Overview
Gap year students are considered as fully-enrolled members of the Academy’s student body, and have equal access to the Academy’s resources (library, computers, practice rooms etc).
This course is for you if you are about to complete your secondary school (High School) studies and either wish to spend a year at the Academy before taking up a full-time undergraduate programme of study at another institution, or if you would like to receive Academy training but do not require a full programme of study that leads to a degree.
The course principles are:
- To enable students to benefit from one year of conservatoire education
- To provide a tailor-made course of study according to the strengths and needs of each individual student
- To offer the same performance opportunities provided for degree students (with the approval of the Academic Tutor and Head of Programme)
- To offer appropriate academic subjects in consultation with the Academic Tutor and Head of Programme
- To assess practical and/or academic progress by examination
- To provide a transcript of studies showing completed modules (but no degree or other award)
Entry Requirements
- Performance/Composition: High standard of performing potential or composition, strong musicianship, and good aural skills.
- Music Exams: Formal exams are not required, but successful performers are typically at a Grade 8 Distinction level or higher.
- Music Theory: Grade 6 level knowledge is recommended before starting if you aren't taking school music exams.
- Keyboard Skills: No formal minimum required (unless it's your Principal Study), though Grade 5 piano is desirable to support general musicianship.
See Entry Requirements for full academic and international criteria.
The Undergraduate Gap Year for voice applies to the following vocal styles and ranges:
Bass-Baritone, Counter-Tenor, Mezzo-Soprano, Soprano, Tenor
Academy Song Circle
Founded in 2004, the Academy Song Circle offers students the opportunity to hone their skills in the art of recital singing.
Students receive specialist coaching and performance opportunities within the Academy and at external venues around the UK.
Auditions are held annually, and successful students are invited to take part in a number of song recitals during the academic year. Singers and pianists are paired together by the Song Circle Artistic Team, and student duos are then encouraged to choose their own repertoire for Song Circle recitals, in conjunction with their professors and the Song Circle Artistic Team, fostering a spirit of artistic and intellectual curiosity and collaboration.
The Academy Song Circle gives annual recitals at the Wigmore Hall, Leeds Lieder Festival and Austrian Cultural Forum, and in recent years has also appeared at the Oxford Lieder Festival, Kings Place, the Queen’s Gallery, and the National Gallery. Events at the Academy include an annual Valentine’s Day recital and a yearly Schubertiade, held on the anniversary of Schubert’s birth, acknowledging his place as the ‘prince of song’.
Academy Song Circle has made three CD recordings: ‘Songs of Spring’, ‘Songs of Seduction’, and ‘Goethe’s Girls and Mörike’s Men’.
Academy Voices
In 2017, the Academy Voices was established to provide another performance platform for singers and accompanists, offering valuable recital opportunities to a larger pool of students. Each year, Academy Voices presents an eight-recital series at the Italian Cultural Institute in London, with each concert focussing on a specific country and its song and operatic repertoire. In each series, concerts are devoted to German and Austrian Lieder, French mélodie, Italian opera, and English song. Previous series have also included recitals of Spanish song and zarzuela, Russian romances, and Scandinavian song repertoire.
Students benefit from specialist coaching for Academy Voices recitals, and are encouraged to suggest repertoire of their own choice for each concert, in conjunction with their professors and the Academy Voices Artistic Team, which includes Kate Paterson (Head of Vocal Studies), Richard Stokes, James Bailieu, Joseph Middleton and Benjamin Mead.
Auditions
we view your audition as a performance, not a test. Our expert panel is looking for your inherent musicality, unique vocal character, and future potential—not absolute perfection. Relax, breathe, and enjoy sharing your voice with us.
Your Audition Repertoire
For your undergraduate audition (applying for the Bachelor of Music or Gap Year pathways), you must prepare a balanced selection of pieces that showcases your vocal range, technical dexterity, and linguistic ability.
Repertoire Requirements:
- Three Items: You must prepare three contrasting pieces that reflect different musical styles and moods.
- Vocal Agility: At least one of your chosen items must clearly demonstrate your vocal flexibility and agility.
- Recitative: If possible, one of your items should include a recitative.
- Language Requirement: At least one item must be sung in a foreign language (a language that is not your native tongue).
Performance Guidelines
- In-Person Auditions (London): You will choose the first item to perform. The panel will then select which of your remaining items they wish to hear. The Academy provides a professional accompanist for your live audition.
- Video Auditions: You must submit video recordings of your three repertoire items via the Acceptd portal. While the recordings do not need to be filmed in a single, continuous "take," they must be recorded during the same recording session.
Academic Interview & Aural Skills Assessment
In addition to your vocal performance, all undergraduate applicants participate in an evaluation with a member of our academic staff. This is a relaxed conversation designed to explore your study goals, musical background, and artistic interests.
During this session, you will be given a short extract of music to discuss and will complete an Aural Skills Assessment to evaluate your core musicianship. This includes a sight-singing test alongside practical exercises:
- Singing the middle notes of a played chord.
- Identification of musical intervals.
- Sight-reading of rhythms.
- Simultaneous polyrhythms: Sight-reading two different rhythms at the same time (singing one rhythm while clapping the other simultaneously).
Please note: Specimen tests are not published or distributed in advance.
For more information see auditions.