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Undergraduate Programme: BMus

Academic Studies

Introduction

Academic Studies are essential to every student’s development as a performer. A comprehensive range of topical courses is offered across the disciplines of Historical Musicology, Analysis, Performance Practice and Composition, as well as Aural Training, Keyboard Skills, Technology, and Conducting (Supporting Studies) courses which are designed to reinforce students’ critical awareness as performers and/or composers.

Years 1 and 2 of the BMus comprise a common core. In Years 3 and 4, students select their own specialisms from a wide range of electives. The programme’s flexibility encourages students to pursue their own individual interests in order to prepare for a range of careers within the music profession.

The Academy collaborates closely with King’s College London, where a full range of specialist music and humanities courses is available for Academy students. Details are available on request.

Techniques and Analysis

This three-year, seminar-based course aims to develop understanding and appreciation of music at a technical level. Pastiche composition aims to provide facility in manipulating musical materials and ideas. Analysis of musical processes cultivates an ability to make informed performance decisions.

Introduction to Performance Practice

An investigation of performance techniques and interpretative issues. This equips students with tools to investigate repertoire in both historical and contemporary contexts.

Creative Technology

Using RAM Central (the Academy’s new internal web-based interface), students learn how to collect, store, and manipulate data electronically. A daily audio magazine enables students to learn basic production techniques and to contribute to the Academy’s ongoing archive.

Class Electives

Offered to students from the third year onwards, class electives encourage exploration of specific repertoire (e.g. Mozart Opera, Brahms, Messiaen, etc) and development of areas of specific technical expertise (e.g. Instrumentation, Specialist Keyboard Skills, Historical Performance, etc).

Classes run as seminar groups, and students are expected to engage with emerging critical ideas and take the initiative in individual project work.

Topics in Western Music History
This one-year course focuses on the musicological, social and political context of composers within the western art tradition.

Presentational methods range from formal chronological surveys of historical periods to discussions of selected works. The course aims to generate an environment where students feel able to question received terms and definitions.

Humanities

The Humanities curriculum, which is unique to the Academy, is designed to introduce students to new disciplines and thereby extend creative abilities through encouraging critical thought. Subject areas, which range widely, take into account the aesthetic, social, political, and ethical issues facing the contemporary performing artist. Classes are structured as seminars, offering students an opportunity to engage in lively debate. BMus students with particular interest in pursuing humanities and academic music courses at King’s College London are strongly encouraged.


Chris White (Piano)

‘For me it was a close call between studying music at a conservatoire or at university after leaving school. I chose the Academy primarily because of the fantastic instrumental teaching available, but I needn’t have worried because the standard of academic tuition here is, contrary to the commonly held myths, very high as well. On top of the basic academic requirements, there is huge scope to explore a multiplicity of different topics through the elective system, under the tutelage of members of staff who are also active in their own fields of research and/or performance.

I suppose the main difference between academic study here and at University is that here everything will by nature relate to performance, and have positive practical effects on your playing. This year I’ve been studying fugue, and developing some analytical work on Mahler, but the diversity of what is offered here goes on and on!’