Overview
This is an intensive one-year course. Performance students normally study on a two-year Master’s course but, in exceptional circumstances, can take it in one year (intensive).
The MA is designed to allow maximum flexibility for you to concentrate upon the range of activities offered, to develop your own performance initiatives and to form a bridge to a performance career. This one year programme is only taken by a few candidates each year and we advise that students apply for the two-year programme. The length of programme can be discussed at your audition and adjusted later, you are not tied to the programme length you select in your application.
Core Modules
- Performance classes
- Masterclasses
- Individual lessons for Principal Study
- Ensemble and Directed Ensemble coaching
- Lectures
- Seminars
- Academic supervisions
Elective Modules
The modules listed below will vary slightly each year in response to student needs and the evolving musical world.
Analysis and Aesthetics
This elective will explore both technical aspects of music analysis and wider aesthetic and musicological topics, with a particular focus on bringing these areas together.
Artist Development
Our Artist Development provision is here to prepare you practically, creatively and strategically for a sustainable career in the music profession. We want you to leave here as fully-rounded, creative and adaptable musicians, with the tools and know-how to gain employment in unpredictable times. Practical sessions and intensive electives through the year include working with online content, personal recording techniques, preparing professional documents, auditioning well, how to get funding, and self-employed finances. Artist Development forms a part of the broader range of your work and activities, which we assess over the course of your studies via a portfolio.
Attentive Listening
An elective designed to hone listening skills across a wide variety of styles and genres. For 90 minutes each week an eclectic selection of music is studied, with class discussions focussing upon analytical issues or matters of interpretation, and across history are also studied.
Composition
The Composition elective is available for postgraduate performance students who have prior experience of instrumental and/or vocal composition at degree level (or equivalent).
Concert Programmes and Programming
This elective explores a mix of historical and current factors that underpin programming decisions across a range of music-making experiences.
Concert Workshop
At the heart of this elective has always been the question ‘how do we communicate most effectively in concert scenarios?’ – eclipsing the more fundamental issue of ‘what is a concert?’
Creative Collaboration
A three-day intensive course in collaboration with Glyndebourne, led by Artistic Director Stephen Langridge, for singers, instrumentalists and composers. Through a series of workshops, the participants will explore methods of creating music theatre, and develop their abilities and skills as collaborative artists.
Contemporary Music Workshop
These classes bring together composers and performers in a collaborative environment in which musical ideas can be exchanged and developed, and the processes of collaboration explored. The classes include practical workshops where students develop their ideas, and seminars in which case studies in collaborative practice are examined. Each student participates in collaborative projects with at least one other student, developing musical materials that can take any form. Students participate in formal group presentations that include details of the collaborative processes and performances of the completed musical materials.
Creating your own performance projects
The focus of these workshops will be how to turn an idea into a small-scale creative project, from inception to promotion and performance.
Creative Programming and Research
This course critically examines different aspects of concert practice, exploring strategies for responding to sources (including recordings) and wider issues around programming, including audiences, venues and concert functions.
Enhanced Performance Techniques
Open to PG students of all disciplines, this elective enables performers to deliver with greater freedom and confidence, through enhanced preparation techniques.
Historical Performance
This Elective will give you the opportunity to explore historically informed performance on period instruments.
The Interpreter’s Workshop
Do you think of yourself as an ‘interpreter’ or a ‘creator’? (Dare we think of ourselves as ‘creators’?) When you practise a work do you consider what other performers have done as much as you try to discover the ‘composer’s intentions’? Close listening to recordings (historical and contemporary) can reveal a surprising range of possibilities for the performer that are not captured – or even suggested – in musical scores. In this class we establish a framework for asking useful questions about these possibilities and gaining technical/expressive resources in the process.
Open Academy
Open Academy is the Academy’s Learning, Participation and Community initiative, working with around 6,000 people beyond our enrolled students and staff each year. As the importance of participatory and community music programmes in areas including education, health and wellbeing continues to grow both in the UK and internationally, it is crucial that our students have the opportunity to obtain skills and experience in this exciting and expanding area of work. Open Academy offers lectures, seminars and workshops alongside hands-on practical experience in the field.
Performing Experimental Music
This elective provides an introduction to performing music in C20th and 21st experimental music traditions.
Performing French Music
This elective is offered to instrumentalists, singers and conducting students, covering song, solo and chamber repertoire and orchestral works (for everyone’s mutual interest).
The Pianist’s Heritage
These sessions provide a unique opportunity for reflection and debate around key repertoire areas of the pianist, and around the most burning performance-practice questions of our time – crucially how these relate to expectations in the current music professions.
Principles of Chamber Music
The Chamber Music lectures are designed to enhance all aspects of practical chamber music.
Thinking about recording / The self-directed recording artist
Led by two critically acclaimed self-producing recording artists, five sessions exploring the challenges and opportunities for today’s musician.
Transcription and Arrangement
Transcription and Arrangement is an elective open to all postgraduate performance students. This elective explores the art of arranging and transcribing music for a variety of ensembles and contexts. It will be of particular use for students wishing to arrange existing music for their own chamber ensembles, such a string quartets or wind and brass ensembles.
Entry Requirements
Academic Qualifications
You will usually hold a a Bachelor degree in any discipline (RQF Level 6) at lower second-class honours or higher, or an international equivalent qualification.
Written Requirements
Unlike the Master of Music (MMus) track, the Master of Arts (MA) in Performance does not require you to submit an academic project proposal or a written portfolio. Your selection is focused primarily on your musicality and practical performance.
See Entry Requirements for more information.
Auditions
We want you to view your audition as a recital rather than a rigid test. Our panel is looking for your unique musical personality, your technical command, and your potential for growth. Try to relax, focus on your storytelling through the instrument, and let us hear who you are as a musician.
Your Audition Repertoire
For your postgraduate audition, you must prepare a comprehensive and diverse solo programme that showcases your stylistic versatility, technical facility, and dynamic range on the instrument.
1. Repertoire Guidelines:
You must prepare two contrasting pieces of your own choice, adhering to the following guidelines:
- One piece must have been written after 1950, preferably in a contemporary style.
- The repertoire presented must be of an advanced postgraduate standard, displaying clear evidence of technical accomplishment, expressive control, and varied tonal colour.
Repertoire for International Audition Centres
If you are selected from your video recordings to perform in person at one of our international audition centres, you should take the same repertoire items you uploaded into your Acceptd profile.
What to Expect on Audition Day
Harps will be available for any auditions held at the Academy in London. A Lyon & Healy harp will be available in the audition room and a similar model in the warm-up room, though you are welcome to bring your own instrument if you prefer. For auditions outside the UK you will be asked to bring your own instrument.
1. Delivery Options & Practical Assessment
- In-Person (London): Live harp auditions typically last around 30 minutes. As live audition time is strictly limited, the panel may choose to hear selected sections or movements of your pieces rather than the full programme. This is standard procedure to ensure they experience a balanced overview of your technical skills and repertoire.
- Instrument Provision: Harps will be available for any auditions held at the Academy in London. A Lyon & Healy harp will be available in the audition room and a similar model in the warm-up room, though you are welcome to bring your own instrument if you prefer.
- Extended warm-up time: Because preparing a harp takes care and focus, harp candidates are scheduled for an extended warm-up and practice time (allotted 45 minutes) immediately before entering the audition room. A Lyon & Healy harp will be available in the audition room, and a similar model will be provided in your warm-up room. You are also welcome to bring your own instrument if you prefer.
- Sight-reading: All in-person harp auditions include a mandatory sight-reading test in the audition room. This is designed to assess your quick-study capabilities, harmonic awareness, and spontaneous coordination of complex harp layouts under time constraints.
- Video recordings (video application, or international centres): You must upload one unedited video containing your complete audition performance programme to the Acceptd portal by the designated deadline. Your recording must be captured under clear audio and visual conditions.
2. Technical Skills (Scales & Apreggios)
You must be prepared to perform scales and arpeggios in all major and minor keys up to a Grade 8 Pedal Harp standard (following the ABRSM syllabus guidelines) at the live audition or video recall.
- Scales: Four octaves. To be played hands separately, or hands together an octave apart, a sixth apart (right hand begins on tonic), or a tenth apart (left hand begins on tonic).
- Arpeggios: Four octaves. To be played hands separately, hands together, or divided between the hands. Required in root position, first inversion, and second inversion. Dominant sevenths and diminished sevenths are also required.
3. The Prepared Study (Étude)
- Live Audition Candidates (London, international centres): You will be sent an étude (study) separately exactly seven days before your interview to prepare.
- Video Audition Candidates: If you pass the initial video round and progress to the live online interview, you will be emailed a piece of sight-reading the day before your interview. Please ensure you have a harp available to play during your digital meeting.
4. Postgraduate Interview
You may participate in a structured conversation with a postgraduate programme tutor, which may take place in person on audition day or via a subsequent live online meeting. This interview is an opportunity to discuss your specific study plans, your artistic philosophies, and your professional aims.
In addition to your practical repertoire, your digital application profile must contain:
- Curriculum Vitae (CV): A current copy of your CV detailing your musical education, masterclasses, solo and chamber performance history, and competitions.
- Spoken English Introduction (video application, or international centres): A short recorded verbal introduction introducing yourself, your musical background, and your professional goals to the faculty panel.
- Performance video (video application, or international centres)
- Written Material / Project Proposal (MMus only): candidates must submit examples of written work or a research proposal to demonstrate that they possess the critical writing and analytical skills required to undertake postgraduate academic research.
For more information see auditions.