The International Advice information. However, please be aware that the information on the
Service is also able to offer advice on visa extensions, travel outside the UK while you are a student, working during and after site changes frequently depending on the time of year. Some other
your studies and general funding and finance issues. useful websites are also listed below.

University websites
• University International Advice Service:
www.bcu.ac.uk/studentservices/international
We have in recent years welcomed students from:
• University Student Services:
Austria Hong Kong Romania www.bcu.ac.uk/studentservices
Australia Hungary Russia
Belgium India Singapore • Main University website: www.bcu.ac.uk
Brazil Indonesia South Korea
• Information for international students:
Canada Israel Sweden
www.bcu.ac.uk/international
China Japan Spain
Colombia Korea Taiwan • Conservatoire website: www.conservatoire.bcu.ac.uk
Czech Republic Latvia Thailand
Denmark Malaysia Turkey External websites
Finland Malta Poland
• British Council: www.britishcouncil.org
France Norway Ukraine
(see also their Links page)
Germany Iceland USA
• UKCISA: The Council for International Student Affairs:
www.ukcisa.org.uk
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Advice for international students
ENGLISH LANGUAGE REQUIREMENTS
All teaching at the Conservatoire is in English, so you must
be able to demonstrate a strong command of the English
language. If your first language is not English, you must have
gained one of the following recognised English language
qualifications, or an approved equivalent qualification:
MMus candidates, minimum requirements
• IELTS: 6.5
• TOEFL (iBT): 90-91
• TOEFL (CBT): 232
BMus (Hons), GradDip, PgDip, AdvPgDip, MPhil, PhD,
minimum requirements
• IELTS: 6.0 narrowly miss the English language requirement for your
• TOEFL (iBT): 79-80 course (for instance, if you score a 5.0 or a 5.5 on your IELTS),
• TOEFL (CBT): 213 the University may offer you a place on a 5- or 10-week Pre-
• Hong Kong Examination Authority use of English: E
• Cambridge Certificate of Profiency in English or
Certificate in Advanced English: C
• GCSE or IGCE English Language: C
PgCert, PgCert (SP), minimum requirements
• IELTS: 5.5 and informal speaking. You will also have the chance to find
• TOEFL (iBT): 71 out about British culture and society and, of course, meet
• TOEFL (CBT): 196
Regardless of whether you meet the stated requirements,
if your first language is not English, we will ask you to take
an additional English language test when you arrive. If we
feel you need further help in a particular area, you will be
required to attend an English class once a week until you
have attained the appropriate level of competence. The
classes are provided free of charge and all non-UK students
who wish to attain greater fluency in English are welcome
to attend. Tuition is offered in grammar, conversation and
comprehension, as well as assistance with reading and
essay-writing.
SUMMER SESSIONS
If you are otherwise successful in your application, but
Sessional English Course before you start your studies at the
Conservatoire. Please note that there is an additional fee for
these courses. beautiful concert halls, a museum, a number of art galleries,
Classes cover a mixture of general and academic English,
including writing, reading, grammar, listening and formal
and make friends with other international students. You will
not need to retake IELTS or TOEFL after the Pre-Sessional
course.
For more advice on the University’s English Language
Requirements and Summer Sessions, visit
www.bcu.ac.uk/international
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29
DI XIAO
Piano, AdvPgDip (2006 graduation)
Tutors: Prof Malcolm Wilson, Prof Mark Racz
The best thing about studying at the Conservatoire is having
access to the people and the facilities; everyone tries their
best to help and the resources are excellent. I am really
grateful for the wonderful tuition and support from both of
my tutors, who went beyond education into the realms of
mentorship.
What I value the most is the connection between the
Conservatoire and Birmingham’s two amazing concert halls:
Town Hall and Symphony Hall. There are so many music
events and you can see performances by the world’s top
class artists only five minutes’ walk from the Conservatoire.
Additionally, the Conservatoire’s ‘Symphony Hall Prize’ offers
the winner the opportunity to give recital in this gorgeous
hall. I gave me debut there in 2006 and have now played there
four times! It is still one of my dream venues.
Currently, I split my time between Birmingham and
Lincolnshire. Since 2007, I have been a tutor in the
Conservatoire’s Piano Department – my opportunity to put In addition, I have played for some of the major music
something back into the college – and many of my concerts festivals including those in Buxton and Leamington and for
take place around Birmingham, so I come back regularly. the Bremen Musikfest. Apart from my solo career, I enjoy
I think the best thing about Birmingham is its size: two playing chamber music and recently gave a concert with Mr
& Mrs Julian Lloyd Webber in London. I released my first
the biggest shopping mall in Europe, Birmingham Royal CD in 2008 (recorded in Symphony Hall), which has received
Ballet, the Central Library, theatres, cinemas, China town some quality airplay including on BBC Radio3.
(very important to me! )… all within walking distance. It’s
While at the Conservatoire, I won its Piano Prize, Ludlow
really convenient; the only difficulty is deciding at which
Philharmonic Concerto Prize and Symphony Hall Prize.
venue you are going to spend your night!
Since graduating, I have won first prize in the 28th Brant
During the 08/09 season I was selected as the UK’s International Piano Competition (2007) and a Silver Medal
representative to the European Concert Halls Organisation from The Worshipful Company of Musicians of London (2008).
(ECHO) Rising Star series of concerts. I gave concerts in 11
To new students, I would say: Never give up your dream
major halls including Amsterdam’s Concertgebouw, Vienna’s
and the freedom to pursue your happiness. No doubt the
Konzerthaus, Luxembourg Philharmonie, Salzburg ’s
conservatoire gave me a very good foundation. It prepared
Mozarteum and Birmingham’s Town Hall – its name may not
be as glamorous as some of the others but I can assure you it me for my first European tour and gave me the tools I needed
is one of the best! Recordings from these live performances to develop myself as a concert pianist.
were played by radio stations across Europe.
www.dixiao.co.uk
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Advice for international students 31

SUPPORT WHILE YOU STUDY WORKING IN THE UK

Renowned for our friendly and welcoming atmosphere, we
go to great lengths to ensure that our international students
are supported both personally and academically during their
studies.
When you first arrive in Birmingham, you will take part in an
International Welcome, during which you will have the chance
to meet and get to know other international students at the
University, including Conservatoire students.
Wherever you are from, you will be entirely integrated into
the student body; however, if you are from outside the
UK, you can also take advantage of individual attention
throughout the duration of your studies at the Conservatoire
and can look forward to being part of a diverse community of
musicians.
If you are not a citizen of the European Economic Area (EEA) you
will usually be granted permission to work in the UK part-time
up to 20 hours per week during term time and full-time during
vacations. However, you should be aware that you will only be
admitted to the UK on the understanding that you have sufficient
funds to support yourself and any dependants without taking
employment. Therefore, you cannot rely on finding employment
in the UK to fund your stay here.
On completion of your degree you may be eligible for a working
visa, please visit:
www.ukvisa.gov.uk for the latest information.
Please note that the information provided here is intended to be
a guide only.

Celebrating the end of your studies is an important part

of any student’s experience and we want you to be able to
make the most of it. The Conservatoire holds a prize-giving
ceremony and end-of-year concert in June; however your
official graduation ceremony will take place in the February
after you finish your course. In case you are not able to return
to the UK to take part in your official awards congregation,
the University also holds a special International Presentation
ceremony in June/July, to which you are welcome to invite
friends and family.
32 About our University 33
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CITY NORTH SPORTS CENTRE

34
About our University 35

THE UNIVERSITY ENVIRONMENT (TEE)

With around 25,000 students, six faculties and teaching
sites spread across Birmingham, our parent university
(Birmingham City University) offers a vibrant, multicultural
atmosphere in which to study. Although you will learn
alongside other music students in a purpose-built
conservatoire, your University colleagues will often be no
more than a stone’s throw away. The fact that most art,
acting and technology students are based in the city centre
means the opportunities for creative collaboration are limited
only by your imagination.
BIRMINGHAM SCHOOL OF ACTING (BSA)
BSA was founded in 1936 and has become a leading UK
drama school focused on providing professional vocational
training for actors. It recently moved to new £4m state-of-
the-art premises within Millennium Point, where it educates
and trains the next generation of professional actors for
stage, screen and broadcast: www.bsa.bcu.ac.uk
TEE offers a wide range of interactive media, ICT, design
technology and advanced engineering courses. Based
at Millennium Point, a £114 million complex opened in
Birmingham city centre in 2001, TEE provides cutting-edge
facilities for exploring and utilising technology, including
music, media and moving image technologies. A range of
industrial links, including applied research, allows tutors to
apply their own knowledge to the challenges facing business
and industry, thereby ensuring that teaching programmes are
underpinned with relevant and current vocational material.
www.bcu.ac.uk/tee
OTHER FACULTIES
Other faculties based at the University’s main City North
Campus include English, home to the National Academy of
Writing; and Education, where our new part-time PGCE is
taught (see page 144).

BIRMINGHAM INSTITUTE OF ART AND DESIGN (BIAD)

With nearly 4,000 students spread over four campuses, BIAD
is one of the largest centres for art, architecture, design
and jewellery education in the UK. The high calibre of its
students’ work is constantly recognised by industry awards,
such as those from Macmillan Children’s Books, D&AD
Design Awards, RSA Goldsmiths Design Awards, Tetley Tea
Photography Awards and many more. Expert staff, excellent
industry links and state-of-the-art facilities have enabled
many of BIAD’s graduates (such as fashion designer Betty
Jackson) to reach the top of their profession. BIAD’s major
events include numerous exhibitions and shows by students,
staff and visiting professionals: www.biad.bcu.ac.uk

MILLENNIUM POINT
36
About our University
STUDENTS’ UNION
Our energetic Students’ Union offers a wide range of
essential services to students, including more than 60 clubs
and societies, entertainments, bars, sports facilities, shops,
a variety of part-time job opportunities and more. When
you first arrive, you’ll receive the Union’s Essential Student
Guide – a lifeline for new students. After that, you can keep
up to date with student affairs through their radio station
(SCRatch) or student newspaper (Spaghetti Junction).
The Union is a valuable source of information, independent
advice and support on any matter – a professional advice
worker is available for consultation in the Conservatoire
each week. The Union is a democracy and the University-
wide Student Council has places specifically reserved for
Conservatoire students. Getting involved in the Union during
your studies is a great way to meet new friends, develop
interpersonal skills and enjoy a lively and full student
lifestyle. For more details, visit www.birminghamcitysu.com
or contact the Union:
T: +44 (0)121 331 6803
E: union.comms@bcu.ac.uk)
PHOTOGRAPH CREDITS
Lucie Louvrier
Voice, MMus (2010 graduation)
Tutor: Catherine Benson
I moved to England in 2007 and auditioned in London
and Birmingham. I had heard from English professional
musicians that Birmingham Conservatoire had a very good
reputation for its Vocal Department.
My first impressions of the Conservatoire were very positive
– I enjoyed my audition and I was made to feel very welcome.
My years at the Conservatoire have been both intense and
positive for me, and I am really glad I chose to study here.
The atmosphere here is very nurturing and supportive.
Teachers are great for inspiring self-confidence and helping
students to do their best and to reach their potential.
Catherine Benson has been invaluable in my development
– she has ‘unlocked’ my voice and helped me become as
autonomous as possible.
LUCIE LOUVRIER WORKING WITH KEITH WARNER
Performing opportunities are numerous and varied. Auditions
for productions are open to both undergraduate and
postgraduate students, which means there are opportunities
for everyone. There are usually three productions a year,
as well as competitions, concerts, and other projects such
as ‘Liederabends’ and many extra-curricular projects Birmingham is a great city to study in. There are many
throughout the year. venues available in the city for concerts, such as St Martin’s
in the Bullring, St Phillip’s Cathedral and St Paul’s Church to
During my time at the Conservatoire, I have participated in name a few. The Conservatoire also encourages students to
several productions. Highlights include singing an excerpt take on external engagements.
from Carmen and singing Mrs Jedermann in the world
premiere of David Blake and Keith Warner’s opera Scoring After graduating I plan to audition for opera companies.
a Century, conducted by Lionel Friend. This was a fantastic During the production of Scoring a Century, I received a
experience, particularly working with a world-renowned lot of help and valuable advice from our drama teacher,
director such as Keith Warner. It was really fast-track Michael Barry, about writing CVs and letters to agents. In
learning! addition, our coaches are always available to guide us in our
repertoire choices for auditions and in mental preparation for
I have also really enjoyed performing Contemporary pieces performance.
in collaboration with the Composition Department on several
occasions. And for something completely different, I very I’m very grateful for my time at the Conservatoire. The
much enjoyed taking part in the Conservatoire Cabaret! training and support I have received have been exceptional.
PHOTOGRAPH CREDITS
38
About our University 39

After you graduate

............................................................................................................................................

ALUMNI BIRMINGHAM CONSERVATOIRE ASSOCIATION (BCA)

Our graduates can be found performing in orchestras, BCA is a charitable organisation which provides a vehicle for
concert halls, jazz clubs and recording studios throughout alumni, staff, parents and other friends of the Conservatoire
the UK, Europe and beyond. Some have gone on to pursue to stay involved with our work. It provides support for current
careers in major organisations within the music industry, students through bursaries and activities, and publishes an
while others have taken up further study, research or informational newsletter, Fanfare III. Recently BCA has, with
Fanfare III
teaching at national and international music colleges. the help of the University’s Alumni Association, organised For further details on BCA’s
a number of successful reunions for staff and students of activities, visit:
NEW GENERATION ARTS FESTIVAL the Conservatoire and its previous incarnation: Birmingham
School of Music. www.conservatoire.bcu.ac.uk/bca
Our continuing support for graduates has included an
annual showcase of final-year and alumni talent: the New
Generation Arts Festival, held in collaboration with partner UNIVERSITY ALUMNI ASSOCIATION
faculties, as well as other arts training organisations in Conservatoire alumni may also join the University’s main
Birmingham. Alumni Association, which provides a virtual meeting point
for graduates of all faculties (see www.bcu.ac.uk/alumni
CAREERS for details). As well as organising occasional professional
To assist you in pursuing your chosen career, alongside the development and social events, the Alumni Association
development of your specialist skills, each of our courses publishes Aspire magazine and provides a way for you to
is designed to provide you with a thorough grounding in keep in touch with the University’s development as a whole
business acumen, self-promotion and management, and institution.
related skills. Plus, before and after you graduate, you can
access our Careers Service for employment and careers
advice, including a listing of graduate vacancies.
40
About the Conservatoire 41

Facilities
............................................................................................................................................

VENUES RECITAL HALL

We use our major performance venues for a wide range
of student concerts, performance classes, workshops and
masterclasses, so you will have the opportunity to perform
regularly in professional standard venues.
ADRIAN BOULT HALL
The Adrian Boult Hall is a 520-seat auditorium with
outstanding acoustics, which can accommodate a symphony
orchestra. There is also a licensed bar and coffee area plus
an exhibition space.
Our own varied concert programme integrates with series
promoted by external organisations such as Birmingham
Jazz, the Birmingham Philharmonic Orchestra and
Birmingham Chamber Music Society, with its programme
of internationally renowned ensembles. Together, these
provide a rich and diverse schedule of concerts and events
throughout the year. by stairs on each side, which can be used inventively in
The Hall recently underwent a £700,000 refurbishment,
which included the fitting of new carpet, seating, acoustic
curtains, house and stage lights.
Our 150-seat Recital Hall is a flexible, modern performance
space with adjustable acoustics. Well-suited to solo and
chamber music performance, it has also been redesigned
to accommodate performance with live electronics. Its
recent major renovation included the installation of a highly
sophisticated multi-channel sound system, which allows
performers complete control over amplified sound within
the entire performance space. The Recital Hall is the first
concert venue in the UK with a permanent system of this
kind. During the summer of 2007, the Recital Hall underwent
one further development: the installation of a new organ.
ARENA FOYER
An interesting, modern area, our Arena Foyer backs on to the
Adrian Boult Hall. With an audience capacity of 100, the Foyer
can be used for a variety of concerts and events, as its space
is entirely flexible and includes a small gallery approached
performances.

The Hall and its three dressing rooms were painted and
performance monitors installed at the main doors in the
foyer and backstage. We now have six spaces for wheelchair
users, including two at the back of the hall which can be
accessed by a lift.

The work has created an attractive and comfortable venue

able to compete with any hall in the country.

ADRIAN BOULT HALL

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About the Conservatoire 43

RECORDING AND LIVE ELECTRONICS

Our music technology facilities are some of the best of their kind in the country. All of our studios are capable of recording
from any of our concert halls or live rooms.

STUDIOS OTHER FACILITIES

• Recording and production studio equipped with ATC • iMac Lab – comprising ten professional digital audio
speakers, Digidesign Protools HD3/192 and Yamaha workstations (Intel iMacs)
02R96 desk
• Music for Media Lab – eight professional workstations
• 5.1-equipped production studio (Mac G5 Quads / iMacs) set up to enable production and
editing of music with moving image
• Recording and production studio equipped Genclec (www.musicformedia.bcu.ac.uk)
speakers with Digidesign Protools HD3/192 and
Yamaha 02R96 • Recital Hall – unique to the Conservatoire, this bespoke
live electronics venue comprises a Yamaha DM2000,
• Recording studio, equipped with Audient ASP8024 Apple Mac, and flexible d&b audiotechnik 10.2+ surround
Large-Frame analogue console with Mac Pro system

• Protools HD-equipped edit suite with High Definition • Research Room

Video editing capability and 5.1 surround system
• Protools HD-equipped edit suite with High Definition
Video editing capability and 5.1 surround system
LIVE ROOMS
• Medium-sized room suitable for chamber groups and (Platinum and Gold), Native Instruments (Komplete),
bands. Equipped with a Yamaha grand piano
• Small room suitable for production-based projects and
vocals, etc
• Various portable recording, editing and live electronics
systems
SOFTWARE
• All studio and lab systems run the latest software,
including Logic, Protools (TDM and LE), Waves
Digital Performer, Peak, Spark, Sibelius, MaxMSP/
Jitter and IRCAM Software.
• To remain abreast of changes in the industry, we
upgrade all our software on a rolling basis.

PHOTOGRAPH CREDITS
44
About the Conservatoire 45

LIBRARY
All students have full access to the Conservatoire Library, The Library has been re-equipped with new computers and
an integral part of the University’s Library Services, which online services include the British Humanities Index, RILM,
links all its central and specialist libraries and enables JSTOR, New Grove Online, NAXOS and the Classical Music
students to borrow items from Library. You can also access our complete library catalogue
any of them. via the internet.

Alongside wide-ranging and substantial collections of books Our professionally trained staff will provide you with an
and journals, specialised print and computer-based sources introduction to the Library when you enrol, and more
are available to support various project and research needs. detailed guidance is offered to groups or individuals
Other items can be obtained via the inter-library loan whenever appropriate.
system as required.
The Conservatoire Library is open seven days a week during
The Library recently underwent extensive building work term time and weekdays during vacations.
funded by the Higher Education Funding Council for
England and the University. With the stock safely stored
offsite, the space was completely gutted in order to create a
mezzanine level, which now offers an additional quiet study
area. Another new feature is a ground-floor seminar/group
study room, which can also be used by Library staff for
meetings and information skills training for students.

The Library’s collections include over 8,000 books, 1,300 OPENING HOURS:
orchestral and band sets, 1,100 sets of vocal scores,
about 100,000 individual scores and parts, and around
12,000 sound recordings. To deal with our ever-expanding TERM: VACATION:
stock, we have installed a public compact storage system Monday – Thursday Monday – Thursday
(moveable shelving) and new storage racks for our 9am – 7.30pm 9am – 5pm
collection of over 8,000 CDs. Our new
Audio Room has an upgraded suite of listening and Friday Friday
recording equipment, plus two separate cubicles for
9am – 6pm 9am – 4pm
listening and viewing.
Saturday and Sunday
9am – 4pm
46
About the Conservatoire 47

INSTRUMENTS
The Conservatoire owns a sizable collection of fine modern
instruments, all of which are available for loan. Additionally,
our dedicated Percussion Suite houses a large collection
of instruments available for student use. Oboists and
bassoonists can also take advantage of reed-making classes
and equipment. recently-purchased Steinway Model B and Model AS pianos,
EARLY INSTRUMENTS
An excellent growing collection of early instruments, both
reproduction and original, are available for student use.
These include:
PIANOS
Our excellent stock of pianos for student/concert use
includes three Steinway Model D concert grand pianos, two
housed in the Adrian Boult Hall and one in the Recital Hall.
The remaining ground floor rooms all have practice pianos.
Our 2nd floor piano studios are equipped with a number of
alongside two new Yamaha S6 instruments, giving students
and staff a range of high-quality instruments for teaching
and rehearsal purposes. In addition to our service agreement
with Steinway, we engage an experienced piano technician to
keep all our pianos in tip-top shape.

• A full complement of Baroque stringed instruments ORGANS

and bows Organ teaching is centred on the three-manual Walker organ
• Harpsichords (including a Taskin-Goermanns model in nearby St Chad’s Cathedral. Within the Conservatoire
by Michael Johnson, 1996) building are four small tracker-action practice organs. Since
2007, the historic neo-baroque Eule organ commissioned
• Chamber organ (Kenneth Tickell, 1997)
by Lady Susi Jeans in the 1930s (generously donated by the
• Fortepianos (including a Fritz model by Denis Royal School of Church Music) has allowed our students to
Woolley,1996) perform in the Conservatoire Recital Hall and participate in
• Theorbo (Peter Biffin, 1980) competitions.
• Renaissance recorder consort (Mollenhauer, 2003)
• Baroque recorders (David Heathcote)
• Baroque flutes (Rudolf Tutz)
• Baroque and Classical oboes by Richard Earle and
Marcel Ponselle
• Classical clarinets (Brian Ackerman)
• Baroque bassoon (Matthew Dart)
• Cornetts (Christopher Monk Workshop)
• Six natural trumpets (Keavy-Vanryne, 2002)
• Sackbutts (Frank Tomes)
• Natural and baroque horns (Halstead-Webb)
• Medieval and Renaissance instruments, including
crumhorns, shawms, hurdy gurdies, harps and lutes
48
About the Conservatoire
OPEN ACCESS COMPUTERS
In addition to the substantial specialist facilities that will be
available to you if you’re working with music technologies, we
maintain a number of shared-access computers to support
you in your studies. All our computers and software are
updated on a rolling basis and one of our IT technicians has
specific expertise in music software and networks, should you
need assistance.
COMPUTER LAB
Our main computer room contains nine PCs, each of which
runs Windows XP and is equipped with the full Microsoft Office
Suite, Sibelius and internet access. There are also two card-
accessed printers available for you to use.
CONSERVATOIRE AND UNIVERSITY LIBRARIES
Additional computing facilities are available in the
Conservatoire Library. Their lapsafe contains 15 MacBooks
available for student use within the Library, plus 20 fixed
computers; all have the same software spec as our Computer
Lab PCs. There are three additional computer terminals for
accessing the Library catalogue and three networked printers
available for use in the Library. As a Conservatoire student,
you will also be able to use any of the open access computers
in the University’s main Kenrick Library at City North
Campus, or in any of the specialist libraries in our partner
faculties. Our University is committed to expanding
BROADBAND AND WIRELESS
The University’s broadband data network runs across all sites
including the Conservatoire, giving you access to multimedia
information from both internal and external sources. Access
to Library Services, large information datasets and the
internet is provided via the University network and JANET
(Joint Academic NET work) and a similarly capable network
(RES net) is accessible from all halls of residence bedrooms.
Wireless access is available across the University in most
communal and recreational areas; our own wireless footprint
covers the Conservatoire Coffee Bar and most communal
areas on the ground floor of the building.
49
MOODLE
The University’s on-line learning system,
known as ‘Moodle’, is an integrated and
invaluable part of the teaching and learning
experience at the Conservatoire.
Moodle, one of the most widely
implemented virtual learning environments
(VLE), is entirely web-based and
straightforward to use. It supports a huge
number of activities aimed at improving
access to and distributing course materials.
The Conservatoire makes good use of these
facilities to support both the academic
modules and first study activities our
students undertake. Whether it’s course
notes, audio lecture podcasts, interactive
support lessons, assessment deadlines or
course communication, it’s all available on
Moodle 24 hours a day, 7 days a week.
Moodle has given staff the opportunity
to review and enhance their approach to
learning and has enabled more interactive
teaching in conventional face-to-face
sessions.
and developing Moodle, thus allowing our
students to make use of an increasingly
diverse and wide range of learning
materials.
To see for yourself what Moodle’s all about,
visit: www.moodle.bcu.ac.uk/pme
PRACTICE ROOMS
PHOTOGRAPH CREDITS
50
About the Conservatoire
PRACTICE ROOMS
Our purpose-built site includes over 50 dedicated practice
rooms: some of the most heavily-used rooms in the entire
University! Additional practice facilities are available after
6pm, including some spacious studios used for teaching
during the day. Most practice rooms are equipped with one
or two upright or grand pianos and all are fitted with sound-
dampening panels. Demand for practice rooms is high, and an
on-line booking system is available for student use.
Our suite of organ practice rooms is detailed on page 47
CONSERVATOIRE CAFÉ
The Conservatoire Café is open weekdays during term time
from 8.30am to around 4.30pm (closing times vary a little,
depending on what’s going on in the building). Hot food,
freshly prepared, is available at breakfast and lunch times,
with sandwiches, snacks, cold and hot drinks available
throughout the day.
COFFEE BAR
Serving hot and cold drinks and a selection of snacks, the
Conservatoire’s Coffee Bar generally opens before and
during the interval of concerts in the Adrian Boult Hall, Arena
Foyer and Recital Hall.
51
CONSERVATOIRE BAR
Our licensed bar is open before and during the interval of
major concerts at the Conservatoire. However, most students
prefer the comfort and laid-back atmosphere of the local
pubs, many of which have been co-opted as student bars!
BUILDING HOURS AND SECURITY
The Conservatoire building is open to students seven days
a week all year round, from 7.30am to 9.45pm on weekdays
and from 8am to 7pm at weekends (holidays excepted).
As a city centre campus, security is a high priority for us. Our
reception desk is staffed by a team of security guards during
the opening hours. A separate team of building assistants is
available within the Conservatoire.
Personal Lockers are provided for storing small instruments
and belongings and there are dedicated instrument storage
rooms available to percussionists, lower strings players and
harpists.
52 Student support 53
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Student support 55
55

PERSONAL AND ACADEMIC SUPPORT

Together with our parent University, we offer excellent support for all of our
students. Whatever your individual needs, we will work hard to make sure that they
are met.

ADVICE FOR ALL STUDENTS

Beginning a course of study can mean a dramatic change in lifestyle. To assist you,
we have a comprehensive and integrated Student Services Unit which provides
help and advice in a number of key areas, including accommodation, careers,
chaplaincy, child care, counselling, disability, health care and legal matters. For
further details, visit www.bcu.ac.uk/studentservices

ADVICE FOR DISABLED STUDENTS

All our major venues are now fully accessible to disabled users. Throughout the
rest of the Conservatoire, access and facilities are also significantly improved and
our evaluation of how we can continue to meet the needs of disabled students and
audiences is ongoing.

Our Disability Service aims to enable students with disabilities or learning support
needs to make the most of their time at university, whether they have a physical,
sensory or hidden disability, mental health difficulties or specific learning
difficulties. In order to help you plan and prepare for university life, we have a
range of services and equipment which can be made available to you. We think it is
important that you feel you can tell us about any disability you may have. We regard
disclosure of a disability as a positive step, because once we are aware of your
disability we can then try to support your individual needs.

If you have not made us aware of your disability or you feel you may have a
disability, please contact the Disability Service (T: +44 (0)121 331 6495/7775
(text/voice) E: disability@bcu.ac.uk)

EQUAL OPPORTUNITIES
The Conservatoire and its parent University promote equality of opportunity in
every aspect of their provision. University and Conservatoire policy and practice
will seek to provide an environment that is free from discrimination against
students, staff and others. The Conservatoire and its staff will ensure that all
prospective students are treated solely on the basis of their merits, abilities and
potential. The Conservatoire will seek to prevent discrimination on the grounds of
race, colour, ethnic origin, nationality, religious belief, gender, sexual orientation,
disability, age, marital status, family circumstances, citizenship, social and
economic status, or any other individual differences. For full details of our Equal
Opportunities Policy, please visit
www.bcu.ac.uk/student-info/equality-and-diversity
56
Student support 57
57

ACCESSING PERSONAL AND ACADEMIC SUPPORT

Throughout your study, you will have access to both academic and personal support.
Because of the close working relationship between student and first-study teacher,
as well as the fact that you will be used to receiving feedback from him or her, your
first-study teacher will probably be your primary source of formal personal support.
Your head of department, too, will be able to provide valuable advice and guidance
when needed. You will also be allocated a personal tutor, whom you will meet during
the first week of your course and again during the first term. You will be able to meet
with your personal tutor by appointment as often as necessary and, if possible, you
will remain with the same personal tutor for the duration of your course.

Furthermore, each department normally nominates a senior student to act as a

student mentor, giving advice and support to fellow students. Your academic progress
will be monitored by your module tutors and module co-ordinators, with whom you
can book appointments as and when needed. You will also have a year tutor who can
provide advice on course matters through meetings with all the students in your year.
Additional academic and personal support is available for international students (see
page 30).

PERSONAL DEVELOPMENT PLANNING

Now embedded into every year of all our courses, personal development planning
(PDP) is not just about getting the best out of your course, it’s about getting the best
out of yourself. Through PDP, you’ll be able to discover and articulate your personal
and professional goals, as well as devise a plan for achieving them. On the most
practical and immediate level, PDP will help you to plan an appropriate choice of
electives to enhance and complement your first study and course module and, if
you’re an undergraduate, to develop a rationale for your fourth-year major project. In
a wider context, you’ll benefit from having the opportunity to consider your individual
learning style and work patterns, which can then inform how you approach your
studies, your practice and your career.

LIFELONG LEARNING
We believe that learning is for everyone and that people of all ages, backgrounds and
abilities should have the opportunity to experience high quality music making and
music education. To this end, regular education projects, such as our Brass Explosion!
events and our Lower Strings Days for all-comers are a great way to get enthusiasts,
beginners, professionals and teachers playing and learning together. At the other
end of the spectrum, our Continuing Professional Development events provide a
vehicle for music teachers to top up or diversify their own professional skills. On the
most basic level, our undergraduate and postgraduate courses are truly open to all
musicians who meet our entry requirements and who demonstrate the desire and
potential to develop their musical abilities to professional standard. What you do after
that is limited only by your own imagination.

PHOTOGRAPH CREDITS
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Student support 59

MUSIC IN THE COMMUNITY

One of the fastest growing areas of employment for
conservatoire graduates is in providing practical music
support for schools and community-based music projects.

Through tutorials, action research and project delivery,

we encourage our students to explore ways in which
participatory music can be used to affect positively the lives
of children and young people. Targeting those with little or no
access to music provision, our students work in partnership
with host organisations to plan and execute projects that
achieve a series of musical and social objectives. Community
music electives have been designed to support the work of
the DCSF/DCMS-led Music Manifesto, the new Early Years
Foundation Stage curriculum and Birmingham City Council’s
youth arts strategy – Creative Futures. Taking part requires
you to work as part of a team and demonstrate a willingness
to experiment, take risks and work outside of existing
comfort zones.

EDUCATION AND OUTREACH PROJECTS

Our regular education events actively engage people of all
ages and backgrounds with music making, including young
musicians and teachers from across the UK. Previous
projects have included specific string, brass, woodwind
and percussion events for people of all ages and abilities;
world music workshops; professional development training
for school and music service teachers and specialist
instrumental ‘roadshows’. Our programme of activities
has led to the formation of strong long-term partnerships
with organisations and institutions in the West Midlands,
across the UK and abroad. Participating in these projects
under the supervision of experienced workshop leaders
and professional practitioners can help you to develop your
group leadership and communication skills and can form a
significant part of your professional portfolio, improving your
career prospects as a versatile professional musician.

60 Studying 61
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Studying
How it works
.....................................................................................................................................................................................................................................................
COURSES AND DEPARTMENTS
During your time at the Conservatoire, you will study within
a particular department, determined by your first study area,
and on a particular course.
Most specialist activities are arranged by departments,
where you will learn alongside other students in your area
(strings, winds, jazz, etc) who are following a range of
different courses (undergraduate, postgraduate, research).
You will also undertake more general activities and classes
which are part of your course (BMus, PgDip etc) where you
will work with musicians studying at the same level as you,
but across a range of different disciplines. This intermixing
contributes to the Conservatoire’s friendly and collaborative
atmosphere and encourages our students to learn from one
another.
PHOTOGRAPH CREDITS
63
63
FIRST STUDY AREAS SECOND STUDY
Your first study activities will be demanding and challenging, Versatility is important. So, although you will spend most of
and will take up the majority of your time. It is important your time concentrating on your first study, you will also have
that you allow yourself adequate time to compose or prepare the chance to pursue a second study specialism, in an area
for solo and ensemble performances, to study for exams, either related or complementary to your first study.
to complete your academic work and to undertake other
important engagements. MASTERCLASSES AND CONSULTANTS
Joint first study is not offered between all instruments Many departments now have one or more consultant
and is most commonly offered when an instrument or tutors or a visiting artist-in-residence. These world-class
voice is studied in combination with composition. If you are musicians, working at the top of their field, normally visit
exceptionally capable in two areas, you may be considered the Conservatoire several times a year to give masterclasses
for joint first study in two performance areas; however, you and/or individual lessons.
should discuss this with our Admissions Team before making
an application. In addition to consultant masterclasses, regular
masterclasses with visiting professionals in your specialist
area will form an important part of your study. The number of
TEACHING
masterclasses in which you will participate depends on the
Our world-class tutorial staff has grown and diversified department in which you study.
substantially over the past few years and now includes
over 200 full- and part-time specialist tutors, including
international soloists, chamber and orchestral musicians,
cutting-edge jazz artists; and leading composers,
performers and academics. Their expertise lies not only in
classical music, but also in jazz, community music, folk and
world music, early music, music technology, North Indian
classical music, and popular music.
We also boast a notable specialism in contemporary
composition and performance, which draws on the
contributions of several leading lights in this field, and makes
use of our unique performance spaces and equipment, the
combination of which makes us one of the UK’s leading
institutions for musicians working with new technologies.
64
Bowed Strings 65
65

TUTORIAL STAFF
John Todd, Head of Strings: A former member of the Festival Strings Lucerne, Scottish Chamber Orchestra and London
Symphony Orchestra, John Todd was cellist in the Coull Quartet for 15 years, as well as performing frequently as a recitalist
and leader/director of various cello ensembles. He has taught for 20 years at conservatoire/university level.
............................................................................................................................................

HEAD OF DEPARTMENT BAROQUE VIOLIN AND VIOLA BAROQUE CELLO

John Todd AGSM Dip Kons Luz Margaret Faultless MA (Cantab) ARCM Imogen Seth Smith BA (Hons) ARCM
FTCL
CONSULTANTS Kate Fawcett BA HonBC DOUBLE BASS
Cello: Raphael Wallfisch FGSM FRAM Jane Rogers GRSM ARAM LRAM Tom Millar* DRSAM
Double Bass: Peter Buckoke HonARCM Diane Terry Richard Lewis
ATCL STAT
FOLK FIDDLE CHAMBER MUSIC
Baroque Violin: Margaret Faultless MA
(Cantab) ARCM FTCL Joe Broughton BMus HonBC David Angel ARAM Recital Diploma
(RAM) (Maggini Quartet)
SENIOR VIOLIN TUTOR KLEZMER
Robin Ireland BA Mus HonDMus
Nathaniel Vallois BMus MMus ARCM Sue Shortland Webb
Advanced Performance Jane Salmon MA (Cantab) ARCM Hons
(Distinction) MA SENOIR VIOLA TUTOR (Schubert Ensemble)
Robin Ireland BA Mus, Hon.D.Mus John Todd AGSM Dip Kons Luz
VIOLIN
Nic Fallowfield LTCL VIOLA JUNIOR FELLOWS
Devorina Gamalova PhD ARCM DipPerf Devorina Gamalova PhD ARCM DipPerf Boult Quartet
(Sofia) (Sofia)
Katherine Gittings* DipRCM ARCM Emmanuella Reiter BA MA FIND OUT MORE ABOUT:
LRAM Christopher Yates* *denotes member of CBSO
144 BMus (Hons)
David le Page
CELLO 156 PgCert/PgDip/MMus/AdvPgDip
Simon Smith Concert Recital Diploma
AGSM HonFNMSM Catherine Ardagh-Walter* ARCM 122 Professional development
DipRCM 116 Orchestras and large ensembles
Susanne Stanzeleit Advanced Solo
Studies (GSMD) Lionel Handy ARAM DipRAM 106 Coaching
Rimma Sushanskaya PhD (St Jane Salmon MA (Cantab) ARCM Hons
Petersburg Conservatoire) (Schubert Ensemble)
Alexandra Wood MA (Cantab) Adv PgDip John Todd AGSM Dip Kons Luz
ARCM
PHOTOGRAPH CREDITS
66
Bowed Strings 67

The music profession in the 21st century demands a flexibility of approach and familiarity with different styles and genres of
music which were unthinkable even 20 years ago. This diversification in our industry is amply reflected in our experienced
and dedicated teaching staff. International soloists Rimma Sushanskaya and Suzanne Stanzeleit on the violin, and our
Cello Consultant Raphael Wallfisch bring a wealth of experience and expertise to teaching the solo repertoire of their
respective instruments, while our Senior Violin Tutor Nathaniel Vallois and his colleague Simon Smith, new Senior Viola Tutor
Robin Ireland, Head of Strings John Todd and our Bass Consultant Peter Buckoke come primarily from a chamber music
background, which demands the listening and communication skills so important in any form of music-making. Katherine
Gittings, Christopher Yates, Catherine Ardagh-Walter and Tom Millar are all members of the CBSO, while many of our other
tutors work as freelance musicians, and are thus able to pass on the adaptable, flexible techniques demanded in that area.

The strength of our staff means your learning programme can be tailored to suit your individual needs and aspirations.
Advanced technical skills are built up through individual lessons, and you will be given the widest possible exposure to the
classical and contemporary repertoire of your instrument through both first study lessons and a range of group activities.
Our extensive electives programme offers the opportunity to explore a variety of performing styles, while second study RECENT MASTERCLASES AND WORKSHOPS
lessons in a specific area, such as folk fiddle, Klezmer or jazz improvisation, give you the chance to pursue a particular ...............................................................................................................................................
interest in greater depth.
VIOLIN VIOLA CELLO CHAMBER MUSIC
Participation in chamber music and early music is strongly encouraged and appropriate performance opportunities are
Felix Andrievsky Philip Dukes Alexander Baillie Alberni Quartet
available at every stage of your development and include our series of lunchtime recitals, as well as regular performance
Vadim Gluzmann Yuko Inoue Natalie Clein Allegri String Quartet
workshops and masterclasses.
Ilya Gringolts Garfield Jackson Leonid Gorokhov Amsterdam Quartet
All students have access to distinguished guest conductors and sectional coaches through rehearsal and performance with Erich Gruenberg Simon Rowland Jones
Guy Johnston Belcea String Quartet
the college’s symphony, chamber, opera and early music orchestras. Further ensembles include a string orchestra and Daniel Hope Paul Silverthorne Moray Welsh Carducci Quartet
cello ensemble. Advanced students can also audition for the prestigious CBSO or Philharmonia Orchestra professional Henning Kraggerud
Ivo van der Werff Chilingirian Quartet
training schemes. Malcolm Layfield DOUBLE BASS Dante Quartet
Anthony Marwood Endellion Quartet
Kevin Rundell
There is a clear recognition of the importance of teaching and communication skills to the modern music professional. If you Gyorgy Pauk Gould Trio
Mary Scully
are an undergraduate, you will be given a thorough grounding in teaching techniques during the latter part of your studies and Krysztof Smietana Maggini String Quartet
Dominic Seldis
have the option of pursuing a PGCE qualification as part of your degree. Stacey Walton Vanbrugh String Quartet
Tom Martin Vogler String Quartet
68
Plucked Strings 69

TUTORIAL STAFF
............................................................................................................................................

PRINCIPAL HARP TUTOR HEAD OF CLASSICAL GUITAR ELECTRIC GUITAR AND BASS
Catherine White BMus (Curtis) Mark Ashford ARAM GRSM Fred T Baker GBSM
MMus (Julliard) (Hons) LRAM ProfCert Hons
LUTE AND THEORBO
ORCHESTRAL HARP COACHING CLASSICAL GUITAR Elizabeth Pallett BA (Hons)
Robert Johnston* DipMusEdRSAMD Mark Eden ARAM GRSM (Hons) LRAM HonBC PGCE QTS
ARCM DipRAM ProfCert (Hons)
* denotes member of CBSO

The Guitar Department

offers a stable and supportive
learning environment, with
great teaching and guidance.
The academic subjects are
relevant and comprehensive,
RECENT MASTERCLASSES AND WORKSHOPS
.............................................................................................................................................. and the learning support is
GUITAR HARP Katherine Thomas
second to none.
Stephen Dodgson Imogen Barford Karen Vaughan
Craig Ogden Elinor Bennett Sioned Williams MATTHEW PRIOR
Gary Ryan Anneleen Leanarts William Taylor (early harp)
John Williams Gabriella Dall’Olio Billy Hornby (harp maintenance) Guitar, BMus (Hons) (2009 graduation)
Fabio Zanon Tutor: Mark Ashford
Isabelle Perrin PHOTOGRAPH CREDITS
70
Plucked Strings
PLUCKED STRINGS
In addition to the activities listed below, our extensive
electives programme offers you the opportunity to explore a
variety of performing styles, while second study lessons allow
you to pursue a related or complementary instrument in
greater depth. There is a clear recognition of the importance
of teaching and communication skills to the modern music
professional. If you are an undergraduate, you will be given a
thorough grounding in teaching techniques during the latter
part of your studies and have the option of pursuing a PGCE
qualification as part of your degree.
HARP
As a first study harpist, you will undertake intensive
individual tuition with world-class harpist Catherine White.
Concentrating on the development of solo ability alongside
ensemble playing, the harp syllabus covers a wide range
of styles, including classical, modern, pop and jazz. Solo,
chamber and orchestral performance opportunities are
available within the college, and advanced students may
obtain paid work through our External Engagements team.
FIND OUT MORE ABOUT:
144 BMus (Hons)
156 PgCert/PgDip/MMus/AdvPgDip
122 Professional development
116 Orchestras and large ensembles
110 Early music
71
GUITAR
Tuition in our vibrant Guitar Department is designed to
equip you with all the skills required to enter the music
profession. You’ll cover a broad spectrum of repertoire,
receiving specialised individual tuition in your chosen area
of study, complemented by masterclasses with visiting JIYOUNG LEE
artists. Additional technique and sight-reading classes will Harp, BMus (Hons) (2010 graduation)
contribute to your training in both modern techniques and Tutor: Catherine White
early music styles, as appropriate. Regular performance
opportunities include weekly performance workshops,
lunchtime recitals, chamber music concerts and external Catherine is an amazing teacher. She has
events. There is a strong emphasis on ensemble playing, the ability to be very musical and technical
through mixed ensembles, guitar ensembles and our guitar at the same time. She’s like a mother to
orchestra. If you have a particular interest in chamber us. Initially I was worried that, with so
few harpists, the Conservatoire might
music or you are part of a guitar ensemble, there is a new
pathway offering specialist training in these areas, available not feel competitive enough. But because
the Department is small, we get so many
at postgraduate level. Creative collaboration is encouraged,
both between classical, jazz and rock guitarists, and with opportunities to play – with different
ensembles, orchestras, in projects; different
students from other departments throughout the college.
genres, pieces – and we can have really
close one-to-one relationships with our
LUTE
teacher, lots of individual attention. Plus,
Available as a first study area, or as a complement to there’s so much free time to practise.
other studies, lute tuition concentrates on the differing
techniques appropriate to Renaissance, Baroque and
Classical playing. You will study solo, chamber and continuo
playing for the lute with Elizabeth Pallett, and you will also
receive an introduction to the archlute and theorbo, as
well as instruction in staff notation and lute tablature. The
Conservatoire owns a fine collection of instruments available
for student loan. Performance opportunities for early
guitarists and lutenists exist within the Conservatoire’s full
Baroque orchestra, Capelle and Chamber Music Programme.
PHOTOGRAPH CREDITS
72
Orchestral Woodwind 73

TUTORIAL STAFF
Michael Harris’ distinguished career includes 31 years with the Philharmonia Orchestra (1974-2005) alongside a busy
freelance career performing with groups such as the Nash Ensemble and London Winds. A keen interest in early clarinets
has led to work with period instrument groups including the English Concert, English Baroque Soloists and Collegium
Musicum ’90. He coaches the wind section of the Britten-Pears Orchestra and is regularly invited to appear as an adjudicator
and panellist.
............................................................................................................................................

HEAD OF DEPARTMENT OBOE BASSOON

Professor Michael Harris Professor George Caird MA (Cantab) Meyrick Alexander ARCM
ARCM FRCM FRAM ARCM FRSA, HonFLCM Nicholas Hunka ARCM
Jenni Phillips GRSM (Hons) ARCM
Woodwind Coordinator BASSOON/CONTRABASSOON
Richard Weigall ARCM
Jenni Phillips GRSM (Hons) ARCM Margaret Cookhorn* GMus RNCM (Hons)
BAROQUE AND CLASSICAL OBOE
CONSULTANTS
Gail Hennessy BMus (Hons) BAROQUE BASSOON
Clarinet: Anthony Pay
COR ANGLAIS Alastair Mitchell BA (Hons) (York) Cert
Flute: Karen Jones
Advanced Studies (GSMD)
Oboe: Christopher Cowie DipRCM (Perf) Anna Cooper GRSM (Hons)
Bassoon: Sarah Burnett SYMPHONIC WIND ORCHESTRA
CLARINET
Guy Woolfenden OBE Our expert orchestral woodwind staff provides specialist Available at introductory and advanced levels, these classes
Professor Michael Harris ARCM FRCM
FLUTE tuition in flute, piccolo, oboe, cor anglais, clarinet, E flat and cover all the standard orchestral repertoire from the point
Sally Harrop GBSM ABSM PGDip WIND REPERTOIRE ENSEMBLES bass clarinet, bassoon and contrabassoon. Comprehensive of view of the wind section and are a first step in learning
Judith Hall BA (Melb)
HonBC training in historical performance techniques on Baroque the skills of listening and playing in an ensemble. You’ll
Colin Lilley* GGSM Professor Michael Harris ARCM FRCM
Timothy Lines DipRCM (perf) ARCM and Classical instruments is also available. Working very then develop these further through our Symphonic Wind
Jonathan Rimmer ARCM HonARAM much as a team, our woodwind tutors and consultants take Orchestra, Symphony Orchestra and our highly accomplished
Christopher Steward LTCL Edward Watson the greatest care to ensure that every aspect of our students’ Wind Ensemble.
playing is dealt with, from the smallest technical detail to
BAROQUE AND coping with stage nerves. At every stage in your development, you’ll undertake classes
E FLAT CLARINET and coaching to build your performance skills, and the
CLASSICAL FLUTE FIND OUT MORE ABOUT:
Martyn Davies* ARCM ARAM As a new student, you’ll immediately appreciate the Department regularly invites distinguished international
Neil McLaren ARCM FTCL supportive and collaborative attitude shared by our staff and soloists to give masterclasses in solo repertoire. Additional
MBACP(accred) CLARINET/BASS CLARINET 144 BMus (Hons) performance opportunities are provided at every level by the
students, making for an atmosphere that is motivational
Professor Michael Harris ARCM/FRCM 155 PgCert/PgDip/MMus/ rather than competitive. Focusing on each student’s Conservatoire’s full schedule of internal and public concerts.
PICCOLO AdvPgDip development as an individual performer means everyone To encourage you to develop a broad understanding of music
Mark O’Brien* ARAM and your chosen instrument(s), you will have access to an
Francis Nolan LRSM can concentrate on the most important thing – music. From
116 Orchestras and large array of performance electives throughout your study at the
the very first weeks of your study, you’ll find yourself playing
CLASSICAL CLARINET ensembles in a wind repertoire class. Conservatoire.
Prof Michael Harris ARCM FRCM 106 Coaching

* denotes member of CBSO

74
Orchestral Woodwind 75

BASS CLARINET COSIMA YU

Clarinettists wishing to explore in depth the now extensive repertoire for bass clarinet and, as a related instrument, basset Clarinet, BMus (2010 graduation)
horn, can take advantage of this first study area within the PgCert or the performance pathway of the PgDip/MMus. The Tutors: Michael Harris & Timothy Lines
programme has been set up in collaboration with the Italian clarinettist Paolo De Gaspari, who has initiated a diploma for
bass clarinet at the Academia in Pordenone, near Venice. His expertise, particularly in contemporary repertoire, alongside I auditioned for the Conservatoire in my home country, Taiwan,
that of Prof Michael Harris (Head of Woodwind and former principal bass clarinettist of the Philharmonia Orchestra) and Mark and was awarded a scholarship, so I decided to persuade my
O’Brien (CBSO, BCMG) will ensure your study is both stimulating and musically challenging. You will be offered the option of a performance career here. The best thing for me is that the
shared orchestral audition/recital as your final assessment. atmosphere within the Conservatoire is always friendly and
helpful. I have been able to play in orchestras, masterclasses,
INTERNATIONAL DOUBLE REED SOCIETY various chamber groups and competitions, and I am always
Last held in the UK in 1989, Birmingham Conservatoire hosted the International Double Reed Society’s annual conference in encouraged to play for as much as I can.
July 2009. This once-in-a generation event for oboists and bassoonists, attracted leading professionals (including Nicholas
Daniel, Carlo Columbo, Jonathan Kelly, Meyrick Alexander, Pascal Gallois and Gordon Hunt), students and enthusiasts from Outside college, I have been involved in several external
over 40 countries. The conference involved 100 concerts and other events inlcuding 38 world premieres, 56 traders and over engagements (organised through the Conservatoire): mostly
1000 participants. Further details can be found on www.idrs2009.org until July 2010. orchestral or chamber concerts. In December 2009, I also
played in the orchestra for Birmingham Opera Company’s
production of Othello, which will be broadcast on BBC. I won the
Conservatoire’s Woodwind Prize and the Symphony Hall Recital
Competition, the latter leading to a recital at Birmingham’s Town
Hall, where I performed in February 2010 - it was very exciting!

After graduating, I plan to go to Guildhall School of Music and

Drama in London for a postgraduate orchestral clarinet training
RECENT MASTERCLASSES AND WORKSHOPS course. Without my four years studying here in Birmingham,
............................................................................................................................................... I wouldn’t have been able to progress to this level – my
experience here has helped me so much!
FLUTE PICCOLO CLARINET BASSOON
Wissam Boustany Keith Bragg Paolo De Gaspari Sarah Burnett
Michael Cox Oboe Colin Lawson Carlo Colombo
Philippa Davies John Anderson Angela Malsbury Martin Gatt
Paul Edmund-Davies Neil Black Barnaby Robson John Orford
Clare Southworth Ruth Bolister Graham Sheen
Gordon Hunt
Emily Pailthorpe
Christopher Redgate
76
Recorder and Saxophone 77

TUTORIAL STAFF RECORDER

............................................................................................................................................
HEAD OF RECORDER
Ross Winters BA (Oxon) ARCM LTCL
Diploma Muzieklyceum (Amsterdam)
Led by Ross Winters, our lively and supportive Recorder Department provides tuition in all aspects of technique, style and
repertoire. With a view to making the most of each individual’s potential, all periods of recorder music are afforded equal
importance. The course is designed to develop your skills in both solo and ensemble playing and you will also have the
opportunity to study related early wind instruments. A range of stimulating and varied performance classes and workshops
on related topics is open to students in all years and there are two masterclasses a year given by distinguished visiting
professionals. Recorder students at the Conservatoire are respected and integrated into the fabric of student life.
RECORDER TUTORS HEAD OF SAXOPHONE
Grace Barton BMus (Hons) DPS Naomi Sullivan BMus MMus In addition to activities within the Department, specialist ensembles are organised for a variety of projects, and the
PgCert QTS department is closely involved with the Conservatoire’s Early Music Programme. You’ll have the unique advantage of being
Annabel Knight GRSM (Hons) MMus SAXOPHONE CONSULTANT able to perform with several diverse groups, including the college’s Baroque orchestra (Capelle) and The Conservatoire Folk
DipRCM GRSM (Hons) Ensemble. You’ll also receive regular specialist consort coaching. In addition to a grounding in teaching techniques, you’ll
Kyle Horch BMus MMus DipGSMD
have the opportunity to observe teaching at organisations such as Coventry Performing Arts.
Christopher Orton BMus (Hons) HonRCM
AdvPgDip
SAXOPHONE
SAXOPHONE TUTORS
Birmingham Conservatoire is now at the forefront of saxophone education. We hosted the 8th British Saxophone Congress,
Anna Thompson Brooks BMus (Hons)
where artists as diverse as Gilad Atzmon and Arno Bornkamp shared the stage with the National Saxophone Choir at the
Andrew Tweed ABSM GBSM gala concert. More recently, we have enjoyed visits from Jean-Yves Formeau and Jacob ter Veldhuis. Alongside the numerous
performing opportunities for motivated students, the Conservatoire’s specialist Jazz Department helps to add vibrancy to
saxophone studies, as do collaborations with the Composition and Brass departments. The saxophone syllabus is broad-
based and ideally suited to those performers wishing to pursue a freelance career. With this in mind, great emphasis is put on
versatility and adaptability in performance. A firm technical grounding early on paves the way for the study of major French
classical and contemporary works, as well as cross-over and jazz, with the chance to specialise in the latter stages of your
study. Coaching is available for saxophone quartets and our Saxophone Ensemble, as well as the Conservatoire’s Symphonic
Wind Orchestra and Jazz Big Band provide opportunities to perform in large ensembles.

RECENT MASTERCLASSES AND WORKSHOPS

..............................................................................................................................................
RECORDER SAXOPHONE
Piers Adams Iain Ballamy Richard Ingham
FIND OUT MORE ABOUT: Anneke Boeke Rob Buckland Claus Olesen
Jean Pierre Boullet Snake Davis Dave Roach
144 BMus (Hons) Susannah Borsch Claude Delangle Damien Royannais
156 PgCert/PgDip/MMus/AdvPgDip Tim Cranmore Christian Forshaw Stan Sulzmann
Paul Leenhouts Jean-Yves Fourmeau Jutlandia Saxophone Quartet
122 Professional development
Lucinda Mackworth-Young Tim Garland
116 Orchestras and large ensembles Joachim Rohmer Simon Haram
110 Early music Markus Zahnhausen Kyle Horch
94 Jazz department
78
Brass 79

TUTORIAL STAFF
David Purser, Head of Brass, has 25 years‘ experience teaching at conservatoire/university level. His playing career includes
30 years as principal trombone of the London Sinfonietta, 30 years with the Nash Ensemble, 13 years with the Philip Jones
Brass Ensemble, 16 years with London Brass and seven years as principal trombone of Sinfonia 21. He has published several
arrangements for brass ensemble. David is also Head of our Orchestral Programme.
............................................................................................................................................

HEAD OF DEPARTMENT TROMBONE EUPHONIUM AND BARITONE

Professor David Purser ARCM Anthony Howe* MusB (Hons) David Childs
GRNCM PPRNCM Katrina Marzella
TRUMPET Edward Jones*
Peter Fisher ABSM Katy Jones TENOR HORN
Jonathan Holland* ARCM LRAM Professor David Purser ARCM Owen Farr BA RNCM PPRNCM
(Principal, CBSO)
BASS TROMBONE DIRECTOR OF BRASS BAND STUDIES
Paul Mayes ProfCert LRAM
Alwyn Green* LRAM LTCL Ian Porthouse GBSM
Andrew Stone-Fewings GBSM ABSM
Alan Thomas* BMus (Hons) PgDip Robert Hughes LRAM FRAM * denotes member of CBSO
HonBC (Co- Principal, CBSO)
SACKBUT AND CLASSICAL TROMBONE
CORNET Sue Addison ARCM (Hons)
Richard Marshall BS (Hons) LRSM HonARAM
Ian Porthouse GBSM
TUBA
NATURAL TRUMPET Graham Sibley* GGSM PDOT (GSMD)
David Blackadder DipPerf RCM ARCM

FRENCH HORN
Sue Dent DipPerf RCM ARCM
Peter Dyson* AGSM
Simon de Souza CertMus GMus (CNAA)

HAND HORN
Sue Dent DipPerf RCM ARCM
80
Brass 81

Because ensemble playing is at the core of the brass BRASS QUINTET

player’s musical life, teamwork is at the core of the Brass
Department’s activities. In each specialist area, our team of
tutors has the expertise to address all areas of music making
and instrumental playing.
Leading exponents of orchestral, brass band and chamber
music playing come from as far afield as Manchester, Cardiff
and London to join their Birmingham-based colleagues
as part of our teaching team. They bring with them their
pedagogical and technical expertise, as well as the
enthusiasm for music that makes them first rate performers.
Bespoke tuition is available at postgraduate level for existing
brass quintets who wish to extend and consolidate their
ensemble skills, while allowing each member to continue
with their individual instrumental and academic study.
Delivered in collaboration with the Midlands-based ensemble
Fine Arts Brass (FAB) and Birmingham Music Service (BMS),
the programme addresses all aspects of quintet life from
repertoire development to workshop skills, and from the
identification and arrangement of suitable music to the
practicalities of organising an ensemble.

Our aim is to help our students develop distinct but well-

rounded musical personalities, with a wide experience of
styles and an awareness of the vast range of professional
possibilities. So brass band players are encouraged (though
not obliged) to spend some time on an orchestral instrument,
while orchestral players (who also often appear with the
brass band) may take lessons from one of the Conservatoire’s
jazz tutors. In another example of cross-fertilisation, Sue
Addison and David Blackadder (our sackbut and natural
trumpet teachers) will sometimes work with modern
instruments to impart their specialist knowledge of period
styles in a more familiar contemporary context.
RECENT MASTERCLASSES AND WORKSHOPS
Along with the various band, orchestral and chamber ..............................................................................................................................................
music activities, there is an active schedule of special
brass classes covering a wide spectrum of topics, from
TRUMPET AND TROMBONE HORN EUPHONIUM
scales to stage presentation, Baroque style to orchestral
CORNET Jonas Bylund Alessio Allegrini Andrew Fawbert
repertoire and practice technique to performance nerves.
Delivered by the Conservatoire’s own teachers as well as a Håkan Hardenberger Wycliffe Gordon Richard Clews David Thornton
range of distinguished visitors, they provide opportunities FIND OUT MORE ABOUT: Michael Laird Chris Houlding Elspeth Dutch
for discussion, listening and, perhaps most importantly, John Miller Don Lucas Martin Owen TENOR HORN
144 BMus (Hons) Rex Richardson Jacques Mauger Hugh Seenan
the vital experience of playing in public. In addition to the Melvyn Bathgate
Conservatoire’s regular concert series, occasions such as 156 PgCert/PgDip/MMus/AdvPgDip Kristian Steenstrup Kevin Price
our Brass Explosion! events and frequent brass chamber 122 Professional development Roger Webster Lindsay Shilling TUBA
BRASS BAND
music concerts (for ensembles of all shapes and sizes) give Denis Wick David Gordon-Shute
116 Orchestras and large ensembles Elgar Howarth
us the opportunity to show off the department’s work. Oren Marshall
106 Coaching Phillip Wilby
Graham Sibley
Stephen Wick
82
Percussion
TUTORIAL STAFF
Principal Percussionist and Timpanist with the CBSO since 1972 and a founding member of the Birmingham Contemporary
Music Group, James Strebing has long been active in Birmingham’s musical community. He studied with George Gaber at
Indiana University and was principal percussionist with the Indianapolis Symphony before a Fulbright Scholarship brought him
to the UK.
............................................................................................................................................
HEAD OF DEPARTMENT TIMPANI AND PERCUSSION
James Strebing* BMus (Indiana Univ) James Strebing* BMus (Indiana Univ)
DRUM KIT
Malcolm Garrett
SOLO AND TUNED PERCUSSION
Elizabeth Gilliver GMus RNCM (Hons)
PPRNCM
ORCHESTRAL PERCUSSION
Jonathan Herbert GRNCM
MALLET AND SOLO PERCUSSION
Jason Huxtable BMus (Hons) AdvPgDip
Timothy Palmer BMus (Hons) AdvPgDip
CONTEMPORARY AND LATIN
PERCUSSION
Alonso Mendoza Moreno BA (Hons)
(Univ of Mexico) MA (The Hague)
* denotes member of CBSO
PERCUSSION
Offering excellent facilities, our lively Percussion Department
offers a broad vision of percussion, with tutors trained both
in the UK and abroad providing an international outlook.
Specialist training is provided in every area: from classical to
commercial, theatrical to popular.
Outstanding in its diversity, our syllabus combines a wide
range of solo, ensemble and orchestral repertoire with
access to jazz techniques, and World Music options such as
gamelan, African drumming and samba. Providing a chance
for you to broaden your horizons and integrate different
playing styles, these options offer invaluable experience of
unusual styles and instruments and will help to prepare you
for the complex demands of the modern percussion world.
The department’s size is carefully balanced to ensure
ample performance opportunities for every student,
while maintaining a healthy percussion ensemble. This
flexible group undertakes two or three concerts each year,
performing pieces that range from three to
twelve players.
FIND OUT MORE ABOUT:
144 BMus (Hons)
156 PgCert/PgDip/MMus/AdvPgDip
122 Professional development
116 Orchestras and large ensembles
Coaching
106
83
As a percussion student, you’ll have regular performing
opportunities within the Conservatoire orchestras, bands
and ensembles, and you can also undertake various external
engagements. Sufficiently advanced students can also take
advantage of professional training schemes with the CBSO
and Philharmonia Orchestra.
Our dedicated Percussion Suite houses a large collection
of instruments available for student use. Conservatoire
percussion graduates can be heard performing in London’s
West End, and with professional orchestras such as the LSO,
CBSO and Bournemouth Symphony Orchestra.
In collaboration with PASUK, the Conservatoire hosted
its first Day of Percussion in 2006, welcoming several
international artists including David Friedman. Further
events have welcomed Gustavo Gimeno, Lorenzo Ferrandiz
and Dave Sanchez among others.
RECENT MASTERCLASSES
AND WORKSHOPS
....................................
PERCUSSION
Chris Baron
Colin Currie
David Friedman
Neil Grover
Michael Quinn
Ney Rosauro
Nebojsa Zivkovic
84
Piano 85

TUTORIAL STAFF
Malcolm Wilson studied in Birmingham with Constance Warren before winning a scholarship to the Royal College of Music
where his teachers were Kendall Taylor and Maurice Cole. He made his recital debut at the Wigmore Hall in 1975 and has for
many years been a principal pianist with both the Birmingham Contemporary Music Group and the CBSO, with whom he has
undertaken extensive overseas tours and made numerous recordings. In association with the BCMG he has recently been
involved with the ‘Creative Exchange’ group improvisation programme, led by Peter Wiegold, whose concerts explore the
interaction and creative processes between composer, performer and audience.
............................................................................................................................................
With a distinguished staff of tutors and consultants specialising in accompaniment, solo and orchestral performance, the
Piano Department concentrates on your development as a versatile, confident and self-reliant performer. Reflecting the
demands of versatility and artistic awareness in the realm of professional performance, your intensive pianistic training
will be supplemented by a wide range of specialist activities and workshops, including classes in repertoire, sight-reading,
accompaniment, Lieder and French song; coaching in accompaniment fortepiano; and keyboard skills.
As a first study pianist, you will participate in performance classes every week and, nearly as often, in masterclasses, which will
be a fundamental part of your study. Involving a high degree of practical involvement and feedback, both programmes will help
you to develop the breadth of your own musical vision. Undergraduate performance classes are normally held in our Adrian
Boult Hall (see page 41), giving you regular opportunities to perform in an outstanding modern concert hall.

As well as solo performance, all undergraduates study accompaniment. You will also be encouraged to participate in chamber
music (coaching is available to established ensembles) and you’ll also have the opportunity to gain experience in repetiteur
HEAD OF DEPARTMENT PIANO HEAD OF ACCOMPANIMENT
work and orchestral keyboard performance as part of your course.
Professor Malcolm Wilson GBSM ARCM Robert Birchall ARCN GRNCM DPS Robert Markham DMA (Julliard)
(Mus Perf) Performance opportunities, provided throughout the course, include the Conservatoire’s series of lunchtime and evening
PIANO ACCOMPANIMENT TUTORS concerts. Selected students can also take advantage of our Pianists for Dance scheme, run in partnership with the Birmingham
CONSULTANTS Caroline Costello GBSM ABSM
PgCert (GSM) Jonathan French BMus (Hons) DPS Royal Ballet.
Piano: Peter Donohoe FRNCM
(MusPerf) HonBC
GRNCM ARNCM ARCM DUniv DMus Margaret Fingerhut ARCM The Piano Department enjoys close ties with the Vocal & Operatic Department and students often collaborate in performances
John Humphreys ARAM ARCM
(B’ham) Jonathan French BMus (Hons) DPS and competitions, as well as in language and accompaniment classes.
(MusPerf) HonBC Robert Markham DMA (Juilliard)
John Humphreys ARAM ARCM Simon Nicholls GRSM ARCM LRAM Peter Donohoe, the Conservatoire’s Vice-President, has been a consultant tutor to the department since 1989, and works
closely with both staff and students
Katherine Lam BMus (Hons) DPS Antony Saunders ARAM LRAM (Teach)
(Mus Perf) ARCM (Perf) ARCO FORTEPIANO
Philip Martin ARAM LRAM FRAM Working towards an annual concert, all undergraduate pianists study fortepiano during their second year, exploring an
STAFF ACCOMPANISTS extensive repertoire (including CPE Bach, Haydn, Mozart, Beethoven and Schubert) on the type of instrument for which it was
Robert Markham DMA (Juilliard)
Jonathan French BMus (Hons) DPS originally conceived. The Conservatoire possesses two fortepianos: a John Rawson copy of a 1780s Viennese instrument; and
Margaret Newman BA (Mus) LRAM
(MusPerf) HonBC another by Dennis Woolley (after Fritz, c.1820). In addition to solo pieces, chamber music and song accompaniment may also be
FTCL (Perf)
Ben Kennedy BMus (Hons) studied.
Simon Nicholls GRSM ARCM LRAM
Robert Markham DMA (Juilliard)
David Quigley BMus HonBC
Jo Sealey ABSM GBSM HonBC
Victor Sangiorgio AMUSA (Hons)
DipHonSiena FellowBMA RECENT MASTERCLASSES AND WORKSHOPS
Prof Malcolm Wilson GBSM ARCM .....................................................................................
FIND OUT MORE ABOUT:
Di Xiao Master’s (Beijing) APD
PIANO 144 BMus (Hons)
FORTE PIANO
Andrew Ball Vanessa Latarche Bernard Roberts 156 PgCert/PgDip/MMus/
Sharona Joshua BMus Birmingham Royal Ballet John Lill Martin Roscoe AdvPgDip
David Ward ARCM LRAM Peter Donohoe Leon McCawley Balász Szokolay 122 Professional development
Julius Drake Richard McMahon
Daniel Höxter Bryce Morrison
Martin Jones Ronan O’Hora
Mikhail Kazakevich David Owen Norris
86
Organ & Harpsichord 87

TUTORIAL STAFF ORGAN & HARPSICHORD

Henry Fairs is both Head of Organ Studies at Birmingham Conservatoire and Organist to the University of Birmingham. Since
winning the Odense International Organ Competition Henry Fairs has performed in the United Kingdom, France, Germany,
Austria, Switzerland, Denmark, Poland and the United States. His orchestral concerto debut was with the Paris Conservatoire
Symphony Orchestra in 2004 playing Jean Guillou’s 6th Concerto. His recent schedule included a Messiaen recital at the
Leipzig Gewandhaus, a live broadcast of Poulenc’s organ concerto for Danish Radio from the Carl Nielsen Hall, Odense, and a
recital at Worms Cathedral, Germany which opened the Kultursommer Rheinland-Pfalz festival.
............................................................................................................................................
The Conservatoire boasts a thriving Organ Department with excellent links to the Royal College of Organists (RCO). Our
distinguished staff includes well-known recitalist James Parsons, Head of Student Development at the RCO; Dan Moult,
hugely in demand both as a player and as a music educator and animateur; and harpsichordist and organist Douglas Hollick,
who studied with Peter Hurford and Marie-Claire Alain and is a regular contributor to Choir & Organ. Marcus Huxley, also a
pupil of Marie-Claire Alain, is a St Alban’s prize-winner and Director of Music at St Philip’s Cathedral; while Charles Matthews
was first prize winner in the 1999 Liszt Competition in Budapest. The Conservatoire is delighted to welcome distinguished
international recitalist, teacher and President of the Royal College of Organists, David Sanger, as Consultant Tutor in Organ
Studies.

Organ teaching is centred on the acclaimed three-manual Walker organ in St Chad’s Cathedral, where Prof David Saint
is Director of Music, but you will also have access to our four small tracker-action organs and our historic Eule organ,
commissioned by Lady Susi Jeans in the 1930s and generously donated to the Conservatoire by the Royal School of Church
Music in 2007.
HEAD OF DEPARTMENT ORGAN
Henry Fairs BMus FRCO HonBC Henry Fairs BMus FRCO HonBC You’ll be given a comprehensive introduction to several centuries of European organ repertoire, with the opportunity to
Prix d’Exellence Konzertexamen Douglas Hollick BA (Hons) ARCM specialise in areas that interest you later in your study. Lessons in continuo, improvisation and keyboard skills will also form a
(Cologne) key part of your training. Regular study weeks in France, Holland and Germany are based around visits to historic instruments
Marcus Huxley MA (Oxon) FRCO ARCM
and masterclasses given by some of each country’s finest players. These trips will give you the chance to understand
HonFBC
ORGAN CONSULTANT repertoire within the context of specific organ-building traditions.
Charles Matthews MA (Cantab) FRCO
David Sanger
Daniel Moult MA (Oxon) FRCO HARPSICHORD
EARLY KEYBOARD CONSULTANT James Parsons MA (Oxon) FRCO Harpsichord is available as a first or second study. Our two main instruments are by von Nagel, Paris (1988, after Michael
Gary Cooper Mietke) and Michael Johnson (1996, after Goermans/Taskin). The syllabus covers the core harpsichord repertoire from the late
Professor David Saint BA BMus FRCO
16th to the late 18th century but you may also study contemporary works if you wish. Coaching in chamber music (obbligato
HARPSICHORD and continuo pieces) is available and both harpsichordists and organists have regular continuo classes.
Douglas Hollick BA (Hons) ARCM ORGAN SCHOLARSHIPS
Organ scholarships are offered by St Chad’s Cathedral, Birmingham Cathedral,
and other local churches. The Symphony Hall Percy Whitlock Scholarship gives
an appropriately experienced student a role in Symphony Hall’s educational
programme and opportunities to demonstrate the instrument to a variety of
audiences. You will receive details of the organ scholarships available after your
application has been received.

FIND OUT MORE ABOUT: CONTINUO SCHOLARSHIP

144 BMus (Hons)
156 PgCert/PgDip/MMus/
AdvPgDip
122 Professional development
Both harpsichordists and organists can take advantage of the Conservatoire’s RECENT MASTERCLASSES
excellent Early Music programme. One of our two Corton-Hyde Early Music .................................
Scholarships is available to support a talented undergraduate or postgraduate
continuo student wishing to further their studies in Early Music. Bine Bryndorf
Hans Fagius
David Sanger
Thomas Trotter
Jacques van Oortmerssen
88
Vocal & Operatic 89

TUTORIAL STAFF
An accomplished tenor, Julian Pike toured extensively in the UK and Europe before embarking on his teaching career. He has The Department of Vocal & Operatic Studies offers extensive Students who have attained an appropriate level of skill
performed with the BBC Symphony Orchestra and the Royal Liverpool Philharmonic Orchestra and was chosen by legendary tuition for aspiring professional singers. Our comprehensive are auditioned for fully staged performances of operas,
theatre director Peter Brook to sing Don Jose in his famous production of Carmen (1982). He later created the central role course of study has been designed to allow you to follow your Baroque operas and musicals, which involve intensive
of Michael in Donnerstag aus Licht (1985) for the eminent composer Karlheinz Stockhausen, with whom he enjoyed a close individual preferences, while providing you with the broad periods of musical and dramatic preparation. Birmingham
working relationship. base of experience needed in the profession today. Conservatoire is distinct in providing operatic performing
............................................................................................................................................ possibilities at both undergraduate and postgraduate level
It is of great importance to us that you develop substantial and, since 2001 our students have enjoyed the use of the fully
knowledge and experience of all types of repertoire, from equipped Crescent Theatre situated nearby in Birmingham’s
opera and early music to performance with technology. canal-side development, Brindleyplace.
Therefore, in addition to your individual lessons, you will have
regular individual vocal coaching, as well as Baroque and Two other important Departmental activities are our
HEAD OF DEPARTMENT LANGUAGES Anne Dawson
contemporary music classes. You may, if you wish, choose a ‘Liederabend’ evenings of song – constructed around the
Professor Julian Pike ARCM Olivia Blackburn LCT BA (Hons) Helen Field related singing specialism (such as Baroque singing) as your works of particular composers or poets – and our annual
(French/German) Margaret Field MusB (Melb) second study, providing you with even greater exposure to a Opera Scenes, which consistently sell out. These events,
DIRECTOR OF THEATRE STUDIES
Patrizia Dina BA (Hons) (Italian) Henry Herford MA (Cantab) ARNCM particular specialist area. in which the whole department participates, are open to
Michael Barry BEd PgDip the public and take place once a term. Numerous other
Prof Julian Pike ARCM (French) GRNCM
Other core activities through which you will develop your performance opportunities are offered by the Conservatoire’s
Michael Pushkin BA (Cantab) (Russian) Justin Lavender AGSM performance skills will include masterclasses with visiting four choirs and full schedule of public concerts, stage works
Cinzia Scafetta (Italian) Prof Julian Pike ARCM professionals; repertoire and performance classes covering and competitions.
Gordon Sandison Dip Drama (RSAMD) Lieder, French and English song, oratorio, etc; and language
DRAMA AND STAGECRAFT tuition in French, Italian, German and Russian. All students Continues...
Dip Music (RSAMD)
Michael Barry BEd PgDip undertake a theatrical training programme including drama
Gwion Thomas GRNCM PPRNC and stagecraft and, should you be interested in pursuing
MOVEMENT musical theatre, you will be able to take advantage of
COACHING
Heather Habens BA (Hons) Laban specialist coaching in this area.
Stephen Barlow
MUSICAL THEATRE Robin Bowman MMus AKC ARCM FGSM
Rosalind Jones FRCO
Robert Markham DMA (Julliard)
CHAMBER CHOIR CONDUCTORS Simon Nicholls GRSM ARCM LRAM
Jeffrey Skidmore BA (Oxon) (Ex Jane Robinson GRSM ARCM LRAM
Cathedra) HonFBC
Helen Yorke GRNCM LRAM ARAM
Paul Spicer BMus (Lond) ARCM ARCO
FRSA HonFBC CONTEMPORARY MUSIC VOCAL RECENT MASTERCLASSES AND WORKSHOPS
CLASSES ........................................................ FIND OUT MORE ABOUT:
VOICE
Mary Wiegold
Catherine Benson AGSM Noelle Barker Fiona Richards 144 BMus (Hons)
Maureen Brathwaite AGSM HISTORICAL VOCAL PROGRAMME Leo Black Christoph Ritter 156 PgCert/PgDip/MMus/AdvPgDip
Christine Cairns DRSAMD Andrew King BA (Hons) ARCM PGCE Catherine Bott Paul Rodmell 114 Choirs
Michael Chance Barbara Robotham
Louise Crane AGSM PgDip (RNCM) 93 Choral conducting
Richard Jackson Patricia Rozario
Alison Chamberlain BA(Hons) PGCert Susan McCulloch Stephen Varcoe 106 Coaching
(Psychol) LRA Patricia McMahon
Rita Cullis ARMCM Roger Nichols
90
Vocal & Operatic 91
91

STAGE PROGRAMME
There is a real atmosphere of inclusiveness within our
Department. Our stage activities are open to the entire
Department, postgraduate and undergraduate alike.
Naturally, the more experienced singers will be those given
lead parts, but there are also many smaller roles and chorus
parts which offer developing singers the opportunity to gain
fundamental stage experience. RECENT OPERAS

We consider it essential that you learn in an environment David Blake ..................... Scoring a Century (World Permiere)
which, although inevitably competitive, is one in which there is Britten ............................. Albert Herring
understanding and support between all students. Everything Cavalli .............................. La Calisto
we do contributes to the different elements needed to become Robin Grant...................... Dee (Commission: World Premiere)
a professional singer and it will be Handel ............................. Giulio Cesare
for you to seize and capitalise upon the many Janácek ........................... The Cunning Little Vixen
opportunities here. Matthew Locke ................ Psyche
Monteverdi ...................... L’Incoronazione di Poppea
We always take care that, while your skills are developing, Mozart .............................. Le nozze di Figaro
you remain within the limits of your technical abilities and Mozart .............................. Die Zauberflöte
are not presented with demands that may cause you to Purcell ............................. Dido and Aeneas
overextend yourself. The choice of stage works is always a Purcell ............................. The Fairy Queen
challenge, but we try to find works with as many parts as Rameau ........................... Pygmalion
possible and, additionally, double-cast our shows. Malcolm Williamson ........ English Eccentrics

During your time as a vocal student, you will have the

opportunity to perform in a great variety of stage works: RECENT MUSICALS
mainstream opera, historically informed performances
Bernstein ......................... Wonderful Town
and musicals. All our staged performances are conducted,
Bernstein ......................... West Side Story
prepared and directed by visiting specialists who, in
Harnick & Bock ................ Fiddler on the Roof
addition to staff members, will be vital contributors to your
Sondheim ......................... Merrily We Roll Along
educational experience.
SCORING A CENTURY WORLD PREMIERE
PHOTOGRAPH CREDITS
92 93

CHORAL CONDUCTING
Available to postgraduate students as part of the Performance pathway on
the MMus and PgDip courses, Choral Conducting is well supported at the
Conservatoire. You will be offered tailored individual tuition from our principal
conducting tutor Paul Spicer (Finzi Singers), supported by Jeffrey Skidmore
(Ex Cathedra).

The programme concentrates on building your skills in interpretation,

communication and vocal technique. Therefore, as well as rehearsing and
performing with choirs, your one-to-one first study tuition will be split between
conducting and singing lessons with a member of our distinguished vocal staff,
according to your individual needs. You will also receive specialised coaching
in editing and musical and managerial skills.

Of our two chamber choirs, the second, known as Camerata, is run specifically
for the benefit of our choral conducting students. You will be able to rehearse
with them on a regular basis and to conduct performances on average
twice a year. The choir consists of around 25 voices and it is expected that
you will cover a range of repertoire, chosen in negotiation with Paul Spicer.
Examination is through an assessed rehearsal.

The Conservatoire has a range of other choral activities, including

the Conservatoire Chorus, Chamber Choir and a Gospel Choir, with which
you may wish to get involved. If you are interested in gaining experience in
conducting instrumental ensembles, a more general conducting elective is
also available.

PHOTOGRAPH CREDITS
94
Jazz 95

TUTORIAL STAFF
Jeremy Price is a trombonist on the current jazz scene and has worked with Stan Sulzmann, Mike Gibbs, Randy Brecker and
David Murray. He has authored jazz education material published by International Music Press and the Associated Board of
the Royal Schools of Music. He is a member of the London Jazz Orchestra and has played for London Sinfonietta as well as for
numerous commercial sessions.
............................................................................................................................................

HEAD OF DEPARTMENT SAXOPHONE DOUBLE BASS/ELECTRIC BASS

Jeremy Price BA (Hons) ABSM Iain Dixon Fred T Baker ABSM GBSM
LGSM HonBC Julian Siegel BA (Hons) Mark Hodgson
VISITING ARTIST IN RESIDENCE Jean Toussaint AssocDip (Berklee) Arnie Somogyi BA (Hons)
Dave Holland Mike Williams GDJCM
ELECTRIC GUITAR
LECTURER IN JAZZ TRUMPET Fred T Baker ABSM GBSM
Hans Koller MMus Richard Iles Dave Cliff DPLM
Percy Pursglove BMus (Hons) Hon BC Phil Robson GGSM
Martin Shaw
DRUM KIT
Neil Yates
Andrew Bain BMus(Hons) GSMD MMus
TROMBONE (Manhattan)
Pete Beachill Tony Levin
Ashley Horton Jeff Williams
Jeremy Price BA (Hons) ABSM COMPOSITION
LGSM HonBC
Mike Gibbs BMus Prof Dip HonFBC
PIANO Hans Koller MMus
Hans Koller MMus Liam Noble BA (Oxon) LGSM
Liam Noble BA (Oxon) LGSM
BIG BAND & JAZZ ORCHESTRA
Jeremy Price BA (Hons) ABSM
LGSM HonBC
Percy Pursglove BMus (Hons) Hon BC

VOICE
Sarah Coleman ABSM GBSM

VIBRAPHONE
Anthony Kerr
96
Jazz 97

I am very happy to be part of the

Jazz Department at Birmingham
Conservatoire in the capacity of
‘Visiting Artist in Residence’.
During a recent visit I saw the
commitment to excellence on the
part of the students, faculty and
administration and look forward
to being able to contribute to an
The primary aim of our Jazz Department is to create a Relative to other parts of the country, the jazz scene in the
stimulating and inspiring culture for jazz musicians. As well Birmingham area is flourishing. We have an exceptionally already outstanding programme.
as nurturing individual development, we place a great deal of strong relationship with Birmingham Jazz, the region’s main
emphasis on artistic exchange between students and staff, promoter, and our students enjoy free entry to their gigs
both within the Conservatoire and on the wider public stage: for a nominal Birmingham Jazz membership fee. During DAVE HOLLAND
from local venues to international festivals. the last academic year alone, our students have attended
performances through this scheme by internationally
The autonomy of the Department means you will follow acclaimed artists such as Dave Holland’s quintet, Greg Cohen,
a curriculum dedicated to jazz performance on a course Joey Baron and Tom Rainey.
specifically designed to meet your needs. Because we are able
to offer such specialised study, you’ll find yourself learning In addition to the international circuit that Birmingham Jazz
alongside a body of jazz students who are all highly focused brings to the region, the city hosts numerous clubs and venues
and committed. that support the local scene.

We have an outstanding team of tutors, all of whom are highly Venues providing a platform for the wider jazz community
respected artists in their field. The fact that they come not only include the Midlands Arts Centre (mac), Yardbird Jazz Club,
from the UK, but also from the USA and central Europe, gives a The Rainbow, Symphony Hall Foyer, Fizzle, the Glee Club,
real breadth and depth to the range of jazz music represented The Drum, TL’s and the Jam House. Another welcome RECENT MASTERCLASSES AND WORKSHOPS
here, as well as greater scope for you to find a suitable mentor addition to the scene is the BBC Big Band, now resident at the ....................................................................................
to watch over your individual development. Birmingham’s newly refurbished Town Hall. All this means you
will be able to immerse yourself in a vibrant and energising
Our most recent and exciting appointment to the staff is Jeff Ballard Dave Green Tom Rainey
music scene.
bassist, leader and composer Dave Holland. Dave joins us Joey Baron Drew Gress Adam Rodgers
Jerry Bergonzi John Hibert Mark Turner FIND OUT MORE ABOUT:
for one week each semester as Visiting Artist in Residence,
to coach ensembles, give bass masterclasses, direct rhythm Dave Binney Dave Holland Gary Smulyan
150 BMus (Hons) Jazz
section workshops and give composition lectures. A public Randy Brecker John Hollenbeck Stan Sulzmann
Greg Cohen Lee Konitz John Surman 154 GradDip Jazz
performance is also integrated into each of his visits.
Jack De Johnette Kirk Lightsey Ken Vandermark 156 PgCert/PgDip/MMus/AdvPgDip
Dave Douglas Bob Moses
118 Jazz ensembles
Paul Dunmall Paul Motian
George Garzone Bobby Previte
98
Composition 99

TUTORIAL STAFF COMPOSITION

Joe Cutler studied music at Huddersfield and Durham Universities before studying at the Chopin Academy of Music (Warsaw)
on a Polish Government Scholarship. His works have been performed in more than 30 countries by performers including
the London Symphony Orchestra, BBC Symphony Orchestra, Tokyo Metropolitan Symphony Orchestra, Scottish and Swedish
Chamber Orchestras, Orkest de Volharding, Icebreaker, Netherlands Wind Ensemble, London Sinfonietta and Noszferatu
(a collective he co-founded in 2000). His music is regularly broadcast by BBC Radio 3 and has been featured on BBC2 and
Netherlands Television. Joe has also composed music for dance, film and for theatre productions in London’s West End and
New York’s Off-Broadway.
............................................................................................................................................
Our esteemed Composition Department provides both composers and composer-performers with the technical skills and
broad understanding of musical styles necessary to formulate and express a distinct musical voice. In the 21st century
new music can, more than at any other time in history, celebrate the diversity of musical styles and idioms, and one of our
greatest strengths is our tutorial staff, whose wide-ranging stylistic specialities cover everything from progressive classical
composition to film and commercial skills.
Through your individual tuition you will develop an understanding of differing compositional styles, particularly contemporary
art music; pop, jazz and fusion; experimental and world music; film and theatre music; and electroacoustic and studio-based
composition. You will also receive a thorough grounding in composition-related technologies, although composers wishing
to specialise in this area should see Music Technology. Your training will cover techniques of instrumentation, conducting,
orchestration and polyphonic studies. A programme of masterclasses and seminars by distinguished composers, critics and
performers will also form an important part of your development and you will have the chance to share ideas and discuss
topical issues with your colleagues in group activities such as Compositional Studies and Composers’ Workshop.

HEAD OF DEPARTMENT COMPOSITION INSTRUMENTAL TECHNIQUES From the outset, you will be encouraged to explore your ideas both within the context of genre, and using genre as a
Joe Cutler BA (Hons) PgDip (Chopin Ed Bennett PhD MMus BA (Hons) GSMD Clem Alford Sangeet Sudhakar jumping-off point for the creation of new frameworks. The Conservatoire has long been recognised as the natural home
Academy, Warsaw) PhD (Calcutta) Sur Mani (Bombay) of composers working across styles and throughout your development you will have the opportunity to experience a range
Joe Broughton BMus HonBC
of musical traditions and influences through a variety of performance electives covering classical music, jazz and world
Richard Causton ARCM (PG) MA Fred T Baker ABSM GBSM
DEPUTY HEAD OF DEPARTMENT music. These electives will not only allow you to exercise your creativity, but also provide a vehicle for you to collaborate with
BA (Hons) Katherine Gittings DipRCM ARCM performance students.
Michael Wolters PhD
Lamberto Coccioli (Diploma di LRAM
VISITING COMPOSER IN RESIDENCE Composizione, Conservatorio “G Verdi” Richard Leigh Harris MMus GBSM Our composition students also regularly work with students from our partner faculty, Birmingham Institute of Art and Design.
Errollyn Wallen MBE Milan) CertEd
We attach great importance to the performance of student compositions and original works, including those incorporating
Joe Cutler BA (Hons) PgDip(Chopin Sally Harrop GBSM ABSM PgDip HonBC new technologies, are regularly rehearsed and performed by a number of ensembles, including the Conservatoire Composers’
MEDIA MUSIC SPECIALIST Academy Warsaw) PhD Ensemble, the highly regarded Birmingham Contemporary Music Group and our own contemporary music group, the Thallein
Ulrich Heinen* Dip (Julliard)
Chris Gibbons Andrew Glover PhD LGSM MTCL (Principal, CBSO) Ensemble. Public performance opportunities include various Conservatoire concert series, internal and external competitions,
Robin Grant GMus (Hons) Alonso Mendoza Moreno BMus (Univ of and our new music concert series, Frontiers and its associated Frontiers+ Festival.
COMMERCIAL MUSIC SPECIALIST
RNCM PgDip Mexico) MA (The Hague)
Ian Wallman BA (Hons) Cert
(Music Mgt) Simon Hall PhD MA BMus Professor David Purser ARCM
(Hons) LTCL Christopher Redgate
Richard Leigh Harris MMus GBSM Sarwar Sabri
CertEd RECENT MASTERCLASSES AND WORKSHOPS
Naomi Sullivan .................................................................................................
Liz Johnson PhD MA PGCE BA (Hons)
Rowland Sutherland Julian Anderson Geoff Hannan Andrew Poppy
Philip Martin ARAM LRAM FRAM Jonathan Powell
Alan Thomas* BMus (Hons) PgDip Louis Andriessen Bryn Harrison
Carolina Noguera-Palau BMus MMus HonBC (Co-Principal, CBSO) Gerald Barry Simon Holt Frederic Rzewski
FIND OUT MORE ABOUT:
Martin Riley David Bedford Oliver Knussen Johannes Maria Staud
Mary Wiegold
David Bintley Marteen Altena Ensemble Richard Steinitz 144 BMus (Hons)
Edwin Roxburgh MusB BA(Cantab) Christopher Yates Pierre Boulez Darragh Morgan Mark-Anthony Turnage
FRCM LRAM 156 PgCert/PgDip/MMus/AdvPgDip
Laurence Crane Dominic Muldowney Jacob ter Veldhuis
Howard Skempton CONDUCTING FOR COMPOSERS
Tansy Davies Noszferatu Judith Weir 122 Professional development
Michael Wolters PhD Edwin Roxburgh MusB BA (Cantab) Michael Finnissy Orkest de Ereprijs Peter Wiegold
FRCM LRAM Mike Gibbs Eddie Parker John Woolrich
100
Music technology 101

UNDERGRADUATE
TUTORIAL STAFF
Lamberto Coccioli studied composition with Edgar Alandia and then with Azio Corghi at Milan’s Conservatoire, later BMUS COMPOSITION BMUS MUSIC TECHNOLOGY BSC MUSIC TECHNOLOGY
The Composer The Creative Music Producer The Music Engineer
completing the Toscanini Academy’s Advanced Training Course for Young Composers. He collaborated with Luciano Berio
for five years and in 1996 joined the team of Tempo Reale, the research centre for new technologies applied to music All composers have the option of working This area is appropriate for musicians who This degree emphasises the technologies
with music technology as part of their want to specialise in the creative musical that underpin sound engineering for a variety
founded by Berio in Florence. Now a specialist in composition and performance with live electronics, his commissions study (please see page 98) applications of technology. of commercial applications
include opera, chamber and solo pieces; his works have been performed around the world. In 2000 he was invited by AGON
Acustica Informatica Musica, the Milan research and production centre directed by Luca Francesconi, to work on musical and
educational projects. Lamberto is also Head of the Research Centre for Composition and Performance using Technology.
POSTGRADUATE
............................................................................................................................................
MMUS COMPOSITION MA DIGITAL ARTS IN PERFORMANCE MMUS MUSIC TECHNOLOGY

RESEARCH

Centre for composition and performance with technology

HEAD OF DEPARTMENT ASSISTANT HEAD OF DEPARTMENT

Lamberto Coccioli (Diploma di
Composizione, Conservatorio
“G Verdi” Milan)
Reflecting the Conservatoire’s expertise in the areas of composition and music technology, Music Technology is a first study
Simon Hall PhD MA BMus area designed for musicians who want to specialise in creative uses of music technologies. Whether you are an undergraduate
(Hons) LTCL or a postgraduate, this area will allow you to develop your creativity and skills to professional level using our state-of-the-
art facilities. You will be offered tailored tuition throughout your study in your specific area of interest, as well as training in
MUSIC TECHNOLOGIES MANAGER
core skills such as studio and sound recording techniques, electroacoustic composition for fixed media, synthesis, sampling,
Richard Cornock production and music for the moving image. A programme of masterclasses with industry professionals will supplement your
individual training and you will have the chance to share ideas and discuss topical issues with your colleagues in group activities.
STUDIO MANAGER AND
AUDIO TECHNICIAN There is a strong focus on the real-time interaction between performers and computers and you will be encouraged to
Matthew O’Malley collaborate with performers in the creation of interactive works to be performed in our unique live electronics performance
venue, the Recital Hall.
TUTORS
James Bullock BA (Hons) MPhil The combination of our specialised performance venues and professional music technology facilities is truly unique amongst
conservatoires and surpasses those available at most well-equipped universities as well. For a full list of our music technology
Tom Cahill-Jones facilities, please see page 42 or check our website.
Ben Markland MA BMus
Matthew O’Malley
Andrew Portas BA (Hons)
RECENT MASTERCLASSES AND WORKSHOPS
John Wesley-Barker BA ..............................................................................................................
FIND OUT MORE ABOUT:
Matthew Barley (Cellist) Sarah Nicolls (Pianist)
Pierre Boulez (Composer) Stephan Östersjö (Guitarist) 144 BMus (Hons)
Mira Calix (Warp Records) Jonathan Powell (Pianist)
180 BSc (Hons) Music Technology
Matt Dilley (Producer) David Revill (Producer)
Luca Francesconi (Composer) Roger Reynolds (Composer) 156 PgCert/PgDip/MMus/AdvPgDip
Jonathan Harvey (Composer) Hugh Robjohns (Technical Editor, 182 MA Digital Arts in Performance
Richard Hodgson (Yamaha Pro Audio) Sound on Sound)
Professional development
122
Andrew Keener (Recording Producer) Nitin Sawhney (Producer/Composer)
Garth Knox (Violinist) John Taylor (D&B Audiotechnik)
Bob McDowell (Senior Producer, BBC) David Tobin (Film Music Producer)
David Mitson (Chief of Mastering, Sony) Paul White (Editor, Sound On Sound)
102
Research 103

TUTORIAL STAFF Research at Birmingham Conservatoire includes work Individual research specialisms of supervisory staff include:
Peter Johnson has lectured on most areas of music history and musicianship, with specialisms in 20th century recognised at an international level in musicology,
history and analysis, improvisation and the philosophy and aesthetics of music. Since 1993 he has been engaged in pioneering composition and performance. In the 2008 RAE, the • Lamberto Coccioli: composition; composition and
research on the practice and aesthetics of musical performance, drawing on his considerable earlier experience as keyboard Conservatoire was rated third in its sector for research - performance with live electronics; interactive
player, choir training and conductor. He has published on several aspects of performance, including intonation in string the highest ranked conservatoire outside London. systems for performance
quartet playing and the relationship between performer and listener. Peter is the designer of a comprehensive performance • Dr Joe Cutler: composition; interdisciplinary
analysis tool named Span, in which processes of spectral and spectrographic analysis are integrated and combined with The Research Department has undergone unprecedented
collaborative projects
methods such as tapping in a user-friendly framework designed for musicians. A widely experienced examiner to PhD level, growth in recent years, by substantially enlarging its
Peter is in the peer review college for the AHRC and reviews regularly for several journals. academic staff and by substantial investment from the • Dr Christopher Dingle: Olivier Messiaen; French
University. Research has been supported by funding bodies music from Berlioz to the present day; music
............................................................................................................................................ such as the European Culture Programme, the Arts and criticism and aesthetics; performance practice
Humanities Research Council, the Leverhulme Trust, the issues arising from early recordings
British Academy, the National Endowment for Science,
Technology and the Arts, and the Worshipful Company of • Dr Janet Halfyard: film and television music;
Musicians. extended vocal technique; contemporary
performance practice
HEAD OF RESEARCH FULL-TIME SUPERVISORY STAFF PART-TIME RESEARCH SUPERVISORS Our staff provide high-level supervisory support for students • Dr Simon Hall: composition; interaction of acoustic
registered for MPhil and PhD research degrees, and their instruments with live electronics; electroacoustic
Professor Peter Johnson MA MusB Carrie Churnside Richard Causton ARCM MA BA (Hons)
personal research also informs taught components of our composition for multi-channel fixed media
(CantabDPhil (Oxon) FRCO Lamberto Coccioli (Diploma di Robin Grant GMus RNCM (Hons) PgDip undergraduate and postgraduate courses. As a research
Composizione, Conservatorio “G Verdi” Mark Lockett MA PhD student, you will be encouraged to develop a project of • Professor Peter Johnson: the study of performance
PROFESSOR OF MUSIC Milan) personal interest that is also relevant to our mission. You in the art-music tradition; music aesthetics,
Edwin Roxburgh MusB BA(Cantab)
Professor Ronald Woodley MusB Joe Cutler BA (Hons) PgDip (Chopin FRCM LRAM will also be exposed to a wide range of musicological, contemporary philosophy and critical theory; 20th
(Manchester) DPhil (Oxford) GRNCM Academy, Warsaw) PhD critical and analytical perspectives by means of regular century music, especially the Second Viennese
Gerald Seaman School
ARNCM Christopher Dingle PhD (Sheffield) research seminars and study days, which provide
Howard Skempton opportunities for seminar presentation, as well as the
MPhil BMus (Hons) • Dr Shirley Thompson: French Baroque music,
Ross Winters BA (Oxon) ARCM LTCL discussion and critique of papers delivered by distinguished
Janet K Halfyard PhD (Birmingham) MA especially Marc-Antoine Charpentier;
Diploma Muzieklyceum (Amsterdam) visiting speakers.
BSc (Hons) performance practice
Simon Hall PhD MA BMus (Hons) LTCL ADDITIONAL RESEARCH Much of the research expertise of our staff concerns • Professor Ronald Woodley: late medieval and early
Professor Peter Johnson MA MusB SUPERVISORS the practice of music in performance and composition, Renaissance music and music theory, especially
(Cantab) DPhil (Oxon) FRCO including the interrelationships between practice and its Johannes Tinctoris; notation and manuscript studies;
Michael Finnissy
cultural, social and aesthetic contexts. Their work covers minimalism and post-minimalism, especially the
Shirley Thompson PhD BMus (Hons) Sarah Leonard a wide range of study – from Western European music
PGCE music of Steve Reich; performance studies (clarinet
through jazz, popular music and film studies, to advanced and piano); early recordings
Professor Ronald Woodley MusB technological applications in composition.
(Manchester) DPhil (Oxford) GRNCM
ARNCM Many of our full- and part-time staff are active as Continues...
Michael Wolters PhD professional composers and performers, and some have
significant research profiles as practitioners. Some of our
part-time staff are employed specifically as supervisors of
research students.
104
Research
RESEARCH CENTRE FOR COMPOSITION AND
PERFORMANCE WITH TECHNOLOGY
Director: Lamberto Coccioli
This Research Centre uniquely draws together composers,
performers, engineers and technicians in the exploration
of the potential for the real-time interaction of musical
performance and computer-based systems. The Centre
is supported by state-of-the-art resources, including our
150-seat Recital Hall, which is hard-wired for interactive
performance, electro-acoustic and mixed media events, and
the latest in wireless technology (two Kroonde systems).
Our software includes Forum IRCAM’s three packages
(computer-aided composition, sound design and real-time
interaction), Max/MSP/Jitter and Matlab.
We directly challenge some traditional assumptions
about the respective roles of performers and composers,
encouraging performers to experiment interactively with
event-generating systems triggered by their own sounds
and gestures, and challenging composers to empower
performers to take a more interactive role that has
previously been possible in electroacoustic music. High
among the Centre’s aims are creative collaborations with
performers, composers and other research centres. We
enjoy close links with La Kitchen in Paris and AGON in
Milan and with individual composers including Julian
Anderson, Luca Francesconi and Jonathan Harvey, with
whom we have an ongoing project to modernise the live
electronics technology in his works.
The Centre is a lead partner in Integra – Fusing music and
technology, a 3-year, £1.9M international project supported
by the Culture programme of the European Union. Now in
its second phase (2008-2012) Integra brings together five
new music ensembles and six research centres across
Europe and Canada to create a new open source software
environment for composing and performing music with live
electronics. Through software development commissions
of new works, migrations of older repertoire using obsolete
technology, educational and outreach activities involving
students, performers and composers, Integra aims to
become the standard platform for the promotion and
dissemination of music with live electronics.
Please see www.integralive.org for more information on
the project.
105
Academic Tutorial Staff
For a full list of teaching staff or research supervisors, please ACADEMIC LECTURING STAFF
refer to your department page.
Ed Bennett PhD MMus BA (Hons) GSMD
HEAD OF RESEARCH Carrie Churnside
Prof Peter Johnson MA MusB (Cantab) DPhil (Oxon) FRCO Lamberto Coccioli (Diploma di Composizione, Conservatorio
“G Verdi” Milan)
PROFESSOR OF MUSIC Lee Differ BA (Hons)
Prof Ronald Woodley MusB (Manchester) DPhil (Oxford) Christopher Dingle PhD (Sheffield) MPhil BMus (Hons)
GRNCM ARNCM
Tony Dudley-Evans MA HonFBC
DIRECTOR OF STUDIES (UNDERGRADUATE) Duncan Fielden BMus MA
Janet K Halfyard PhD (Birmingham) MA BSc (Hons) Mike Gibbs BMus Prof Dip HonFBC
Janet K Halfyard PhD (Birmingham) MA BSc (Hons)
BMUS (HONS) JAZZ COURSE DIRECTOR
Simon Hall PhD MA BMus (Hons) LTCL
Jeremy Price BA (Hons) ABSM LGSM HonBC
Prof Peter Johnson MA MusB (Cantab) DPhil (Oxon) FRCO
GRAD DIP COURSE DIRECTOR Hans Koller MMus
Hans Koller MMus Trevor Lines BA (Comb Hons) PgDip MA
DIRECTOR OF STUDIES (POSTGRADUATE) Chris Marshall BA MMus
Fumiko Miyachi PhD MMus BMus (Hons)
Shirley Thompson PhD BMus (Hons) PGCE
Christopher Morley BMus AMus TCL HonFBC
ADVANCED PG DIP COURSE DIRECTOR
Liam Noble BA (Oxon) LGSM
Michael Hill MA (Oxon) Karen O’Connor BSc (Hons) Psychol GRNCM PPRNCM ARCM
University Fellow for Teaching and Learning
HEAD OF PROFESSIONAL DEVELOPMENT
Martin Perkins MA MPhil HonBC
Chris Marshall BA MMus
Jeremy Price BA (Hons) ABSM LGSM HonBC
Prof Graham Sadler PhD (Hull) BMus (Hons)
Prof David Saint BA BMus FRCO
Julian Siegel BA (Hons)
Robert Spearing BA (Hons) GRSM ARCM PGCert(RCM)
Gareth Thomas PhD MA BMus (Hons)
Shirley Thompson PhD BMus (Hons) PGCE
Mike Williams GDJCM (Leeds College)
Michael Wolters PhD
Prof Ronald Woodley MusB (Manchester) DPhil (Oxford)
GRNCM ARNCM
106
Coaching
TUTORIAL STAFF
............................................................................................................................................
STRING DUO COACHES VOCAL COACHES
Jonathan French BMus (Hons) Stephen Barlow MA (Cantab)
DPS (MusPerf) HonBC FRCO FGSM
Robert Markham DMA (Juilliard) Robin Bowman MMus AKC ARCM
FGSM FRCO
Jo Sealey ABSM GBSM HonBC
Robert Markham DMA (Julliard)
Simon Nicholls GRSM ARCM LRAM
Jane Robinson GRSM ARCM LRAM
Helen Yorke GRNCM LRAM ARAM
STAFF ACCOMPANISTS
Jonathan French BMus (Hons) DPS
(MusPerf) HonBC
Ben Kennedy BMus (Hons)
Robert Markham DMA (Juilliard)
Jo Sealey ABSM GBSM HonBC
Julian Wilkins
107
STRING DUO COACHING ACCOMPANISTS
During your individual first study lessons, you will work on We have an excellent team of professional staff accompanists
a range of issues critical to professional performance: the who are available to play for performance classes and exams.
development of advanced instrumental technique, musicality, To prepare for masterclasses or performance classes, you
communication and interpretation. However, it is important will also be allocated rehearsal time with an accompanist.
that you get the chance to practise and reinforce these skills
ENSEMBLE COACHING
outside your lessons.
If you are involved in a chamber or early music ensemble,
If you are an undergraduate string student, you will receive you will be able to work with a specialist coach in your area.
10 half-hour coaching sessions per year as part of your Jazz students working in small groups also receive intensive
first study allocation. These sessions will enable you to coaching from experienced jazz musicians.
concentrate on your overall development as a performer,
including how you communicate with your audience, as
well as how to form an effective partnership with your
accompanist.
VOCAL COACHING
If you are a singer, the opportunity to rehearse and ‘sing in’
repertoire under the guidance of an experienced vocal coach
will be integral to your study; for this reason, coaching is
integrated into your first study allocation.
Your specialised individual tuition will include 14 half-hour
coaching sessions, where you will work primarily on non-
technical issues: presentation, communication with your
audience and overall musicality.
Normally you will work with a song/language coach during
the first stages of your study, progressing, if appropriate,
to an experienced operatic coach who might also provide
additional input on technical issues. Over and above this
basic allocation, you will receive additional coaching as
negotiated.
Among others, you will work extensively with our main vocal
study accompanist, Jonathan French, who plays for most
song classes and student exams. Our student accompanists
occasionally play for song classes as well, providing you with
the opportunity to work collaboratively and, in some cases,
form lasting working partnerships with your colleagues.
108
Chamber music 109

TUTORIAL STAFF
............................................................................................................................................

HEAD OF PROGRAMME COACHES EARLY CHAMBER MUSIC

John Todd AGSM Dip Kons Luz
CHAMBER ENSEMBLE IN RESIDENCE
Schubert Ensemble of London
JUNIOR FELLOWS
Boult Quartet
David Angel ARAM, Recital Diploma Gail Hennessy BMus (Hons)
(RAM), (Maggini Quartet) Annabel Knight MMus DipRCM
Mark Bebbington GRSM (Hons)
Professor George Caird MA (Cantab) Andrew King BA (Hons) ARCM PGCE
FRAM ARCM FRSA HonFLCM Martin Perkins MA MPhil HonBC
David Childs Jeffrey Skidmore BA (Oxon) (Ex
Margaret Cookhorn GMus Cathedra)
RNCM (Hons) Andy Stone-Fewings GBSM ABSM
Anna Cooper GGSM (Hons) Ross Winters BA (Oxon) ARCM LTCL We regard Chamber Music as a vital part of all our The Conservatoire enjoys an excellent relationship with
Peter Dyson AGSM Diploma Muzieklyceum (Amsterdam) instrumental and orchestral training. At the start of Birmingham Chamber Music Society (BCMS) whose annual
Judith Hall BA (Melb) the academic year you and your fellow students will be concert series attracts professional chamber ensembles
For instrumental teaching staff, please encouraged to form your own chamber ensembles. Each from around the world to Birmingham. The BCMS Series
Prof Michael Harris ARCM FRCM see department pages. ensemble is allocated coaching from a member of staff with is hosted by our own Adrian Boult Hall, giving our students
Nicholas Hawke particular experience in the relevant area, and advanced fantastic opportunities to enjoy the highest quality of
William Howard BA (Oxon) ARCO groups regularly take part in masterclasses with visiting chamber music performances. Additionally, our advanced
(Schubert Ensemble) professional ensembles. Early Music ensembles also receive students regularly participate in masterclasses with BCMS’s
John Humphreys ARAM ARCM specialist coaching from members of the Orchestra of the visiting ensembles and accomplished ensembles have had
Age of Enlightenment and Fretwork. the opportunity to perform in the series itself. Supported by
Robin Ireland BA Mus, HonDMus Druckers, the BCMS provides a Derek Young Memorial Award
Robert Markham DMA (Juilliard) Each spring our week-long Chamber Music Festival offers to the winners of the Conservatoire’s annual Sylvia Cleaver
Margaret Newman BA (Mus) LRAM intensive coaching and performance opportunities, including Chamber Music Prize.
FTCL (Perf) open masterclasses with featured artists such as the Allegri
String Quartet (2004), the Maggini String Quartet (2005), EARLY CHAMBER MUSIC
David le Page the Alberni String Quartet (2006), the Coull Quartet (2008), Early Chamber Music is offered as part of our comprehensive
Professor David Purser ARCM the Chilingirian Quartet (2007 and 2009) and the Endellion Early Music programme (see page 110) and provides further
David Quigley BMus HonBC Quartet (2010). The Festival normally features the works opportunities for public performance once or twice each
of one or more composers, with recent events focused term. Coached by Early Chamber Music specialists, students
Jonathan Rimmer ARCM
on Brahms (2004), British composers (2005), Mozart and perform on period instruments music from the Renaissance,
Jane Salmon MA Cantab ARCM Hons Shostakovich (2006), Stravinsky and Elgar (2007), Haydn Baroque and Classical periods. Recent programmes have
(Schubert Ensemble) and Mendelssohn (2009), and ‘The Three Bs’ (2010). More included Gabrieli canzoni, Vivaldi violin concerti and Mozart
Christopher Steward LTCL recently, the Festival has begun to include additional events piano trios.
Richard Weigall ARCM such as lectures and films. Our series of formal and informal
concerts provide many other performance opportunities, as
Professor Malcolm Wilson GBSM ARCM does our experienced External Engagements team.
110
Early music
TUTORIAL STAFF
............................................................................................................................................
ARTISTIC DIRECTOR OF EARLY MUSIC
AND CAPELLE BAROQUE ORCHESTRA
Jeffrey Skidmore BA (Oxon) HonFBC (Ex
Cathedra)
PROGRAMME CO-ORDINATOR
Martin Perkins MA MPhil HonBC
BAROQUE VIOLIN CONSULTANT
Margaret Faultless MA (Cantab)
ARCM FTCL
BAROQUE VIOLIN AND VIOLA
Kate Fawcett BA HonBC
Jane Rogers GRSM ARAM LRAM
Diane Terry
BAROQUE CELLO AND VIOLA DA
GAMBA
Imogen Seth Smith BA (Hons) ARCM
VIOLONE/BAROQUE BASS
Kate Aldridge
Peter Buckoke HonARCM ATCL STAT
RECORDER
Grace Barton BMus (Hons) DPS
PgCert QTS
Annabel Knight GRSM (Hons) MMus
DipRCM
Christopher Orton BMus (Hons)
AdvPgDip
Ross Winters BA (Oxon) ARCM LTCL
Diploma Muzieklyceum (Amsterdam)
111
CAPELLE BAROQUE ORCHESTRA
EARLY MUSIC
It is increasingly essential for all musicians to be aware of Our full period instrument Baroque orchestra performs on
the issues surrounding historically informed performance average once a term, exploring a rich variety of music, from
as these are embraced by the classical music world at large-scale works such as Charpentier’s Actéon and JS
large. Since the early 1990s we have maintained a strong Bach’s Christmas Oratorio to smaller repertoire including
commitment to performance practice and Early Music Handel and Corelli concerti grossi, Purcell theatre music
BAROQUE AND CLASSICAL FLUTE EARLY KEYBOARD CONSULTANT through an innovative programme of cross-departmental and Bach cantatas. Every two years Capelle joins forces with
Neil McLaren ARCM FTCL Gary Cooper activities. All of our students have the opportunity to study the Vocal & Operatic Department to produce one or two fully
MBACP (accred) a period instrument or to have stylistic awareness lessons staged Baroque operas. Recent productions have included
HARPSICHORD AND CONTINUO with specialist visiting tutors, and advanced performers can Purcell’s Dido and Aeneas and Fairy Queen and Cavalli’s La
BAROQUE AND CLASSICAL OBOE Douglas Hollick BA (Hons) ARCM audition for Birmingham’s renowned Ex Cathedra Choir and Calisto.
Gail Hennessy BMus (Hons) Orchestra.
Martin Perkins MA MPhil HonBC BAROQUE OBOE BAND
CLASSICAL CLARINET Two Corton-Hyde Early Music Scholarships support talented Run by Gail Hennessey, our oboe band is one of the only
FORTEPIANO students wishing to further their studies in Early Music at
Prof Michael Harris ARCM FRCM ‘all-student’ ensembles in the country. Repertoire stretches
Sharona Joshua BMus undergraduate or postgraduate level. Awards are available from the Baroque era to the 20th century and the band
David Ward ARCM LRAM for continuo students (keyboards, bowed and plucked strings) performs frequently within the Conservatoire and at external
BAROQUE AND CLASSICAL
and for instrumental/vocal students. engagements. Members have the opportunity to perform on
BASSOON
LUTE, THEORBO AND EARLY GUITAR the different period instruments including oboe da caccia,
Alastair Mitchell BA (Hons) (York) WORKSHOPS AND MASTERCLASSES
Elizabeth Pallett BA (Hons) tenor oboe, Baroque oboe and bassoon and Jingling Jonnys.
Cert Adv Studies (GSMD) HonBC Regular workshops and rehearsals are taken by leading
specialists in the field of period performance. Recent visits EARLY MUSIC STUDIES
NATURAL TRUMPET MEDIEVAL AND RENAISSANCE by Anneke Boeke, Trevor Pinnock, Dan Laurin, Andrew Offered as a weekly elective to all students, Early Music
David Blackadder STUDIES Parrott, Jeremy West, Piers Adams, Emily Van Evera and Studies explores a wide range of music and performance-
other leading musicians have enabled students to experience
Michael Laird To be appointed practice issues from Mediaeval to Classical periods, in
first-hand issues currently being explored by professional practical and theoretical classes. Recent topics have
HAND HORN VIOLA DA GAMBA orchestras on both modern and period instruments. included Baroque dance, keyboard temperament, rhetoric
Sue Dent Peter Wendland and Renaissance ornamentation. Visiting specialists have
included Rebecca Austen-Brown, Andrew Parrott, Jeremy
West and Oliver Webber.
SACKBUT AND CLASSICAL TROMBONE
Susan Addison ARCM (Hons)
HonARAM
BAROQUE VOCAL CLASSES
Andrew King BA ARCM PGCE
112 Ensembles 113
...........................................................................................................................................................................
114
Choirs 115

TUTORIAL STAFF
............................................................................................................................................

CHAMBER CHOIR CONDUCTORS

Jeffrey Skidmore BA (Oxon) (Ex Cathedra) HonFBC
Paul Spicer BMus (Lond) ARCM ARCO FRSA HonFBC

CONSERVATOIRE CHORUS CONDUCTOR

Chi Hoe Mak MMus AdvPgDip

GOSPEL CHOIR CONDUCTOR

Peter Daley MA BMus (Hons)

Our large chorus, two chamber choirs and gospel choir provide a range of performance opportunities for students who wish to
be involved in ensemble singing.

CONSERVATOIRE CHORUS
The Conservatoire Chorus performs a variety of large-scale choral works and gives opportunities to advanced students to
participate as soloists. Recent repertoire has included Mozart’s Vesperae Solenne di Confessore, Rachmaninov’s The Bells,
Britten’s War Requiem and Stravinsky’s Symphony of Psalms. The Chorus is open to all students and is compulsory for first
year students.

CHAMBER CHOIR
Under the direction of Paul Spicer (Finzi Singers) and Jeffrey Skidmore (Ex Cathedra), Chamber Choir is a small specialist
ensemble, selected by audition. The Choir presents concerts of repertoire from the Renaissance to the present day, both at the
Conservatoire and further afield, including occasional trips abroad. Conducted by Paul Spicer, the Choir’s recently issued CD
of 20th-century English choral repertoire and was warmly praised by the music press. A second CD is forthcoming.

CAMERATA
Open to students who want to gain further experience in small ensemble singing, Camerata is primarily directed by
our postgraduate Choral Conducting students. The Choir rehearses varied repertoire and performs, on average, twice
a year.

GOSPEL CHOIR
Directed by Peter Daley, this dynamic and eclectic choir performs traditional and newly composed gospel music and has been
featured on BBC Radio 3.

Gospel Choir
116
Orchestras and large ensembles 117

To help you develop a working knowledge of the style and background of music from many periods, our range of orchestras
TUTORIAL STAFF and ensembles covers all of the major musical formats of the last five centuries and each year welcomes a number of
............................................................................................................................................ eminent and inspiring guest conductors.

SYMPHONY ORCHESTRA BRASS BAND

This advanced orchestra covers a wide range of symphonic The Brass Band explores traditional repertoire as well as
repertoire, giving regular concerts in the Adrian Boult preparing contemporary test pieces and other demanding
Hall, and periodic concerts in Birmingham’s magnificent repertoire with Ian Porthouse and a range of distinguished
HEAD OF PROGRAMME WIND ENSEMBLE GUITAR ORCHESTRA Symphony Hall or Town Hall. Concerts have taken the guest conductors. Students often have the chance to appear
Professor David Purser ARCM Professor Michael Harris ARCM FRCM Mark Eden ARAM GRSM (Hons) Orchestra to other venues in the UK and abroad, notably to as soloists, and the band often adds outside appearances to
Lyon (France) for a joint project with the conservatoires of its regular Conservatoire concert schedule.
LRAM ProfCert (Hons)
CURRENT CONDUCTOR BRASS BAND Lyon and Frankfurt.
IN RESIDENCE BRASS ENSEMBLE
Ian Porthouse GBSM CONSERVATOIRE FOLK ENSEMBLE
REPERTOIRE ORCHESTRA The Brass Ensemble rehearses and performs a variety of
Lionel Friend LRAM ARCM Joe Broughton BMus HonBC
BRASS ENSEMBLE This ensemble provides orchestral repertoire and training large-scale works throughout the year. The Ensemble also
RECENT GUEST CONDUCTORS Professor David Purser ARCM experience for instrumentalists, including first- and second- plays for all of the University’s Graduation Ceremonies,
Nicholas Cleobury year undergraduate students. Public concerts or workshops which gives members an unrivalled opportunity to appear in
are given on a regular basis. the magnificent surroundings of Symphony Hall.
Scott Ellaway
Daniele Rosina THALLEIN ENSEMBLE GUITAR ORCHESTRA
Edwin Roxburgh Created in 1992 the Thallein Ensemble is devoted to the We have a healthy Guitar Orchestra, which takes on
performance of new music and 20th century repertoire. demanding works throughout the year by composers such
SYMPHONIC WIND ORCHESTRA Its flexible performing resources (1 to 20 players, plus as Roland Dyens and Leo Brouwer. Performances include
Guy Woolfenden OBE electronics) enable the ensemble to tackle a vast and exciting the annual intercollegiate concert series as part of the
range of works. UK premiere performances include works by Bolívar Hall (London) International Guitar Festival, as well
Ivan Fedele, Philippe Leroux and Fausto Romitelli. In recent as regular concerts in the Conservatoire’s venues and
years, the Ensemble has celebrated the works of featured outside the college.
composers such as Jonathan Harvey, Gerald Barry, Colin
Matthews, Pierre Boulez and Louis Andriessen, often as part CONSERVATOIRE FOLK ENSEMBLE
of our Frontiers Concert Series. Although run on an elective basis, the Conservatoire Folk
Ensemble has become an enviable addition to our range
SYMPHONIC WIND ORCHESTRA of performing ensembles. Currently around 65 members
As well as exploring the traditional wind-band repertoire, strong, the Ensemble performs a mixture of original folk-
this ensemble has given an impressive number of first based music and traditional tunes specially arranged for the
performances under the direction of conductor Guy group under the direction of Joe Broughton. The Ensemble
Woolfenden. In addition to regular concerts in the Adrian undertakes a short UK tour every spring, occasionally
Boult Hall, the Orchestra has performed at several working with guest artists. Recent appearances include The
international wind festivals in England and abroad. Lichfield Festival.

WIND ENSEMBLE
Exploring the larger forms of wind chamber music, this
ensemble emphasises the importance of chamber music in
the overall training of woodwind students. Projects include a
CD recording of Dvorák and Strauss serenades and a CD of
Mozart’s Gran’ Partita K361, together with the six Notturni for
voices and bassett horns.
118
Jazz 119

TUTORIAL STAFF
............................................................................................................................................

JAZZ BIG BAND

Jeremy Price BA (Hons)
ABSM LGSM HonBC

RECENT JAZZ ORCHESTRA GUEST CONDUCTORS

Mike Gibbs
Pete Hurt

JAZZ BIG BAND

Specialising in traditional big band arrangements and the
classic repertoire of Count Basie, Duke Ellington and Thad
Jones, the Conservatoire Big Band provides initial training
in large jazz ensemble playing. The Band, which typically
includes up to 20 players, rehearses once a week and
performs once per term. Recent projects have included a
performance of Duke Ellington’s Far East Suite and a concert
with Elaine Delmar.

JAZZ ORCHESTRA
Comprised mostly of senior jazz students, our Jazz Orchestra
tackles challenging music from the contemporary repertoire,
featuring composers such as John Warren, Stan Sulzmann
and Maria Schneider, and works with well known guest
conductors. The size of the ensemble is flexible according
to the demands of the repertoire and performances are
given about once a term. In recent years, the Orchestra has
appeared with Henry Lowther, Pete Hurt, Mike Gibbs and
performed Dave Holland’s compositions in concert in the
presence of the composer.
120 Professional development 121
...........................................................................................................................................................................
122
Professional development
PROFESSIONAL DEVELOPMENT
Your development as an individual musician is of vital
importance. So, in addition to providing you with the best
combination of one-to-one training, masterclasses and
coaching, the professional development aspects embedded
into each one of our courses are designed to offer you both
personalised advice and significant scope to discover and
develop your own artistic direction.
Embedded into all core modules, Personal Development
Planning (PDP) (see page 56) focuses on increasing your
self-awareness as a musician. Not only will you cover topics
relevant to all musicians, ranging from practical advice on
tax to CV writing, but you will also explore issues specific to
your own development, such as time management and your
personal learning style.
Professional development, however, encompasses a lot
more than PDP. For instance, you will be offered the chance
to perform and record at the highest level, using our
professional-quality venues and studios (see pages 41 and
42). Furthermore, whatever your course and specialism,
you’ll be able to tailor your study to suit your own musical
and professional aspirations. You will have access to a wide
range of musicianship electives to supplement your core
study, as well as the opportunity to take advantage of study
abroad and to pursue paid professional work through our
external engagements programme. A variety of professional
schemes is available to help you in the final stages of your
transition from student to professional.
Having the ability to follow your interests and nurture your
talents will not only help you to develop your individual
musical profile, but also ensure that your course remains
interesting, relevant and enjoyable.
123
123
PERFORMANCE OPPORTUNITIES
If you are an instrumentalist or singer, performance will
be integral to your course. In addition to solo performance,
you will be expected to participate in a range of ensemble The Conservatoire is fantastic as
activities appropriate to your first study area. Your Head
of Department will work with you to negotiate a suitable it pushes you to succeed but, at the
balance of activity, including participation in orchestras,
bands, choirs, chamber music, etc. same time, is friendly and relaxed.
Our performance programme includes several orchestras This balanced environment
and large ensembles, ranging from our Symphony Orchestra
to our Thallein Ensemble for contemporary music; chamber
generates a wonderfully creative
music; early music, performance opportunities in large and
chamber ensembles; and a well-developed folk and world
atmosphere to study in and ensures
music programme. you get the most out of each day,
Both undergraduate and postgraduate vocalists are given
the opportunity to participate in our active and inclusive
both musically and personally.
opera and stage performance programme (see page
90). Composers can take advantage of our dedicated
Composers’ Ensemble when organising performances ALISON BACH
of new compositions. A number of ongoing and special
French horn, BMus (Hons) (2007 Graduation)
concert series and festivals provide further opportunities
Tutors: Elspeth Dutch and Simon de Souza
to showcase particular areas of work (see page 124). In
addition, there have been many special large-scale events in
recent years, including:
• Three Cities Orchestra – an orchestral project
bringing together students from Birmingham, Lyon
and Frankfurt under the baton of Prof Rolf Reuter for
concerts in Lyon and Birmingham
• Duke Ellington’s Far East Suite – performed by our
Jazz Orchestra and acclaimed jazz pianist Liam Noble
• Red Revolution – a Symphony Orchestra concert
including Beethoven and Berlioz conducted by Lionel
Friend in Symphony Hall
• Messiaen Centenary concert in Town Hall including
highly acclaimed performances of Oiseaux exotiques
and L’ascension.
124
Professional development
CONCERT SERIES
We present over 300 events per year, including concerts,
special events, open masterclasses and more. Although
many of our concerts are individually organised events, there
are also several series threading their way through the year,
which give structure to our concert programme.
Monday Showcase
With its in appreciative audience of regular attendees, this
series of free lunchtime concerts provides an excellent
opportunity to give first performances of challenging
repertoire.
Tuesday Performance Platform
Dedicated to our rising stars, this series acts as a platform
for our most accomplished performers and is usually devoted
to students on the Advanced Postgraduate Diploma course.
Wednesday Jazz Series
Showcasing students, alumni and guests, our series of
Wednesday jazz concerts complements regular nights
elsewhere in the city.
Thursday Chamber & Small Ensemble Series
This series provides a home not just for our chamber music
concerts, but for many smaller performing groups, such as
our Recorder, Saxophone and Guitar Ensembles.
Friday Orchestral Series
A series of large ensemble concerts, including performances
from our Symphony Orchestra, Repertoire Orchestra, Brass
Band and Wind Orchestra, Thallein Ensemble and Capelle
Baroque Orchestra.
125
‘Frontiers’ Contemporary Music Series
Featuring guest performers and composers, as well as
student performers and composers, this series explores
contemporary music, acoustic and electroacoustic. Certain
concerts are normally held in collaboration with spnm and
the BMIC’s Cutting Edge tours. More recently, Frontiers
has enjoyed its own mini-festival, Frontiers Plus, which has
celebrated the works of resident composers such as Gerald
Barry and Colin Matthews.
FESTIVALS
Whether focused on a particular theme or not, festivals can
uniquely provide much-needed chances to step back from
the day-to-day rush of student life in order to focus solely on
performance.
Chamber Music Week
Our annual week-long festival of chamber music normally
takes place in the spring and includes staff and student
performances, plus a celebrity recital and masterclass from
a different visiting ensemble each year. More recently, the
festival has included complementary films and lectures. See
also page 109 for details of recent Chamber Music weeks.
New Generation Arts (NGA)
Reaching across all the University’s arts faculties, NGA
celebrates emerging talent in music, creative writing,
fine arts, design, moving image and drama. Designed to
showcase Birmingham’s new talent to a national audience,
NGA is built around our end-of-year events and other high-
profile activities.
www.newgenerationarts.co.uk
126
Professional development
Recording
..........................................................................................................................................
Most musicians will find themselves taking part in a
recording at some point in their career, so we think it
is essential for you to have the opportunity to gain an
understanding of the recording process during your
student years.
Our Music Technology Department provides core support
for all students (score-writing skills, recordings of concerts,
demos and special projects), as well as a number of
electives. Classes in Recording Techniques and Performing
with Technology are open to all students, while those with
previous experience can also access advanced classes
covering topics like sound design, interactive installations
and computer-aided composition. In particular, there is a
studio module for jazz students, which provides tuition in
basic digital recording techniques and production.
Although it is not compulsory, almost all of our students gain
some experience of recording – through studio or on site
sessions, producing, engineering or editing – by the time they
graduate. Nearly one in three create a CD of their own as a
major project, using our state-of-the-art facilities (see page
42). A unique aspect of studying at the Conservatoire is that
you will be able to collaborate on recordings and productions
with the highly skilled students on our BSc (Hons) Music
Technology course, taught jointly with the University’s faculty
of Technology, Engineering and the Environment.
127
127
Aside from a considerable number of excellent student
projects, recent Conservatoire recording projects include:
WIND ENSEMBLE
• CD of Dvorák and Strauss serenades recorded in aid of
the charity Music for Harry
• CD of Mozart’s Gran’ Partita K361, together with the
six Notturni for voices and bassett horns
CHAMBER CHOIR
• Conducted by Paul Spicer, the Choir’s first CD focuses
on 20th century English choral repertoire. A second
CD will be recorded in 2010.
FOLK ENSEMBLE
• A DVD, based on the Ensemble’s 2006 UK tour,
features performances of traditional tunes, new
arrangements and original compositions. The film
(by Jonathan Day) includes singing, dancing and a
good smattering of merriment.
• The Ensemble’s latest CD ‘Sardines’ was released in
2009.
128
Musicianship electives 129

TUTORIAL STAFF
............................................................................................................................................

AFRICAN DRUMMING FOLK MUSIC PERFORMANCE COACHING

MUSICIANSHIP ELECTIVES
Alagi Sillah African Joe Broughton BMus HonBC Karen O’Connor BSc (Hons) Psychol
Renowned for its diversity, our musicianship electives Often, activities which are part of the core curriculum in one
Master Drummer GRNCM PPRNCM ARCM University
GAMELAN ENSEMBLE programme gives you the freedom to customise your course first study area will be available as electives to students in
Fellow in Teaching and Learning
ALEXANDER TECHNIQUE according to your own needs. Through them, you’ll have other first study areas (though, in some cases, participation
Jonathan Roberts BA (Hons) the chance to try out the widest possible variety of activities
PHYSIO AND MOVEMENT is subject to audition). Your first study will determine which
Alison Loram ARCM PAAT BSc which might influence your career and to pursue at the
GOSPEL CHOIR activities you are required to undertake, and your personal
(Hons) PhD Trudi Brass BSc (Hons) DC MMCA highest level those which resonate with your core values as goals will suggest which categories the rest of our electives
Roy Thompson BMus LTCL Peter Daley MA BMus (Hons) a musician. Elective modules cover everything outside your fall into for you.
RAGA SANGEET - SITAR
CertAdvStudy (GSMD) PAAT core study and fall roughly into three categories:
INSTRUMENTAL CONDUCTING (SECOND STUDY AREA)
Pauline Wetherell LRAM MSTAT
Daniele Rosina Clem Alford Sangeet Sudhakar • Those that offer essential support in progressing your
(Calcutta) Sur Mani (Bombay) first study work
KODÁLY MUSICIANSHIP
SAMBA AND BRAZILIAN RHYTHM • Those that apply directly to your specialist area and
Miranda Zwalf BA LRAM DipRCM CKME
give you the chance to enhance your employability
Louise Smart
and skills
KLEZMER
• Those that contribute to broadening your musical
Sue Shortland-Webb
knowledge and your enjoyment of music
130
KAREN O’CONNOR
Performance Coach and University Fellow for Teaching and Learning
Karen’s groundbreaking work at the Conservatoire has been turning heads all over
the country. She has been profiled in national publications, invited to do numerous
workshops and was recently appointed a University Fellow to continue her innovative
work in performance coaching. Recently, Karen asked her students to sum up
mental skills training for performance in one phrase, for those who don’t know what
it is. Here are some of the responses:
“The smallest mental changes can make the biggest performance differences.”
“It can make you think about yourself in a new light and be more aware of the
potential you can reach.”
“Learn how to prevent anxiety from hiding your performance talent.”
“There are solutions available.”
“Do it even if you don’t think you have any big problems – it can really,
really help.”
“I found it so helpful to air my views and realise that others face the same
worries.”
“Learn how to get the best out of yourself in order to produce a successful
performance.”
“Even if you don’t suffer from performance nerves, you can learn how to expect
the unexpected and develop strategies to deal with it.”
“Everyone can benefit from it.”
“Essential!”
Supporting your development
............................................................................................................................................
ALEXANDER TECHNIQUE
We are committed to supporting your progress in your first
study through the Alexander Technique. It offers a practical
means for change by bringing about an improvement in
balance and co-ordination. Through a series of classes and
individual lessons, you’ll be provided with an introduction to the
Technique and an insight into its application in performance.
Our sessions demonstrate how the Technique can improve
vocal and instrumental skills and address the problems of
performance.
PHYSIO & MOVEMENT
To support your general health as a musician, we also offer
Physio & Movement, an active, practical class that covers all
aspects of movement and mobility. Relevant to players, singers
and even composers, the class provides training in how to
use the whole body more efficiently. The content of the weekly
sessions varies according to students’ needs; some come
with a specific problem, while others attend as a preventative
measure. As well as providing a basic introduction to anatomy
for musicians, classes typically combine stretching, breathing
techniques, Feldenkrais and practical massage techniques
for problem areas such as the wrists and the neck. The class
will encourage and help you to focus on how you move your
body and occasionally incorporates work with instruments.
Trained in chiropractic and Alexander techniques, tutor Trudi
Brass began delivering Physio & Movement masterclasses
at the Conservatoire over 10 years ago. The success of these
masterclasses led to a scheduled session, which is now
available to all students on a regular, occasional, drop-in or
private basis.
131
PERFORMANCE COACHING
Sport psychology and the mental regimes it embraces have
long been recognised as playing a crucial role in strengthening
the performances of elite athletes when under pressure.
Our innovative programme of coaching in performance skills
applies these same trusted methodologies and strategies to
the particular demands of music preparation and performance.
Through workshops and individually tailored coaching sessions,
you will be introduced to a range of mental techniques which
can be used to enhance your musical skills. The programme
relies on a collaborative approach between you – the
performer, your first study teacher and our Performance
Coach, CBSO oboist Karen O’Connor, herself an active
professional performer:
“Students are normally allocated up to five one-hour sessions
with me, sufficient time for me to introduce them to ways of
managing the mental element of the performing equation.
My immediate task is to find out what the student has been
experiencing during lessons, concerts, exams, auditions,
competitions, etc. Performance issues presented range from
mild performance anxiety, to full-blown ‘I ran off the stage’
panic episodes. Techniques we work with include setting
realistic performance goals, mental rehearsal, pre- and during
performance routines, breathing and relaxation, improving
concentration and motivation, coping with injury, dealing
with distractions, performance simulation, objective post
performance evaluation... to name a few. My working style is
totally collaborative and between-session homework tasks
are a key component of the process. These tasks give students
the opportunity to ‘plug in’ their burgeoning skills to their daily
performing life, outside the consulting room. It’s wonderful
to observe confidence and performance enjoyment returning,
as an initially troubled young performer begins to bloom, and
also to see the ways in which their increasing performance
confidence impacts positively on the rest of their lives. My aim
is that students leave confident, happy and well on the way to
a successful professional career, with all the skills needed to
make me redundant – my ideal scenario!”
In 2007, Karen was appointed a University Fellow in Teaching in
Learning to continue developing this area of innovative work.
132
ENHANCING YOUR CORE SKILLS
Composition Skills and Music Technology
• Brass Band scoring and arranging
• Composers’ Ensemble
This ensemble brings together student composers with
instrumentalists and singers who wish to rehearse and
perform newly composed music on a regular basis. It
gives performance students a realistic insight into what it
is like to work with a composer and vice versa.
We offer a wide range of activities in sound recording, video
soundtrack work, and computer composition:
• Max/MSP
• Performing with Technology
• Introduction to DJ
• Recording Techniques
Conducting
Led by Daniele Rosina, these introductory and follow-on
classes allow you to develop your instrumental conducting
skills.
• Conducting: Beginners
• Conducting: Intermediate/Advanced
Early Music
• Capelle Baroque Orchestra (see page 111)
• Early Music (see page 111)
Ensemble Singing
• Chamber Choirs and Camerata (see page 114)
• Conservatoire Chorus (see page 114)
• Gospel Choir (see page 114)
133
GENERAL SKILLS AND OTHER ELECTIVES
Music in the Community
• Music and Wellbeing in partnership with the pediatric
unit at Heartlands Hospital
• Nurturing creativity in Early Years in partnership with
a local primary school/community centre
Students from all courses are encouraged to investigate
and develop links with a wide variety of community groups.
Recent projects have taken place in local schools, hospitals
and other community venues. Participating students gain
experience in workshop and communication skills; and
project planning, management and delivery, which serves as
initial training for those who wish to undertake postgraduate
work in Community Music and Music Therapy.
Chamber Music coaching
Journalism
Led by freelance music journalist Chris Morley.
Kodály Method
Second Study
Our second study provision allows you to develop your skills
on a related or complementary instrument through individual
specialist lessons (see page 63).
134
Broadening your musical knowledge
............................................................................................................................................
African Drumming
Alongside East African amadinda xylophone music, students
can take Djembe instruction from Gambian Master-drummer
Jahman Sillah.
Folk Music
Run on an elective basis, the Conservatoire Folk Ensemble
has become an enviable addition to our range of performing
ensembles. Currently around 65 members strong, the
Ensemble performs a mixture of original folk-based music
and traditional tunes specially arranged for the group under
the direction of Joe Broughton. The Ensemble undertakes a
short UK tour every spring, occasionally working with guest
artists. Recent appearances include The Lichfield Festival.
135
Gamelan Ensemble
One of the most co-operative musical systems in the world,
gamelan is taught at the Conservatoire by Jonathan Roberts.
The Conservatoire owns a very fine Central Javanese bronze
gamelan with additional Balinese instruments.
Gospel Choir
Directed by Peter Daley, this dynamic and eclectic choir
performs traditional and newly composed gospel music and
has been featured on BBC Radio 3.
Raga Sangeet
Focusing on North Indian music, the Conservatoire’s
excellent provision includes specialised instruction as a
second study as well as in performing ragas on Western
instruments.
Samba and Brazilian Rhythm
ESP (Escola de Samba Paradiso), a percussion bateria led
by Louise Smart, rehearses every week, and has played at
carnivals and street festivals all over the West Midlands.
136 137

Professional schemes
............................................................................................................................................

CBSO ORCHESTRAL TRAINING SCHEME

The CBSO has firmly established its name on the world stage. In recent years, under the leadership of Sir Simon Rattle,
Sakari Oramo and now Andris Nelsons, the orchestra has maintained a growing relationship with the Conservatoire, which
includes conductors and ensemble workshops, research and the CBSO Training Scheme. The Training Scheme provides
the opportunity for selected students from the Strings, Woodwind, Brass and Percussion Departments to gain first-hand
professional experience by observing and playing in CBSO rehearsals. Students on the Scheme also have the opportunity to
perform in CBSO masterclasses and receive orchestral audition training and mentoring from orchestra principals. Auditions
for the Scheme reflect professional orchestral audition procedures.
www.cbso.co.uk

PHILHARMONIA ORCHESTRA PARTICIPATION SCHEME

The celebrated Philharmonia Orchestra has been the resident orchestra at Leicester’s De Montfort Hall since 1997. The
success of this innovative regional residency has provided the ideal foundation for a partnership between the orchestra and
the Conservatoire: the Philharmonia Orchestra Participation Scheme. Enabling exceptional fourth year and postgraduate
students to participate as observers during the final rehearsals for some of the Orchestra’s Leicester concerts, the Scheme
provides valuable first-hand exposure to the professional orchestra setting and challenging repertoire, as well as renowned
conductors and players. The Conservatoire recommends students for the Scheme.
www.philharmonia.co.uk
138 139

BRB PIANISTS FOR DANCE SCHEME BIRMINGHAM JAZZ COLLABORATIONS

Birmingham Royal Ballet (BRB) is one of the jewels in the city’s cultural crown and the Pianists for Dance Scheme is part of
BRB’s developing relationship with the Conservatoire. It allows piano students to attend BRB rehearsals and performances,
and offers selected students the opportunity to train as rehearsal pianists with this internationally renowned company.
Trainees undertake improvisation classes and challenging repertoire, working with the company and its Education
Department. This successful scheme has already produced a number of professional ballet pianists.
www.brb.org.uk
PROFESSIONAL DEVELOPMENT FOR ORGANISTS
In addition to the Whitlock Organ scholarship (see below), organ students can take advantage of scholarships offered by St
Chad’s Cathedral, Birmingham Cathedral and other local churches (see pages 87 and 190 for application information).
SYMPHONY HALL AND THE WHITLOCK ORGAN SCHOLARSHIP
Acclaimed as one of the finest concert halls in the world, Birmingham’s Symphony Hall has maintained a long and varied
partnership with the Conservatoire. Among its collaborations with the college is an organ scholarship funded by the Percy
Whitlock Trust and established in celebration of the outstanding four-manual Klais organ inaugurated in Symphony Hall in
2001. The Scholar plays a significant role in Symphony Hall’s education programme, presenting the organ to school groups
and members of the public, as well as giving recitals.
www.thsh.co.uk
Birmingham Jazz is the region’s foremost jazz organisation and a strong supporter of our jazz programme and students. Each
year Artistic Director Tony Dudley-Evans reviews third- and fourth-year students’ performances in order to provide them with
feedback from a professional promoter’s perspective and advise on possible performance opportunities. This valuable link
has in the past led to the inclusion of several outstanding senior students in major jazz festivals, such as the Cheltenham
International Jazz Festival, as well as gigs in and around Birmingham such as Symphony Hall Foyer, the Jam House and
the mac. Birmingham Jazz also works with the Conservatoire to arrange regular masterclasses with visiting professional
artists, as well as free access to many Birmingham Jazz gigs for our jazz students. Selected students are also invited to sit on
Birmingham Jazz’s committee, where they experience programming and management decisions first-hand.
www.birminghamjazz.co.uk
NTI
We have teamed up with Birmingham’s Apple Accredited Training Centre to offer students a reduction on all their certified pro
application media courses, available at the New Technology Institute in Birmingham. To find out more, visit:
www.ntibirmingham.co.uk

BCMG WORKSHOPS AND READING SESSIONS

Originally formed by players from within the CBSO, Birmingham Contemporary Music Group (BCMG) is now established as
one of Europe’s leading ensembles. Its core work revolves around the commissioning and performance of new music and its
partnership with our Composition Department represents a natural extension of that purpose. As well as running workshops
for our composition students, BCMG players regularly undertake read-throughs of student works, giving young composers
invaluable feedback and the benefit of experience within a professional context. Furthermore, our contemporary music group,
the Thallein Ensemble (see page 117), receives ensemble coaching from BCMG’s visiting conductors and composers, as well
as BCMG players.
www.bcmg.org.uk
140 141

CHRIS MAPP
Bass, BMus Jazz (2004 Graduation)
PERCY PURSGLOVE
Trumpet, BMus Jazz (2003 Graduation)
Jazz alumni and co-directors of Harmonic, a three day jazz
festival launched in Birmingham in 2010
The most useful thing about the Conservatoire was that
it gave us both the opportunity to explore our creative
sides and to develop our musicianship in a safe, fertile
environment. The many artists who visited during our time
EXTERNAL ENGAGEMENTS there, as well as the regular tutors, inspired us to pursue
Our External Engagements programme offers advanced students the chance to undertake paid professional engagements careers as musicians and undoubtedly we wouldn’t have has
throughout the Midlands area. With advice available on programming, presentation, contracts and fees, these opportunities those opportunities otherwise.
can constitute a vital part of your professional training. For Music Technology students, there is ample scope to be involved Jazz is a short word that spans many idioms. Current
in recording live concert performances at the Conservatoire, and those wishing to learn about and be involved in concert festivals often only represent a handful of these genres, and
management can join the team of Concert Stewards who work to ensure the smooth running of internal and external events. we wanted to do something to change that. Harmonic is an
opportunity for us to encourage musicians to create new
INTERNATIONAL EXCHANGE music and to present it in a festival environment. Hopefully
Although there will be plenty to keep you busy here in the UK, we know study abroad brings enormous benefits to those who by doing this we can share the scene in Birmingham with
undertake it in terms of both musical and personal development. Therefore, we encourage our third-year undergraduate the outside world and enrich it from within. There are
students to apply for a three-month exchange with our SOCRATES/ERASMUS and other partner institutions. These include many talented musicians in Birmingham who often go
prestigious and internationally renowned music colleges in Paris, Ferrara, Lyon, Brussels, Weimar, Vienna, Bucharest, Krakow, unrecognised. With the development of the Conservatoire’s
Odense, Oslo, Malmö, Prague and the USA. Many of our students have gone on to successful further study at other international jazz course, many musicians now remain in Birmingham
conservatoires and, in particular, the Weingarten Scholarships (see page 195) present further opportunities for postgraduate after graduating, which makes the scene stronger. We felt
study at the Franz Liszt Academy in Budapest or the Kodály Institute at Kecskemét in Hungary. Harmonic would be an excellent way to showcase this.

On a less formal basis, we encourage and support our senior students to travel to international competitions and summer Birmingham’s jazz scene is growing but focused, much The most useful thing
schools. We are also a committed member of the Association Européenne des Conservatoires (AEC), which fosters and
supports staff exchanges and intensive projects and collaborations between member European conservatoires, such as
like the city itself. There are many musicians to play with
and a reasonable amount of opportunities to perform. The
about the Conservatoire
the Three Cities Orchestra. For this project, our orchestral students joined forces with students from Lyon and Frankfurt to
present concerts in Lyon’s Auditorium and Birmingham’s Symphony Hall.
city is vibrant and has a good creative atmosphere, with
organisations such as Birmingham Jazz helping to develop
was that it gave us both the
new talent as well as giving us opportunities to see world
class gigs. There are many other musical communities in
opportunity to explore our
The mix of home and overseas students, incoming exchange students and visiting international professionals resulting from
existence with musicians who are more than happy to work
with members of Birmingham’s jazz community. Fresh
creative sides and to develop
all these international activities makes the Conservatoire a musically and culturally stimulating environment in which to learn. music emerges on a regular basis, which makes the scene our musicianship in a safe,
unique.
We’re already looking forward to future Harmonic festivals!
fertile environment.
We plan to develop and expand the festival to include more
artists, venues, collaborations and mixed-media projects.
We’d love to make a Harmonic a world-class event which
helps to put Birmingham on the map.

www.harmonicfestival.co.uk
142 Conservatoire courses 143
...........................................................................................................................................................................

CONSERVATOIRE COURSES
144 BMus (HONS)
150 BMus (HONS) JAZZ
154 GRAD DIP JAZZ
156 PgCert MUSIC
158 PgCert MUSIC (SPECIALIST PERFORMANCE)
160 PgDip/MMus MUSIC
166 AdvPgDip PROFESSIONAL PERFORMANCE
170 RESEARCH: MPhil/PhD
174 JUNIOR CONSERVATOIRE

JOINT COURSES
178 HND POPULAR MUSIC PRACTICE
180 BSC (HONS) MUSIC TECHNOLOGY
182 MA DIGITAL ARTS IN PERFORMANCE
144 BMus (HONS) 145

APPLICATIONS : CUKAS - Institution code B34 | Course code 300F

DURATION : 4 Years Full-Time / 5 years with PGCE

COURSE OVERVIEW

Designed to develop expertise, knowledge, creativity and versatility, our BMus (Hons) provides a challenging programme of
practical study supported by academic work. The course concentrates on your development as a ‘performer-teacher’, that
is, a professional performer or composer who also has the appropriate skills to impart their expert knowledge to the next
generation of musicians.
PRACTICAL WORK
The recent development of a five-year route incorporating BMus (Hons) and PGCE qualifications is an important and unique • Weekly individual specialist tuition
step in this area. The five-year route allows you to take the final year of the BMus over two years and combine it with a part- • Masterclasses
time PGCE, taught through the University’s Faculty of Education. After five years, you would graduate with a BMus (Hons) • Individual or ensemble coaching
degree and Qualified Teacher Status, allowing you to teach music in classrooms or to earn more working as a peripatetic
• Performance/composition workshops
teacher for a Music Service. Both courses are spread evenly over Years 4 and 5, which means you can maintain your
instrumental or compositional skills at the highest level through individual specialist lessons, while studying education and • Ensemble playing
pedagogy. Applications for this scheme are made at the beginning of the third year. • Teaching techniques
• Specialist activities in chosen area
(please see departmental pages for details)
• Option of two years additional
A distinguishing feature of our BMus(Hons) course has always been the number and diversity of electives available, through second study tuition (see page 63)
which you can tailor the course to your own interests and needs. Following revalidation in 2006, this substantial range of
elective activities – including conducting, choral singing, community music, Indian music, folk, jazz, free improvisation, Kodály ACADEMIC WORK
method, second study, music technology etc – has been segmented into three categories: first study support, first study • Musicianship (Harmony, Aural, Improvisation, Composition)
activities and musicianship electives (see page 128). This will help to ensure you get the support you need in your first study • Music History
area, as well as the related skills and broadly-based musical experience needed in the profession today.
• Analysis
As you progress through the course, you will be encouraged to experiment and think imaginatively about your own musical • Performance Practice
growth, to articulate your professional aspirations and to develop a realistic career plan. The recent introduction of peer- and • Professional Development
self-assessment will give you a chance to reflect on your progress and you will also benefit from the further embedding of
Personal Development Planning (PDP – see page 56) into the course, and greater use of our virtual learning environment
Moodle (see page 49). Opportunities for professional placements and external engagements (see page 140) are integrated into
the course via Professional Development modules.

PRACTICAL ACTIVITIES
Throughout the course, great emphasis is placed upon developing strong practical skills. Intensive individual tuition is
complemented by an array of activities designed to develop individual artistry and musical fluency. Academic studies
are delivered from a predominantly practical viewpoint. Musicianship skills are taught through workshops which relate
theory to practice and involve student performances. Other contextual studies contribute to the broad framework of
musical understanding required by both performers and composers.
146
AUDITION REQUIREMENTS
• Instrumentalists (percussionists excepted) must perform two
pieces (or movements) of different styles and periods of their
own choice. Candidates may also be asked to play scales ENTRY REQUIREMENTS
(ABSM Grade VIII standard) and sight-read.
• Percussionists will be asked to play pieces on timpani, drum
kit, snare drum and tuned percussion (xylophone, vibraphone
or marimba).
• Singers must perform two pieces (or movements) of different
styles and periods of their own choice. At least one of the
pieces must be an aria (with recitative, if available) from an
opera or oratorio. Candidates may also be asked to sight-read.
• Composers must send a portfolio of at least three
compositions and a high-quality recording of at least one of
these works.
Official accompanists will be provided, but you may bring your own
accompanist if you prefer.
ENGLISH LANGUAGE REQUIREMENTS
IELTS: 6.0 or equivalent. See page 28 for further details
FURTHER DETAILS
Admissions Team
T: +44 (0)121 331 5901
E: conservatoire.admissions@bcu.ac.uk
147
FEES
See our website for up-to-date information on fees.
For insurance purposes, you must be at least 18 years of age by 1 September in
the year of enrolment. Normally, you should satisfy one of the following:
• GCSE passes in 5 subjects (grade C or above) and 2 passes at A2 Level (each
grade E/40 points minimum)
• Scottish Certificate of Education/Scottish Qualifications Authority Intermediate/
Higher/Advanced Higher in 5 different subjects, of which 3 are at Higher level
• Irish Leaving Certificate with 5 different subjects at grade C or above, 4 of which
are Higher level
• An International Baccalaureate with a minimum of 24 points
• All other non-UK applicants should have completed a course of secondary
education at a high school/college/conservatoire, including classes in music
theory. You should normally possess a qualification which would be required
for entry to a university in your home country.
• A standard in First Study equivalent to that of the Associated Board’s
Grade VIII (Distinction): this may be demonstrated at audition or on
your audition recording.
Candidates hoping to satisfy these requirements should note that successful
performance at your audition is accepted as the equivalent of one A2 Level/SQA
Higher/Advanced Higher/ILC Higher in Music.
148 149

WITH PGCE

COURSE STRUCTURE Y1&2

BMus1 BMus2 BMus3 BMus4 Year 4 Year 5
Years 1 and 2 concentrate on providing a thorough grounding in technical and performance skills,
plus contextual knowledge, including an emphasis on harmony and aural training. Professional
FIRST STUDY First study First study First study Final recital/ Final recital/ development, embedded into your core modules, focuses on increasing your self-awareness, covering
PERFORMANCE/ performance/ performance/ performance/ Portfolio Portfolio areas such as time management and analysis of your individual learning style. You will be encouraged
COMPOSITION composition composition composition to experiment through a variety of performance options.
60 credits 60 credits 60 credits 45 credits 45 credits

First study First study

activities activities
Y3
15 credits 15 credits
Year 3 offers the opportunity to begin specialising through the choice of advanced studies in each
Professional Integrated into Integrated into Professional Major Project Major Project Professional
area, plus enhanced professional development activities. The Conservatoire participates in a number
development course activities course activities Portfolio (student defined) (student defined) Portfolio
of international exchange schemes with both European and US conservatoires. Provided you have
15 credits 45 credits 45 credits 15 credits attained an appropriate level of skill, you will be encouraged to spend a term or semester abroad
during Year 3, studying at one of our partner institutions.
Professional
Portfolio

15 credits

Contextual History (1600- 20th century and Contextual studies Contextual Contextual Y4
studies 1900) contemporary specialisms studies project studies project
music In Year 4 you will be assessed on performance or composition (as appropriate), two projects and some
15 credits 15 credits 15 credits 15 credits 15 credits
professional development tasks. From early on in the course, you will work towards a major project,
which forms an important component of the final year. Allowing for the fact that your ambitions
Performance Case Studies Performance
may change during the course of your studies, the major project offers a flexible platform for you to
Practice and Practice and explore a specialism and format appropriate to your professional aspirations. Examples of projects
Notation Notation include chamber music, accompaniment, recorded performance and dissertation.
15 credits 15 credits 15 credits If you’re interested in teaching, it’s possible to split your fourth year of study to accommodate part-
time study of a PGCE, achieving Qualified Teacher Status, as well as your BMus (Hons) by the end of
Musicianship Musicianship Musicianship Musicianship the course.
(Harmony and (Harmony and specialisms
aural) aural)

15 credits 15 credits 15 credits

150 BMus (HONS) JAZZ 151

APPLICATIONS : CUKAS - Institution code B34 | Course code 310F

DURATION : 4 years Full-Time / 5 years with PGCE

COURSE OVERVIEW

The BMus (Hons) Jazz is a highly specialised course specifically designed to meet the needs of the modern jazz
performer. The course is heavily weighted toward practical work, with the majority of time dedicated to one-to-
one lessons, small group coaching and private practice. All academic classes support different aspects of jazz
performance and include Jazz History, Transcription and Analysis, Contemporary Issues, and Composition.

The individual lesson is at the heart of a conservatoire education and your weekly individual tuition will cover several different
areas of musicianship. In the early years of the course your tutor will concentrate on helping you to establish a productive
practice regime and build a foundation of fundamental technical skills, with an emphasis on improvisatory processes. As
you mature, your tutor’s role will increasingly become one of mentor and guide, overseeing your artistic and conceptual
development and providing the space for you to find a personal voice.

Small group coaching follows a similar pattern: in Years 1 and 2 you will be assigned to a small group, typically of two to three
frontline instruments plus rhythm section, which will receive intensive weekly coaching on core repertoire. In Years 3 and 4,
you will run your own small group, in which you will have you own choice of repertoire and personnel, and be able to apply for
mentoring and coaching as you see necessary for the band’s development. Senior small groups receive coaching from Visiting
Artist in Residence Dave Holland and other international guests.

For jazz musicians, the relationship between improvisation and composition is central to developing an individual voice and
personal approach, so a significant strand of composition modules runs through all four years of the course. All student
compositions feed into performance, from being included in small group programming to being performed by our Jazz
Composers‘ Ensemble.

PROFESSIONAL DEVELOPMENT
One of the central aims of the course is to launch jazz performers into the music profession. You will have a chance to
document your work as a jazz musician through a studio project in the third year. You will also design a major project in the
fourth year around an area of professional practice of your choice. As further professional development, you will look at
contemporary role models in jazz performance, undertaking in-depth case studies of their careers. There are also classes
providing advice on how to manage a freelance portfolio career in music, covering topics such as personal finance and tax,
publicity and events promotion, applications to funding bodies, and bidding for commissions.
152 153

WITH PGCE

YEAR 1 YEAR 2 YEAR 3 YEAR 4 YEAR 4 YEAR 5

ENTRY REQUIREMENTS AUDITION REQUIREMENTS

For insurance purposes, you must be at least 18 years of • You will be required to perform two contrasting pieces FIRST STUDY FIRST STUDY FIRST STUDY FIRST STUDY FIRST STUDY FIRST STUDY
age by 1 September in the year of enrolment. Normally, you with a rhythm section (provided), one of which must PERFORMANCE PERFORMANCE PERFORMANCE PERFORMANCE PERFORMANCE PERFORMANCE
should satisfy one of the following: be chosen from a list of standards, and one of your • Individual • Individual • Individual lessons • Individual lessons • Individual lessons • Individual lessons
own choice. You will also be asked to perform a short lessons lessons • Own small group • Own small group • Own small group • Own small group
• GCSE passes in 5 subjects (grade C or above) and 2 • Group coaching • Group coaching • Performance • Performance • Performance • Performance
transcribed solo (drummers and vocalists excepted)
passes at A2 Level (each grade E/40 points minimum) • Repertoire class • Repertoire class platform platform platform platform
and sight-read.
• Masterclasses • Masterclasses • Masterclasses • Masterclasses • Masterclasses • Masterclasses
• Scottish Certificate of Education/Scottish
• Pianists, bassists and drummers audition by taking VOCABULARY AND VOCABULARY AND VOCABULARY AND FINAL PERFORMANCE
Qualifications Authority Intermediate/Higher/
their place in the rhythm trio. STUDIES STUDIES STUDIES
Advanced Higher in 5 different subjects, of which 3 are
at Higher level • Drummers and vocalists will be asked to play through • Transcription • Transcription • Transcription
the chord changes of any of the listed standards at • Technical work • Technical work seminar
• An Irish Leaving Certificate with 5 subjects at grade C • Technical work
the piano.
or above, 4 of which are at Higher level.
• Drummers must also take part in an interactive test, JAZZ JAZZ JAZZ major project major project final performance
• An International Baccalaureate with a minimum of
joining in with various grooves indicated by the piano MUSICIANSHIP 1 MUSICIANSHIP 2 MUSICIANSHIP 3
24 points A project, created A project, created
and bass.
around your choice of around your choice of
• All other non-UK applicants should have completed a specialism, which can be specialism, which can be
• All candidates will be interviewed at audition.
course of secondary education at a high school/ one of four types: one of four types:
college/conservatoire, including classes in music Full details of our audition requirements are available from • Studio project • Studio project
theory. You should normally possess a qualification the Admissions Team. • Dissertation • Dissertation
RHYTHM RHYTHM STUDIO PROJECT
which would be required for entry to a university in WORKSHOP WORKSHOP • Teaching • Teaching
your home country. • Student defined • Student defined
FURTHER DETAILS
• A standard in First Study equivalent to that of the Admissions Team
Associated Board’s Grade VIII (Distinction): this
T: +44 (0)121 331 5901
may be demonstrated at audition or on your
E: conservatoire.admissions@bcu.ac.uk
audition recording. COMPOSITION COMPOSITION & COMPOSITION composition & PROFESSIONAL composition &
ARRANGING arranging portfolio DEVELOPMENT arranging portfolio
Candidates hoping to satisfy these requirements should note FEES • Basic • Extended techniques
techniques • Big Band and concepts
that successful performance at your audition is accepted as See our website for up to date information on fees.
the equivalent of one A2 Level/SQA Higher/Advanced Higher/
ILC Higher in Music. ENGLISH LANGUAGE REQUIREMENTS
History History JAZZ IN CONTEXT CONTEMPORARY CONTEMPORARY
IELTS: 6.0 or equivalent. See page 28 for further details
• Professional ISSUES IN JAZZ ISSUES IN JAZZ
• Jazz Panorama • Case studies
• Seminar Development • Professional
Development
• Entrepreneurs
154 GradDip JAZZ 155

APPLICATIONS : CUKAS - Institution code B34 | Course code 410F/P

DURATION : 1 year Full-Time / 2 years Part-Time

COURSE OVERVIEW

This conversion course offers intensive training in practical jazz skills for graduates who have a strong interest in jazz
but have not received specialist jazz musicianship training or one-to-one tuition in jazz performance. Alongside the
development of solid generic musical and academic skills, you will typically have undertaken some academic modules
in jazz as part of your previous study, and will have participated in ensemble activities as a jazz performer.

The course aims to help you develop skills useable at a ENTRY REQUIREMENTS
professional level through a combination of weekly individual You should possess a good Bachelor’s Degree or equivalent.
specialist tuition with a variety of tutors, small group coaching, While it is not necessary to demonstrate advanced skills COURSE STRUCTURE
performance workshops, repertoire building and jazz in jazz, you must demonstrate at audition/on your audition
musicianship. These practical activities are underpinned by a recording an appropriate level of musical fluency and
programme of academic work designed to develop contextual technical proficiency in your chosen specialist area, as well
knowledge and skills. Modules include composition, analysis, as a basic grasp of jazz skills. PROFESSIONAL CONTEMPORARY ISSUES COMPOSITION PERFORMING
contemporary issues and professional development. You will DEVELOPMENT IN JAZZ ENSEMBLES
also be encouraged to take part in the broad programme of ENGLISH LANGUAGE REQUIREMENTS • Big Band
practical elective activities offered by the Conservatoire. VOCABULARY AND STUDIES
IELTS 6.0 or equivalent. See page 28 for further details • Jazz
• Transcription seminar Orchestra
Large performing ensembles include the Conservatoire’s Big
AUDITION REQUIREMENTS
Band and Jazz Orchestra, and there are frequent performance
opportunities for small groups in the Conservatoire’s • You should perform two contrasting pieces with a
lunchtime and evening concert series. In addition to acting as rhythm section (provided), as well as a short FIRST STUDY JAZZ MUSICIANSHIP PERFORMANCE PLATFORM REPERTOIRE
a useful stand-alone course for developing your professional transcribed solo (unaccompanied). • Individual Series of peer-assessed
skills, the Graduate Diploma in Jazz offers ideal preparation • Pianists, bassists and drummers audition by taking lessons performances, including
feedback from established
if you are looking to study jazz at postgraduate level (see page their place in the rhythm trio. • Own small promoters (Birmingham Jazz)
162). A variety of assessment methods are used, including • Guitarists may choose to audition with just bass and
group coaching
essays, seminars and performances. drums, or the full rhythm trio. • Performance
workshops
Please note that, although you normally need to be a graduate FURTHER DETAILS
to apply for this course, the Graduate Diploma in Jazz does not
qualify for support from postgraduate funding bodies, such as Admissions Team:
the Arts and Humanities Research Council (AHRC). T: +44 (0)121 331 5901
E: conservatoire.admissions@bcu.ac.uk FINAL RECITAL
FEES
See our website for up to date information on fees.

PHOTOGRAPH CREDITS
156
AUDITION REQUIREMENTS
Postgraduate audition requirements vary according to area of specialist
study. A summary of the major audition elements is provided below; full
details are available from the Admissions Team.
• Performance candidates (excluding jazz performers
and accompanists) will be asked to present a varied
programme of about a 15 minutes’ duration. Depending on
the area of study, candidates may be required to include
orchestral excerpts, an extended piece and/or
specified material.
• Singers must include works in at least three European
languages, including English.
• Brass Quintet candidates must audition as an ensemble
and individually.
• Jazz performers should perform two contrasting pieces
with a rhythm section (provided), as well as a short
transcribed solo (unaccompanied). Pianists, bassists and
drummers audition by taking their place in the rhythm trio.
Guitarists may choose to audition with just bass and drums, or
the full rhythm trio.
• Piano Accompaniment candidates should bring a
singer with whom they must perform three works
(including a Lied); candidates must also perform an extended
piece/movement for solo piano, and sight-read.
PgCert MUSIC 157
APPLICATIONS : CUKAS - Institution code B34 | Course code 500P
DURATION : 1 year Part-Time
COURSE OVERVIEW
The Postgraduate Certificate in Music is a flexible part-time programme offering advanced study in performance
or jazz performance (see also page 162). For recent music graduates, the course offers an extra year of focused
study in performance with our dedicated team of specialist tutors. Equally, if you’ve been working in music for
a few years, it presents an excellent chance to refresh and refocus your performance skills in the light of your
career development plans. Specialist tuition, normally undertaken on an individual basis, is available for 25 hours
over the duration of the course.
As with all our postgraduate programmes, alongside your individual tuition, you will undertake a Professional Portfolio
module. This negotiated programme of activities will support your first study, help you to build a unique profile as a musician,
and prepare you for professional life. Your activities may be drawn from our extensive musicianship electives programme (see
pages 128-134), ensemble or specialist performance programmes.
The PgCert can be studied as a freestanding course, or as a progression route into further postgraduate study, including our
Postgraduate Diploma, Master of Music and Advanced Postgraduate Diploma courses (see pages 161 and 167).
ENTRY REQUIREMENTS ENGLISH LANGUAGE REQUIREMENTS
• You should normally possess at least a Bachelor’s IELTS 5.5 or equivalent. See page 28 for further details
Degree with Honours.
FURTHER DETAILS
• You will need to demonstrate at audition that you
Admissions Team:
possess appropriate skills in your chosen specialist area.
T: +44 (0)121 331 5901
E: conservatoire.admissions@bcu.ac.uk
COURSE STRUCTURE
Preliminary Performance / Jazz Performance
15 CREDITS
PROFESSIONAL PORTFOLIO
15 CREDITS
CERTIFICATE RECITAL / CERTIFICATE JAZZ PERFORMANCE
30 CREDITS
158 PgCert MUSIC (SPECIALIST PERFORMANCE) 159

APPLICATIONS : CUKAS - Institution code B34 | Course code 501F

DURATION : 1 year Full-Time

COURSE OVERVIEW

The Postgraduate Certificate (PgCert) in Music (Specialist Performance) is an intensive course offering one year of
focused study in performance or jazz performance only. Designed to sit between our successful part-time PgCert
and PgDip courses, the PgCert (Specialist Performance) is a full-time course offering 40 hours of individual
specialist tuition culminating in a substantial final performance, but without the academic content of the PgDip.
The course is ideal for musicians performing at PgCert level who want to develop their repertoire, technique and
stamina.

COURSE OUTLINE ENGLISH LANGUAGE REQUIREMENTS

As with all our postgraduate programmes, alongside your IELTS 5.5 or equivalent. See page 28 for further details.
individual tuition, you will undertake a Professional Portfolio
module. This negotiated programme of activities will support AUDITION REQUIREMENTS
your first study, help you to build a unique profile as a The audition requirements for this course are the same as
musician, and prepare you for professional life. Your activities those for the part-time PgCert. See page 156 for further
may be drawn from our extensive musicianship electives details.
programme (see pages 128-134), ensemble or specialist
performance programmes. If you are an international FURTHER DETAILS
student, your Professional Portfolio activities might include Admissions Team
further tuition in English language for academic purposes.
T: +44 (0)121 331 5901
The PgCert (Specialist Performance) is suitable as a stand- E: conservatoire.admissions@bcu.ac.uk
alone course, or as preparation for further postgraduate
study, including our PgDip, MMus and AdvPgDip courses.

ENTRY REQUIREMENTS
• You should possess a good Bachelor’s degree.
• You will need to demonstrate at audition that you possess
appropriate skills in your chosen specialist area.

COURSE STRUCTURE
Preliminary Performance / Preliminary Jazz Performance
15 CREDITS
PROFESSIONAL PORTFOLIO
15 CREDITS
FINAL RECITAL / FINAL JAZZ PERFORMANCE
60 CREDITS
160 PgDip/MMus MUSIC 161

APPLICATIONS : CUKAS - Institution code B34 | Course code PgDip 600F/600P / MMus: 800F/800P
DURATION : 1 year Full-Time

COURSE OVERVIEW

Designed for recent graduates and suitable mature students, our taught Postgraduate Diploma (PgDip) and
Master of Music (MMus) courses provide the opportunity for the further study of performance, composition, jazz,
musicology or technology at an advanced level. Like the Postgraduate Certificate (see pages 156 and 158), they are
suitable as stand-alone courses or as preparation for further study, such as our Advanced Postgraduate Diploma
in Music (Professional Performance) (see page 167) or research degrees (see page 171).
The PgDip offers specialised study in four areas: Performance, Composition, Jazz and Music Technology. The
MMus offers study in any of these four pathways, or in a fifth area of specialism, Musicology.

PRACTICAL WORK
Both the PgDip and the MMus offer a total of 40 hours of specialist tuition, normally undertaken on an individual basis.
On all pathways, your first study tuition will lead to a major assessment appropriate to your chosen pathway (a recital,
portfolio or dissertation).

Your first study tuition will be supported by a programme of group activities such as performance classes, masterclasses,
composition or community music workshops. A specially devised programme for Vocal & Operatic students also includes
languages and stage-craft.

Our postgraduate courses are designed to be flexible, allowing you to develop a specialism or distinctive musical profile
within your chosen area: for instance, in the performance of contemporary music or chamber music. Throughout your
course, you will be able to take part in the broad programme of practical activities offered by the Conservatoire, and you
may normally audition for places in our orchestras, choirs, bands and other groups alongside undergraduate students. A
Professional Portfolio module will help you negotiate a suitable programme of activities within the context of your career
aspirations.

ACADEMIC STUDIES
Whether you follow the PgDip or the MMus, your practical study will be complemented by relevant academic modules. The
difference between the two courses is that the MMus provides much greater academic breadth.

This programme will be reviewed in 2011. Please visit our website for updates.
162 163

Course Structure
PRELIMINARY STUDIES
15 CREDITS
• Preliminary performance
• Preliminary portfolio
PGDIP
MMUS
PgDip/MMus SPECIALISED STUDY:
professional portfolio academic studies Performance
15 credits 30 credits
In addition to traditional western instrumental and vocal disciplines, this pathway
• Performance practice includes specialised programmes for:
• Analysis for composers

• Project proposal • Techniques in musicology • bass clarinet performance (page 74)

• Research proposal • Music technology contexts • brass quintet performance (page 80)
• Analysis and aesthetics of contemporary jazz.
• choral conducting (page 93)
• guitar ensemble performance (page 70)
FINAL RECITAL / PORTFOLIO / PROJECT 60 CREDITS Composition
We welcome composers working in music technology and non-western idioms, as
MUSICAL PHILOSOPHIES RESEARCH SEMINARS MMUS STUDY well as notated art music.
30 CREDITS 15 CREDITS 15 CREDITS
Jazz
• Performance scholarship
• Cultural studies This pathway offers the opportunity to specialise in either Jazz Performance or
• Advanced editorial techniques Jazz Composition (see opposite for details)
• Special composition project
Music Technology
This is the programme of modules on offer at the time of going to press but some changes are likely in time for Autumn 2011 entry. This new pathway makes use of the Conservatoire’s excellent facilities and
equipment, and allows creative technologists to develop their skills and interests.
Staff specialisms lie in electroacoustic composition, live electronics, programming,
cross-disciplinary digital media and production, and we encourage study across all
these areas.
FOCUS ON POSTGRADUATE JAZZ STUDIES
Just as we offer a bespoke undergraduate jazz course (see page 150), any one of our flexible postgraduate programmes Musicology (MMus only)
can be tailored to meet the unique needs of jazz musicians. There are two strands to postgraduate jazz study: Performance This pathway includes a significant element of individual research supported by
and Composition. You can study Jazz Performance at PgCert (see pages 156 and 158), PgDip or MMus level, while Jazz studies in musicology.
Composition can be pursued at PgDip or MMus level.
ENGLISH LANGUAGE REQUIREMENTS
As a PgDip Jazz Performer you will receive 40 hours of individual instrumental lessons, plus small group coaching, PgDip: IELTS 6.0 or equivalent
priority access to our guest masterclass sessions (including working with Dave Holland) and regular public performance
opportunities, culminating in your final performance. MMus: IELTS 6.5 or equivalent
See page 28 for further details
As a PgDip Jazz Composer you will receive 40 hours of individual composition lessons, available from Mike Gibbs, Liam Noble
and Hans Koller. You will also have access to the Jazz Composers’ Ensemble, which you will be asked to direct in rehearsals FEES
and to present public concerts of your own work. Jazz Composition students also have priority access to workshops with guest For up to date fees see our website
composers.

For both postgraduate Jazz Performers and Composers, the PgDip includes a shared module in Analysis and Aesthetics of
Contemporary Jazz, which not only acts as a forum for students of both disciplines to discuss their music, but also stimulates
artistic growth and conceptual development.

The MMus qualification is achieved by following an additional 60 credits’ worth of academic modules.
164 165

AUDITION REQUIREMENTS
Postgraduate audition requirements vary according to area of specialist study.
A summary of the major audition elements is provided below; full details are
available from the Admissions Team.

• Performance candidates (excluding Jazz performers and accompanists)

ENTRY REQUIREMENTS: PGDIP will be asked to present a varied programme of about 15 minutes’
• You should normally possess at least a Lower Second Class duration. Depending on the area of study, candidates may be required to
Honours Degree (preferably Music) with a minimum of 60 per cent include orchestral excerpts, an extended piece and/or specified material.
in your first study area.
• Singers must include works in at least three European languages,
• Non-UK candidates should normally possess at least a Bachelor’s including English.
Degree or a similar degree-equivalent Diploma from a
conservatoire or equivalent institution. • Brass Quintet candidates must audition as an ensemble and individually.
• You will need to demonstrate at audition/interview that you
• Jazz performers should perform two contrasting pieces with a rhythm
possess appropriate skills in your chosen specialist area.
section (provided), as well as a short transcribed solo (unaccompanied).
ENTRY REQUIREMENTS: MMUS Pianists, bassists and drummers audition by taking their place in the
rhythm trio. Guitarists may choose to audition with just bass and drums,
• You should normally possess at least an Upper Second Class or the full rhythm trio.
Honours Degree (preferably in Music) or equivalent, with a
minimum of 60 per cent in your first study area. • Piano Accompaniment candidates should bring a singer with whom they
• Non-UK candidates should normally possess a good Bachelor’s must perform three works (including a Lied); candidates must also perform
Degree, or a similar degree-equivalent Diploma from a an extended piece/movement for solo piano, and sight-read.
conservatoire or equivalent institution.
• Choral Conducting candidates may be asked to prepare a programme
• You will need to demonstrate at audition/interview that you which will form the basis of their audition. Please contact the
possess appropriate skills in your chosen specialist area. Admissions Team for details.

• Composers (including jazz composers) should be prepared to discuss a

portfolio of compositions, which they must previously have submitted, if
possible with accompanying recordings.

• Musicologists should send a summary of their proposed project and be

prepared to discuss this at interview.

• Music Technologists should be prepared to discuss a portfolio of creative

work submitted in advance. This may comprise compositions, recordings,
audiovisual work, code, etc.
FURTHER DETAILS
Admissions Team
T: +44 (0)121 331 5901
E: conservatoire.admissions@bcu.ac.uk
166 Advanced PgDip PROFESSIONAL PERFORMANCE 167

APPLICATIONS : CUKAS - Institution code B34 | Course code 602F/602P

DURATION : 1 year Full-Time / 2 years Part-Time

COURSE OVERVIEW

The AdvPgDip (Professional Performance) is the most intensive and demanding of our postgraduate performance
courses and is intended for outstanding musicians already on the threshold of a professional career. The course
aims to provide you with the opportunity to progress your existing musical skills to professional performance
standard and to develop originality and artistry in the presentation of musical styles. As well as deepening your
musical comprehension and interpretative skills, the course also offers the chance to enhance your presentation
and communication skills.

The AdvPgDip is available in one of four divisions: ENTRY REQUIREMENTS

• Instrumental Performance
• Piano Accompaniment
• Opera Repetiteur
• Vocal Performance
Specialist tuition is available for 45 hours over the duration
of the course, and may include the study of related second
instruments and lessons with more than one teacher,
as appropriate. In common with PgDip/MMus students,
you will undertake a support programme of Performance
Practice lectures and a Professional Portfolio module.
The latter consists of tutorials which help to guide the
design of a programme of supporting activities in the
context of your career aspirations. You will undertake
three major assessments, normally in public performance
conditions. Options include solo recital, chamber music and
performance with orchestra.
• You should normally possess a postgraduate
qualification in performance. However, applicants
with substantial public performance experience at an
appropriate level may be considered.
• You will need to demonstrate at audition that you
possess appropriate skills in your chosen
specialist area.
• All applicants (Repetiteurs excepted) must send a
current repertoire list and two sample 50-minute
recital programme proposals to the Conservatoire at
the same time as applying through CUKAS.
ENGLISH LANGUAGE REQUIREMENTS
IELTS 6.0 or equivalent. See page 28 for further details

FEES
For up to date fees see our website
168 169

AUDITION REQUIREMENTS
These vary according to area of specialist study. A summary of the major audition elements is provided below; full details are
available from the Admissions Team.

• Instrumental performers
You should present a stylistically varied programme (25 minutes maximum) of at least three works, including one
extended work/movement.

• Vocal performers
You should perform a programme (20 minutes maximum) including works in at least three European languages, including
English. These may include arias from the operatic and/or oratorio repertoire. You will also be asked to read short texts in
French, German and Italian.

• Piano accompanists
You should bring a singer with whom you must perform three works (including a Lied), and must also perform two
contrasting solo piano works from the standard repertoire, including a substantial movement from the Classical or
Romantic repertoire (total duration 10-15 minutes). You will also be asked to sight-read.
• Opera repetiteurs
You must play two contrasting solo piano works including a substantial movement from the Classical or Romantic
repertoire (total duration 10-15 minutes). You must also play a substantial prepared extract from an operatic vocal score,
give a short coaching session in a prepared operatic excerpt to a singer (without prior rehearsal) and sight-read.

COURSE STRUCTURE

PERFORMANCE 1 - 45 LEVEL 8 CREDITS

PERFORMANCE 2 - 45 LEVEL 8 CREDITS

FURTHER DETAILS
PERFORMANCE 3 - 45 LEVEL 8 CREDITS
Admissions Team
T: +44 (0)121 331 5901
PERFORMANCE PRACTICE - 30 LEVEL 7 CREDITS E: conservatoire.admissions@bcu.ac.uk

PROFESSIONAL PORTFOLIO - 15 LEVEL 7 CREDITS

170 RESEARCH: MPhil/PhD 171

APPLICATIONS : Direct to Research Department

DURATION : MPhil - Full-Time 2 years | Part-Time 3 years
: PhD - Full-Time 3 years | Part-Time 5 years including any time spent on MPhil

COURSE OVERVIEW

We offer postgraduate courses leading to the degrees of MPhil and PhD. The Master of Philosophy is both a free-
standing research degree involving about half the work of a PhD, and is a useful training-ground for the Doctor of
Philosophy. The PhD can be accessed directly by applicants with a suitable Master’s qualification.

Since our mission is to promote the highest standards of performance and composition, it follows that our
Research Policy is sharply focused on these activities. Applications relating to the practice and philosophy of
musical performance and composition and other areas of particular interest in the conservatoire context are
therefore encouraged.

The following research areas are particularly suitable for our
research environment:
• Performance Studies
• Performance plus Dissertation
• Composition
• Musical Aesthetics
• Composition and Performance using Live Electronics
• 20th-Century Music
• Ethno-musicology including Jazz/Pop
• 17th-Century Music, especially French and Italian
• Late Medieval Music
Projects are sometimes directly associated with either
performance or composition or both, and often include the
actual practice of these arts. Research in these areas can
include: performance that is genuinely original, either in
repertoire or interpretation; composition that is genuinely
original, either in style or in ways of using existing styles; and
musicological and related studies which directly or indirectly
inform the practice of music. Cross-disciplinary projects
where, for example, a performer and composer may be
working closely together, or where the study of some ethnic
tradition informs original composition, are also encouraged.
Research students enjoy exclusive use of a dedicated studio
equipped with four computers, internet access and acoustic-
analysis software, as well as access to the Conservatoire’s
state-of-the-art electronic music studios (see page 42).
Students may also take part in the full range of practical
activities and lectures available within the Conservatoire.
The expected length of a PhD thesis is 80,000 words, but
substantial musical text (e.g. an edition, performance or
composition) can be included. Performers may include
justified and integral performance (live or recorded) as up to
50 per cent of the thesis. Composers may submit a folio of
compositions as their ‘thesis’, accompanied only by a short
essay (6,000 words minimum for PhD).
Research studies may, in principle, commence at any time of
the year, but it is most convenient to enrol at the start of the
academic year in September.
For details of our research strategy, staff publications, PhD
completions and other information about our research,
please visit:
www.conservatoire.bcu.ac.uk/research
FEES
Please see the website for current details.
172 173

ENTRY REQUIREMENTS ENGLISH LANGUAGE REQUIREMENTS

MPhil IELTS: 6.0 or equivalent. See page 28 for further details.
• You should normally hold a good MA or MMus
INTERVIEW & AUDITION REQUIREMENTS
degree. Applicants without Master’s degrees
are occasionally allowed entry, providing they Musicologists (including performance-related topics)
can demonstrate academic skills comparable to At interview you will normally be asked to bring along a re-
a good undergraduate degree. cent essay demonstrating your academic writing skills.
• You will normally be expected to apply for
transfer to PhD after about one year (full-time) Performers PIERRE BOULEZ
or two years (part-time). It is not necessary If you intend to use performance as an integral part of your In May 2008, renowned conductor and
to complete the MPhil dissertation before project you will also need to audition. We would like to composer Pierre Boulez visited Birmingham
transferring, but you should have submitted a hear you perform for about 30 minutes, with a programme Conservatoire for a two-day festival promoted in
couple of chapters or the equivalent. relevant to your project if possible. The standard should be conjunction with Park Lane Group, Birmingham
equivalent to post-Masters‘ level at a UK conservatoire. Contemporary Music Group and the Paul
PhD
Sacher Foundation. In addition to attending
• If you are applying directly to the PhD, you Composers
and giving feedback on performances of his
must have completed a good Master’s in an area You will need to present two recent scores together with works, M. Boulez gave a composition workshop
relevant to your project, and convince an recordings if available. and open masterclass, and participated in an
interview panel that you are ready to embark on In Conversation event with the BBC’s Roger
study at this level. The expected standard, in each case, is equivalent to that of Wright. The climax of ‘Boulez in Birmingham’
a completed Master’s from a UK conservatoire. Feel free to was a concert in Town Hall during which
consult our Research Department for further guidance. an Honorary Doctorate of Birminghan City
University was conferred on M. Boulez.
174 175

Junior Conservatoire
............................................................................................................................................

Headed by Timothy English, the Junior Conservatoire provides specialist musical tuition for talented young musicians. Our
tutors are of the highest calibre and include members of the CBSO, professional musicians and senior Conservatoire staff. The
Junior Department operates on 10 Saturdays during each school term using the full facilities of the Conservatoire. Courses
are available in classical music, jazz, chamber music, classical music from the north Indian subcontinent and A Level music,
and students can, where possible, combine elements from different courses to suit their individual needs. A strong emphasis
is put on performance through weekly platforms and termly chamber music recitals, as well as regular concerts for the larger
ensembles in the Adrian Boult Hall.

• The Classical Course offers an hour of first study tuition; additional studies if appropriate; supporting studies in
aural, theory and harmony; and chamber music. Two choirs, String Orchestra, Wind Orchestra, Symphony
Orchestra and Chamber Orchestra are all incorporated into the timetable. There are also opportunities to study
Early Music and Composition.
• The Jazz Course is based on a core curriculum that includes jazz ensembles, improvisation classes, jazz aural,
theory and history. Students can add individual tuition to their timetable as appropriate.
• The Raga Sangeet Course involves group and individual tuition and follows the classical traditions of the
Northern part of the Indian subcontinent. Sitar is available at intermediate level and tabla at foundation and
intermediate levels.
• The Chamber Music Course provides specialist ensemble training and includes regular workshops from
visiting ensembles.
• A/S and A2 Music are also available and are integrated into the Saturday timetable, or offered separately on
Wednesday evenings. further details
Young Strings Project Lulu Lezama, Junior Conservatoire Secretary
• Beginners as young as three years old are encouraged to apply to join the Young Strings Project studying violin,
viola, cello or mini-bass as part of a course which includes choir, Kodály training, a Dalcroze Eurhythmics lesson T: 0121 331 5905
and participation in the Junior Conservatoire Orchestra alongside individual lessons. E: conservatoire.juniors@bcu.ac.uk

www.conservatoire.bcu.ac.uk/juniors
176 Joint courses 177
...........................................................................................................................................................................

In addition to our own courses, we also run several

courses in collaboration with our partner faculties at
the University and South Birmingham College.
178 HND POPULAR MUSIC PRACTICE* 179

* SUBJECT TO REVALIDATION

APPLICATIONS : Institution code S29

: Course code 043W
DURATION : 2 years Full-Time

LOCATION : South Birmingham College

COURSE OVERVIEW

Offered by South Birmingham College (SBC) in partnership with the Conservatoire, this largely practical course is
designed to equip you with the technical and vocational skills required for employment in a wide variety of roles
within the music industry. You’ll be taught in SBC’s purpose-built facility, which includes a 440-seat auditorium,
five recording studios and four music technology suites. You’ll also get the chance to work with current music
industry professionals and possibly undertake a relevant commercial placement.

Much of your work will be geared towards the development
of professional products, such as performances, tours,
CD production or radio shows. The course will help you
to develop your own professional profile and explore your
individual artistic identity. You’ll also collaborate with others
and explore all aspects of the contemporary music industry.
AREAS OF STUDY
The programme enables performers, composers and
producers to work collaboratively across four module
pathways: Technique, Live, Production and Enterprise. These
pathways culminate in a substantial Group Project in the final
semester of the programme. The module structure allows
you to develop your own areas of specialism and expertise
at the same time as enabling you to understand other areas
of popular music practice and to develop new skills. At the
FURTHER DETAILS same time, it reflects the reality of the commercial music
industry where practitioners work collaboratively and may
Maighread Hegarty
undertake a variety of roles. Much of the work across the
South Birmingham College
programme is self-directed and always takes place in
professional-standard environments.
T: 0121 694 5052
E: maighread.hegarty@sbc.ac.uk
FEES
For up to date fees see our website.
www.sbc.ac.uk
ENTRY REQUIREMENTS
You must be at least 18 years old on entry and have one of the
following relevant qualifications:
• 80 UCAS tariff points
• One A2 Level plus other appropriate qualification
• GNVQ Advanced with Merit
• BTEC National Diploma in a relevant subject
• Scottish Certificate of Education at the Higher Grade
with at least three passes at grade C
• A professional qualification of an appropriate standard
• A pass in a recognised access course
• A portfolio of creative work
• Equivalent qualifications or experience
All applicants will be auditioned/interviewed.
Where successful applicants demonstrate a lack of music
academic skills, musicianship support classes will be
offered. Skills equivalent to ABRSM Grade V will be required
for progression to degree level study.
Mature students lacking formal academic qualifications will
be offered essay-writing/research support classes.
180 BSC (HONS) MUSIC TECHNOLOGY 181

APPLICATIONS : Institution code B25

: Course code W350
DURATION : 3 years Full-Time | 4 years Sandwich, including 1 year placement
LOCATION : Jointly delivered with the Faculty of Technology, Engineering and the Environment

COURSE OVERVIEW

The BSc (Hons) Music Technology is the most technically oriented of the undergraduate courses available to students
who wish to pursue music technology. For an explanation of the different music technology options, please see
page 101. The BSc (Hons) Music Technology draws upon a wide range of academic disciplines including technology,
sound recording, music studies and business. As a result, you will experience many different types of learning
environments: laboratory experiments, practical workshops, computer sessions, studio work, seminar groups and FEES
project management. To prepare you to work in a dynamic creative industry sector, the course focuses on developing For up to date fees see our website
your creative abilities in tandem with your practical skills in music production, utilising professional hardware and
software systems. ENTRY REQUIREMENTS
You should have one of the following:

• GCE A Levels (typically 260-300 points), plus five GCSEs

Music technology is a growing field and the potential areas
for employment are expanding all the time. Popular areas
include:
• Recording (mixing, production, programming; Environment and the Conservatoire; you will study in both
mastering and duplication)
• Broadcast (mixing, post-production, sound editing)
• Film (location recording, dubbing, foley, post- related to media and television technology. Within the
production)
• Live Sound (mixing, public address, audiovisual
presentation)
• Journalism (music/music technology journals)
• Education (music technology teaching)
• Manufacturing (product development, demonstration,
sales and marketing)
PLACEMENT
As part of your studies, you will have the opportunity to
complete an industry placement. In addition to helping
you to determine where your talents and interests lie, your
placement will develop your experience, confidence and
adaptability – qualities that will contribute to achieving your
career aspirations.
IN DEPTH
The BSc (Hons) Music Technology is run jointly by the
University’s Faculty of Technology, Engineering and the
faculties. Located at Birmingham’s Millennium Point, the
Faculty of Technology, Engineering and the Environment
offers state-of-the-art teaching and research facilities
Conservatoire, you will have access to extensive facilities
including performance venues; well-equipped, purpose-
built recording studios; computer-based workstations; and
networks for audio transfer. Apart from this, one of the real
benefits of the course is the fact that you will be studying
alongside and working with some of the nation’s most
talented young performers.
Though weighted in favour of appraisal through coursework,
the course is assessed in a variety of ways: formal
examinations, essays and business reports, laboratory
reports and log books, practical exercises involving the use of
studio equipment, case studies, investigatory reports, folios
of recordings or other creative audio work and presentations.
including Mathematics Grade C or higher.
• A BTEC National Certificate/Diploma in Music Technology with
a significant proportion of subjects having been passed at distinction
standard, plus GCSE Mathematics Grade C or higher.
• A distinction in the GNVQ (Advanced) with eight mandatory modules,
and 4 optional and core modules (IT, communication and Application of
Number), plus GCSE Mathematics Grade C or higher.
Applicants should demonstrate a strong technical aptitude together with
a significant knowledge of music. Equivalent qualifications to those listed
above (eg overseas equivalents) are welcome. Please contact the Faculty of
Technology, Engineering and the Environment for further details.
ENGLISH LANGUAGE REQUIREMENTS
IELTS: 6.0 or equivalent. See page 28 for further details
FURTHER DETAILS
Technology, Engineering and the Environment Course Enquiries
T: 0121 331 6400
E: course.enquiries@tee.bcu.ac.uk
www.bcu.ac.uk/courses/music-technology
182 MA DIGITAL ARTS IN PERFORMANCE 183
You will be encouraged to take a research-based line throughout the
programme and you may find that this takes you logically forward to
MPhil/PhD study in our unique research environment.
APPLICATIONS : Direct to Birmingham Institute of Art and Design (BIAD). See page 189
DURATION : 1 year Full-Time / 2 years Part-Time FEES
LOCATION : Jointly delivered with BIAD For up to date fees see our website

ENTRY REQUIREMENTS
Honours degree or postgraduate diploma in a relevant subject, or
COURSE OVERVIEW equivalent professional qualification/experience.

This programme aims to support students from art, music or performing arts backgrounds in enhancing their creative You should be able to demonstrate some knowledge of technological
practice through digital technology and broadening their technical skills. Your study will be split between BIAD’s Visualisation applications in your area of creative practice and some experience of
Research Unit and the Conservatoire’s Centre for Composition and Performance using Technology, allowing you to access creating work with digital technology.
state-of-the-art facilities and expert tutors in a variety of new technologies such as motion capture, HD video, gesture
control of sound and visuals, multi-touch interfaces and distributed computing. (For a complete listing of our facilities, see ENGLISH LANGUAGE REQUIREMENTS
page 42 or visit www.conservatoire.bcu.ac.uk/about/facilities or www.biad.bcu.ac.uk/vru ) IELTS: 6.5 or equivalent. See page 28 for further details

This course is situated at the intersection of the arts, science
and technology. You will be encouraged to explore the
resulting opportunities and experiment with new practices.
This programme will prepare you to work in emerging areas
of the cultural industries, including content generation,
installation art, composition and technology-based art
projects. It is oriented towards people preparing for freelance
careers in digital arts and the creative application of digital
technology, including research, professional performance
and technology development.
There are four main elements to your study:
• Theory: how do digital technologies affect our concept The early part of the programme focuses on developing
and delivery of artistic works
• Programming: how things work behind the scenes
• Content management: how visual, audio and other programme you will begin work on your major project and
elements can be included in your project
• Interface: how the audience accesses your work
There is an emphasis on giving you the skills to create works
that can achieve a degree of persistence within the context of
an ever-changing technological landscape.
FURTHER DETAILS
Gregory Sporton
Visualisation Research Unit
The programme is strongly focused on practical work with
BIAD
digital technology, with an emphasis on experiences created
in real time. To cater for students whose practice straddles
T: 0121 331 5978
the border of visual and sonic arts, and to encourage the
E: vru@bcu.ac.uk
combining of these practices through collaboration as well
as individual work, it is envisaged that creative outcomes
www.biad.bcu.ac.uk/vru
may be aural, visual, performance-oriented (in real or virtual
spaces) or a combination of these.
Emphasis is placed on producing live experiences through
applying digital technologies and you will be involved in the
development of interactive environments and time-based
applications of technology for performance/installation.
collaborative projects and enhancing and expanding your
technological skills. During the middle section of the
experiment with different applications of technology in the
arts, ranging from improvisation to installation practices,
from the concert hall to the art gallery or dance studio.
During the final stage of your study, you will complete your
major project combining your expressive ideas with your
understanding of technology through performance. There are
also optional modules drawn from Art and the Conservatoire
to augment your studies on the programme.
184 Applying & auditioning 185
...........................................................................................................................................................................
186
APPLYING ONLINE AT WWW.CUKAS.AC.UK
The Conservatoire is a member of CUKAS, an online admissions service for most UK conservatoires. Application for all of our
courses (apart from research degrees and joint courses) should be made via www.cukas.ac.uk
You must apply in English. Like UCAS, CUKAS uses an online application system called Apply. To use it, follow these steps:
1. REGISTER AT WWW.CUKAS.AC.UK
Registration is a process of entering your personal details,
for example name, date of birth, address. Once you have
completed the registration, a username will be automatically
generated, and you will be asked to create a password of
your choosing. Be sure to make a note of your username and
password as they will enable you to log into Apply later.
2. ACCESS THE ONLINE APPLICATION
There are full instructions on the CUKAS website to help you
fill in your application. You can work on it, save it and return
to it later using your username and password. If you are
stuck, remember to check the Help Text first. If you still need
further information or advice, contact the CUKAS Customer
Service Unit: +44 (0)871 468 0470, which is open Monday to
Friday, 8.30am-6pm (UK time).
3. PROVIDE CONTACT DETAILS FOR TWO REFEREES
One of your referees must be able to comment on your
academic ability; the other must be able to comment on your
musical ability. Your referees should know you well enough
to write about you and your suitability for higher education.
CUKAS will not accept references from family, other relatives
or friends. The reference forms are available in Apply and you
should email or post them to your referees.
187
4. FEES AND PAYMENTS ADVICE FOR UK APPLICANTS
There is a one-off application fee of £15, payable All enquiries concerning UK undergraduate and postgraduate
to UCAS. admissions should be addressed to:
An additional non-refundable audition fee of £55 (£90
Admissions Team
for a double audition) is payable to the Conservatoire;
this is collected through the CUKAS system. You can T: +44 (0)121 331 5901/5902
make your payment online using a credit or debit E: conservatoire.admissions@bcu.ac.uk
card. The card doesn’t have to be in your name, but
you do need to get the consent of the cardholder. If
you can’t pay by card, you can choose to pay by an ADVICE FOR NON-UK APPLICANTS
alternative method, such as cheque, postal order or
All applicants from outside the UK are strongly advised to
bank transfer.
contact us in the first instance for advice on submitting an
5. DEADLINES application. All enquiries concerning non-UK admissions
should be addressed to:
The closing date for on-time applications is on or around 1
October in the year prior to entry. You are advised to apply as Ruth Stanton, Assistant Registrar
early as possible. Late applications may be accepted until the
end of August (annually) for instruments/areas in which we E: ruth.stanton@bcu.ac.uk
have unfilled places.
If you have a disability, we would encourage you to apply as
early as possible. Once we are aware of your disability we
can try to support your individual needs. We have a range of
services and equipment which can be made available to you
to help you make the most of your time at the Conservatoire.
If you have not made us aware of your disability or you feel
you may have a disability, please
contact our Admissions Team or our Disability Service.
T: +44 (0)121 331 6495/7775 (text/voice)
E: disability@bcu.ac.uk
188 189

Joint Course Applications

Applications for our joint courses cannot be accepted through CUKAS. Instead, please apply as follows:

RESEARCH APPLICATIONS (MPHIL/PHD)

Research applications cannot be accepted through CUKAS. HND POPULAR MUSIC PRACTICE BSC (HONS) MUSIC TECHNOLOGY MA DIGITAL ARTS IN PERFORMANCE

You are instead invited to contact the Head of Research, c/o Liz
Reeve, Research Administrator, with a draft proposal of about
500 words, as well as brief notes covering your academic career,
current activity and any relevant experience. We will provide advice
and assistance in generating a viable project which can then be
submitted with the formal application form.
Applications for the HND Popular Music
Practice, run in collaboration with South
Birmingham College, are received through
UCAS:
Institution Code S29 / Course Code 043W
Applications for the BSc (Hons) Music
Technology, run in partnership with
the University’s Faculty of Technology,
Engineering and the Environment, are
received through UCAS:
Institution Code B25 / Course Code W350
Applications for the MA Digital Arts in
Performance, run in partnership with
Birmingham Institute of Art and Design (BIAD),
are received directly by BIAD:
Application: Direct to BIAD faculty office

Promising candidates will be invited to an interview, which

may include an audition if the project includes performance. UCAS APPLICANT HOTLINE UCAS APPLICANT HOTLINE ENQUIRIES APPLICATIONS
The formal selection criteria are: quality of application judged Rosehill T: +44 (0)871 468 0468 Rosehill T: +44(0)871 468 0468 Gregory Sporton Faye Gelly
against UK university standards; suitability of project vis-à-vis the New Barn Lane E: enquiries@ucas.ac.uk New Barn Lane E: enquiries@ucas.ac.uk BIAD Visualisation BIAD Faculty Office
Conservatoire’s research priorities; availability of supervisors; Cheltenham Cheltenham
www.ucas.ac.uk
Research Unit Gosta Green
www.ucas.ac.uk Gloucestershire Department of Art Corporation Street
overall numbers and critical mass; and other matters, such as Gloucestershire
GL52 3LZ Birmingham, B4 7DX
ethical considerations. GL52 3LZ T: +44 (0)121 331 5978
E: vru@bcu.ac.uk
T: +44(0)121 331 5800/01
T: +44 (0)121 331 5925 E: faye.gelly@bcu.ac.uk
www.biad.bcu.ac.uk/vru
E: liz.reeve@bcu.ac.uk

Research studies may, in principle, commence at any time of the

year, but it is most convenient to enrol at the start of the academic
year in September/October.
190 191

MAIN AUDITIONS INTERNATIONAL AUDITION CENTRES

Our main auditions period for undergraduate and
postgraduate places is in November. In order to be eligible,
you must submit your CUKAS application before the on-time
deadline (normally on or around 1 October in the year prior
to entry).
If you are applying from outside the UK, you may be able to
attend an audition at one of our international audition centres
in China, Hong Kong, Malaysia, Singapore or Taiwan. You may
also be able to receive advice about application procedures at
the same time.

If you are an organist, please be aware that organ scholarship Auditions for 2011 Entry will be held in Autumn 2010 (dates
trials are held at the same time as auditions and places fill to be advised), and so on. For further information and
up very quickly. You are therefore strongly advised to apply by application advice please contact Ruth Stanton, Assistant
the on-time deadline. Registrar (ruth.stanton@bcu.ac.uk) or our agent for your
country/centre:
For a standard single instrument audition, a non-refundable
audition fee of £55 is payable through CUKAS at the time CHINA
of application. If you are choosing between two areas/ mktcn@ukec.net
instruments, or you wish to apply for joint study (see page
63), you may request a double audition, for which there is HONG KONG
a non-refundable fee of £90 payable through CUKAS at the musicaudition@hotmail.com
time of application. For audition requirements, please see the
appropriate course page. MALAYSIA
LATE AUDITIONS jccwong@hotmail.com
If you apply between 1 October and 4 January, you may be SINGAPORE
eligible for late auditions. However, late auditions are only
jccwong@hotmail.com
held if a first study area still has vacancies after the main
auditions, so you are encouraged to apply on time if at all TAIWAN
possible. Late auditions are normally held in February and
are open to both undergraduates and postgraduates. musicaudition@hotmail.com

If we receive your application after 4 January, you may be

given an audition if your first study area still has vacancies;
this will be arranged through our
Admissions Team.

PHOTOGRAPH CREDITS
192
AUDITION RECORDINGS
If you are an international applicant already studying or
living in the UK at the time of your application, you should
request an audition in Birmingham rather than sending an
audition recording. If you are an international applicant and
you cannot attend an audition in Birmingham or at one of our
international audition centres (see page 191), you must send
a high quality recording on DVD (preferably) or CD in lieu of
an audition.
RECORDING GUIDELINES
• At the start of the recording, you must:
1. state your name
2. say a few words in English about each of the
pieces to be performed
• Performance candidates must have their recordings
validated by an appropriate school/college/university
authority as their own unedited performance.
PORTFOLIO GUIDELINES
• Composers must have their portfolio validated by an
appropriate school/college/university authority as
their own work.
AUDITION RECORDING REQUIREMENTS
The requirements for audition recordings are similar to our
live audition requirements:
BMUS (HONS)
• Instrumentalists (percussionists excepted) should
submit a recording of their own performance of at
least two contrasting pieces.
• Singers must perform two pieces (or movements)
of different styles and periods of their own choice. At
least one of the pieces must be an aria (with recitative,
if available) from an opera or oratorio.
• Percussionists should submit a recording of pieces
on timpani, drum kit, snare drum and tuned contrasting pieces including rhythm section, as well
percussion (xylophone or vibraphone or marimba).
• Composers must send a portfolio of at least three
compositions and a recording of at least one of
these works.
BMUS (HONS) JAZZ AND GRAD DIP JAZZ
• You should provide a recording of two contrasting
pieces including rhythm section, as well as a short
transcribed solo (unaccompanied). One of the pieces
performed must be chosen from a list of standards; • Music Technologists should send a representative
the other one is your own choice.
• Full details of our audition requirements are available
from our Admissions Team).
193
PGCERT/PGDIP/MMUS ADV PGDIP
• Performance candidates (excluding jazz performers • See requirements for PgCert/PgDip/MMus
and accompanists) must send a high-quality recording Performance candidates above.
of their own performance of three or four contrasting
• To be considered for the Adv PgDip, you must
works or movements (minimum 15 minutes).
send a DVD performance.
• Wind and brass players must also include two • All Adv PgDip applicants (Repetiteurs excepted) must
orchestral excerpts. send a current repertoire list and two sample
• Singers must include works in at least three 50-minute recital programme proposals.
European languages, including English. • You must also send an essay/piece of written work
• Brass Quintet candidates must include examples of from your undergraduate course, or on a
ensemble and individual playing. prescribed topic.
• Jazz performers should provide a recording of two
as a short transcribed solo (unaccompanied)
• Piano Accompaniment candidates should send a
recording of three works with a singer (including a
lied), and an extended piece/movement for solopiano.
• Composers must send a portfolio of at least three
compositions and a high-quality recording of at least
one of these works when requested.
portfolio of 2-3 pieces of creative work, comprising
compositions, recordings, sequencing work,
production tracks, music or sound to picture, web-
based development or any other work that showcases
ability in this area. Scores, CD-audio, DVD-video or CD
Rom should be sent as appropriate.
• Choral Conducting candidates may be asked to send a
DVD or VHS video recording of a suggested programme.
Please contact Ruth Stanton (as on page 187) for details.
• Musicologists should send a summary of their
proposed project and be prepared to discuss this.
• All PgDip & MMus candidates must send an essay/
piece of written work from their undergraduate
course, or on a prescribed topic when requested.
194
Entrance Scholarships
(UK/EU Candidates)
A number of Entrance Scholarships are awarded each year to
UK and European Union candidates on the recommendation
of auditions panels.
Tuition Fees Scholarships
(Non-EU Candidates)
A number of part-tuition fees scholarships are awarded each
year to overseas candidates. These scholarships are normally
renewed for each subsequent year of a student’s course.
Beatrix Myatt Scholarship for Piano
This scholarship is awarded once every three years to an
undergraduate piano student on the recommendation of
audition panels. The scholarship is worth £3,000.
Corton Hyde Early Music Scholarships
Two scholarships are normally available to support talented
students wishing to further their studies in Early Music. The
Corton Hyde Continuo Scholarship supports a keyboard,
cello/viola da gamba, or lute/theorbo player specialising
in continuo, while the Corton Hyde Performance Practice
Scholarship is open to a variety of musicians, including period
violinists, vocalists, early oboe or flute players, recorder
players and cellists. Both scholarships are worth £1,000 and
may be renewed after one year by negotiation.
Denis Matthews Scholarships
Established in 1989 in memory of the distinguished pianist
and scholar, the Denis Matthews Trust offers scholarships
through competition to pianists who are studying at
Birmingham Conservatoire, as well as an additional entrance
scholarship of £1,000.
Ella Cheshire Scholarship (Soprano)
A scholarship of approximately £1,500 is awarded annually to
a nominated postgraduate soprano candidate.
SCHOLARSHIPS AND FINANCIAL AID EMI Music Sound Foundation Bursaries
In addition to the basic financial aid available to UK/EU undergraduates described on page 22, we offer a variety of scholarships UK students who would be unable to undertake study without
at undergraduate and postgraduate levels. All candidates are automatically considered for financial assistance up to the value
financial assistance may apply to the Conservatoire for an
of full scholarships. Scholarships are awarded on the basis of merit (according to audition panel recommendation), with some EMI Music Sound Foundation bursary. Up to five bursaries are
specifically reserved to assist candidates in financial need or studying in specific areas. made available each year.
195
Leverhulme Trust Scholarship
(UK Candidates)
As a result of a generous donation by the Leverhulme Trust,
a number of scholarships are awarded each year to excellent
UK candidates on the recommendation of audition panels.
Symphony Hall Whitlock Organ Scholarship
This scholarship, generously funded by the Percy Whitlock
Trust, offers a talented organ student access to the
outstanding four-manual Klais organ in Symphony Hall,
acclaimed as one of the finest concert halls in the world.
The Scholar plays a significant role in Symphony Hall’s
education programme, presenting the organ to school groups
and members of the public. The Scholarship also includes
an annual recital. The successful candidate will be a highly
competent player, with excellent presentational skills and
the ability to capture the imagination of young people. The
appointment is for one year initially, but
may be renewed. The value of the Scholarship is
£1,000 per annum.
Weingarten Scholarships
These prestigious scholarships, established through the
generosity of Joseph and Lilian Weingarten, are available
by competition to final year undergraduate or postgraduate
Piano, Violin or Voice students at the Conservatoire.
Successful students undertake up to a year of postgraduate
study at the Franz Liszt Academy in Budapest. Another
scholarship is available to enable a student to study the
Kodály Method at the Kodály Institute at Kecskemét in
Hungary.
Junior Department Scholarships
Applicants to the Junior Conservatoire may be eligible for a
DCSF Music and Dance Award, or bursary funding from the
Leverhulme Trust or the Wolfson Foundation. The Junior
Conservatoire can provide advice and guidance to suitable
candidates.
Continues ...
196 197

STEPHEN WILLEY
Composition, BMus (2010 graduation)
Tutors: Ed Bennett, Michael Wolters & Joe Cutler
I initially chose the Conservatoire because the
composition tutors were positive about my music and
very open to different approaches of writing. Since then,
I’ve discovered many good things about studying here!
All the teachers are great and really push you to your
full potential. I’ve also had opportunities to benefit from
a wide range of visiting composers and to write for
ensembles such as BCMG and Decibel. Because many
student and visiting performers are happy to discuss
compositional ideas, I’ve been able to learn about
writing for different instruments in great detail.

Birmingham is a great place for the arts. The

Conservatoire is just up the road from Birmingham
School of Art (part of BIAD) and also very close
.............................................................................................. to Symphony Hall and The Rep – these links lead
on to exciting collaborative projects. Through
the Composition Department, I have been given
OTHER FINANCIAL AID AVAILABLE TO CONSERVATOIRE STUDENTS opportunities to work in theatre music and have
since worked on two productions with The Young
Access To Learning Fund Rep (Birmingham) and Friction Theatre Company. In
Our Access to Learning Fund is provided by HEFCE, the Government funding body October 2008, I was awarded the Audience Prize in the
for higher education, and applications are assessed according to its guidelines. Phillip Bates Prize for Composers and Songwriters,
hosted by the Conservatoire.
Awards are made to students with a financial need that remains once they
have applied for all other funding options, provided they meet residency and Birmingham’s great musicians and arts venues made
I initially chose the Conservatoire
other eligibility requirements. The fund cannot be used towards fees, only living
expenses and course costs such as travel, materials, books and equipment. Full
it possible to establish the new independent music
ensemble, Thumb, of which I’m co-artistic director. I’ve
because the composition tutors
requirements and HEFCE guidelines are available on request. also co-founded a new company, ‘Findthatscore.com’,
specialising in the promotion and distribution of the
were positive about my music
Birmingham Conservatoire Association BSM Centenary Appeal Fund music of up-and-coming composers. This venture has and very open to different
The Trustees of these two charities consider requests for financial aid from been backed by the University’s Speed West Midlands
Birmingham Conservatoire students. Modest awards are made for projects or programme for new businesses and received funding approaches of writing. Since
needs related to students’ official studies. from the Conservatoire as well.
then, I’ve discovered many good
Student Awards Committee I’d like to continue developing Thumb and
This Conservatoire Committee administers a number of funds on behalf of the ‘Findthatscore.com’ after I graduate, but I still feel things about studying here! All
the teachers are great and really
University’s Trustee Committee. Applications from students are considered termly, there is a lot more I can gain from the teaching and
and small grants are awarded towards the cost of Summer School fees and opportunities that the Composition Department
expenses, instrument repair and purchase, etc. creates, so I’ll be returning here to study for my MMus
in Composition. push you to your full potential.
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200 201

Partners Sponsors
............................................................................................................................................ ............................................................................................................................................
We are pleased to work in partnership with the following organisations: We gratefully acknowledge support from :

To find out more about our development programme, or to support our work to the benefit of your business,
please contact the Principal’s Office

T: +44 (0)121 331 5910

E: andrea.cox@bcu.ac.uk

Photography
............................................................................................................................................
Graeme Braidwood Allan (page 197) Christian Payne (pages 51, 57, 62, 82, 88, Mark Thompson (pages 8, 31, 46, 52, 65,
Adrian Burrows (page 19) 100, 125, 160, 166, 173, 175) 69, 86, 95, 136, 156, 159, 164)

John Hall (page 135)
Kirstie Hunt (page 28)
Also our partner faculties at the University: Birmingham Institute of Art and Design, Birmingham School of Acting, the Faculty of Louise O’Callaghan (pages 60, 84, 92, 106,
Education and the Faculty of Technology, Engineering and the Environment. 132, 150, 155, 169, 170, 176, 188, 194)
Mike Priddy (page 183) Chris Webb (pages 23, 27, 37, 45, 48, 67,
Nick Robinson (pages 16, 32) 73, 75, 79, 81, 90, 120, 184, 190)
George Steele (page 29)
202 Disclaimer Information

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course may be altered or withdrawn owing to circumstances beyond the University’s
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