Overview
The Master of Arts in Performance is centred around the growth of the student's own artistic voice, working in a collaborative environment where composition, improvisation and performance skills are developed in synergy. This facilitates the creation of the lifelong musical associations and professional skills that you need to pursue the future you want as a 21st century musician.
Your Project preparation is supported by a team of specialists and provides an opportunity for you to enhance your creative work through specialised academic study and practice-led research. Postgraduate students are a vital part of the Academy’s musical culture, working in a uniquely collaborative performance environment ideally suited to helping talented musicians — from across the globe — to achieve their musical ambitions. Students wishing to prepare applications for doctoral study will normally choose the MMus rather than the MA. The programme path and length can be discussed at the entrance interview and adjusted as appropriate, you are not tied to the option you choose when you submit your application in UCAS Conservatoires
Classes and Activities
Students on the Master of Arts (MA) and the Master of Music (MMus) participate in exactly the same Jazz Department classes, ensembles and other activities.
The MMus is identical at jazz department level but includes the addition of a Master’s Project, which can be: a concert with commentary; a recording-based project; a dissertation; or a mixture of these.
Jazz Postgraduate Students usually take the two-year MA programme as undertaking their own projects tends to be something with which they are already familiar.
The Master's courses are designed as two-year courses. Based on an applicant’s circumstances and prior experience, we can discuss at audition whether completing the course in one year (named intensive in UCAS) is a suitable option.
Principal Study
45 hours per year of one-to-one instrumental lessons culminating in an end-of-year recital.
Second Study (optional)
Provision is available for tuition on a second-study instrument (5 or 10 hours per year). You must apply to your tutor at the start of the academic year.
Ensemble Projects
These comprise weekly workshops and culminate in a public performance. The programme of concerts will vary from project to project and provides a foundation of core knowledge and experience, enabling you to undertake a broad ensemble schedule throughout your studies. In February there is an intensive Jazz Festival featuring inter-year ensembles with various guest artists.
Jazz Orchestra
Postgraduate students get a chance to participate in the Jazz Orchestra during their studies. Projects feature a wide range of repertoire, guest soloists, composers and directors, culminating in a public concert in the Academy or at an external venue.
Professional Development
In an increasingly competitive musical profession, you will need to be equipped with the essential tools to flourish. We have excellent links with the jazz media and industry, resulting in regular seminars with journalists, broadcasters and record label owners. At the end of the BMus and Postgraduate Programmes there is a Professional Development Portfolio that includes many key documents and real-world examples, such as writing funding applications and press releases. You also have the chance to study for the additional LRAM teaching diploma.
Composition and Arranging
Postgraduate students receive the full teaching from the undergraduate C&A classes, in addition to weekly workshops in the Postgraduate Jazz Composers Ensemble. Students develop a portfolio of pieces written for the group, presenting their work in a public concert in the final term of their graduating year.
Rhythmic Studies of the African Diaspora (PG1) / Contemporary Rhythmic Skills (PG2)
This introduces non-Western principles of rhythm drawn from Asian, African and Latin American traditions. The course aims to familiarise you with techniques of group co-ordination, and with individual and collective learning methods appropriate to aural/oral methodologies. Teaching areas include case studies of tribal musics; rhythm studies; transcription; composition and arrangement analysis; group movement and co-ordination; ensemble drumming; additive rhythm; and percussion techniques. This introduces non-Western principles of rhythm drawn from Asian, African and Latin American traditions. The course aims to familiarise you with techniques of group co-ordination and with individual and collective learning methods appropriate to aural/oral methodologies.
Repertoire and Improvisation
You will learn a list of commonly played tunes by ear, all of which typify a particular harmonic or compositional device. You will then use these tunes to explore a variety of improvisational approaches and strategies.
Entry Requirements
Academic Qualifications
You will usually hold a Bachelor of Music (BMus) degree, a university Bachelor's degree containing music as a core component, 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 instrumental technique, and your potential for growth. Try to relax, focus on storytelling through your instrument, and let us hear who you are as a musician.
All jazz candidates are initially assessed by video recording as Round One of the audition process, after which candidates may be invited to a Round Two recall.
Your Audition Repertoire (Round One)
For your Stage 1 video submission, you must upload three pieces, each recorded in its own single, unedited 'take'. You should perform with a live group or use a playalong/minus-one backing track if necessary.
Repertoire Guidelines:
- List 1 (Medium to Up-Tempo Standard): Performance of one tune from this list: Airegin, Alone Together, Take the A Train, On Green Dolphin Street, I Mean You, or It Could Happen To You.
- List 2 (Ballad Tempo Standard): Performance of one tune from this list: I Fall in Love Too Easily, Darn That Dream, Chelsea Bridge, I Should Care, Soul Eyes, or God Bless the Child. Vocalists should refer to a Real Book for lyrics or transcribe them from a recording.
- List 3 (Original Composition or Arrangement): Performance of an original composition or arrangement by you. You must upload a PDF concert-pitch score for this item. If you cannot secure a live group, you may submit a computer audio file (e.g. Logic or Sibelius), but you must perform along with the track.
Expected Performance Form
The panel expects to hear specific elements depending on your instrument pathway:
- General Instrumentalists: Play the melody ("theme/head") on the first chorus, take approximately two choruses of solo improvisation over the sequence, and play the theme out to finish. For the ballad, half a chorus or one chorus of improvisation is sufficient.
- Vocalists: Sing the theme, take two improvised choruses, and follow with half a chorus of improvisation for the ballad.
- Piano / Guitar / Vibes: Play the theme on one of the tunes, and perform an additional chorus of comping behind a soloist (or with the backing track if a live soloist is unavailable). Please note: Jazz Guitar is treated as a front-line solo instrument, so the live recall rhythm section will include a piano.
- Bass: Display soloing and accompanying skills, and play some of the theme on one of the pieces (it does not need to be for the entire tune).
- Drums: Play behind front-line and/or piano soloists, and include an additional chorus or two of "trading".
What to Expect on Audition Day (Round Two Recall)
Following the panel's review of your Round One footage, you may be invited to a recall. In your application profile, you will be able to indicate whether you prefer this recall to be in person in London or online.
1. Delivery Options & Technical Elements
- In-Person Recall (London): You will participate in a live practical audition. This may include a performance of one of your selected List 1 or List 2 pieces, and a 'workshop' performance of your List 3 free-choice piece. You must bring parts for the rhythm section and Bb frontline. Drum kit candidates must bring their own cymbals, sticks, and brushes.
- Online Recall: Remote assessment options and interviews will be arranged for candidates who are unable to attend the live sessions in London.
- Sight-Reading & Interaction: During the in-person recall, you will be required to demonstrate real-time sight-reading proficiency and your overall ability to relate to an accompanying group.
2. Academic Interview & Harmony Assessment
Candidates will be interviewed during their practical audition session. This conversation is designed to explore your musical background, artistic influences, knowledge of the idiom, and future study goals.
Directly following your practical audition, you will also complete the following academic element:
- Short Harmony/Theory Paper: A brief written test evaluating your understanding of jazz harmony and music theory fundamentals.
- Spoken English Introduction: As part of your initial digital application profiles, candidates must also provide a spoken introduction recording.
For more information see auditions.
As a postgraduate applicant, you may be asked to have a subsequent interview with one of the postgraduate programme tutors where you can discuss your study plans.