CONTENTS

4 20 42 78 92
ABOUT STUDENT LIFE DEPARTMENTS OUR NEXT STEPS
THE ACADEMY PROGRAMMES

Twelve reasons Your future.............. 23 Accordion.........................................................44 Programmes Steps to applying...94

to study at Inspirational Brass................................................................... 46 of study................... 81 Auditioning............. 95
the Academy............ 4 teaching.................. 25 Choral Conducting.........................................48 Undergraduates..... 82 Tuition fees
Principal’s Learn Composition and Contemporary Music... 50 Postgraduates........84 2019-20...................96
welcome....................7 by performing........ 27 Conducting...................................................... 52 Research.................88 Contact us.............. 97
What makes us Professional Guitar................................................................. 54 The art of
a world leader?.......11 skills.......................... 28 Harp................................................................... 56 collaboration..........89
Our heritage........... 12 Our facilities........... 29 Historical Performance................................. 58 Open Academy.....90
Our world view...... 14 New spaces............30 Jazz....................................................................60
Associated Library...................... 32 Musical Theatre............................................... 62
artists....................... 15 Museum.................. 33 Opera.................................................................64
Your success Resilience and Organ................................................................. 66
is our success..........17 support.................... 35 Piano.................................................................. 68
Recent Students’ Union..... 37 Strings................................................................ 70
graduates................ 18 Love London.......... 38 Timpani and Percussion................................ 72
Accommodation....40 Vocal Studies.................................................... 74
Scholarships Woodwind........................................................ 76
and bursaries.......... 41
2
 TWELVE REASONS
TO STUDY AT THE ACADEMY

Be inspired Develop
Learn from Hone your Raise your Earn an Showcase Prepare Collaborate
Work with your Live in the heart by different professional Make lifelong
the masters performance musical game internationally your talent physically and internationally
musical heroes of London, genres – skills friends
Experience skills by working respected degree with cutting-edge mentally with many
We have an one of the classical, jazz, that will help you and professional
inspiring one-to- Our students alongside awarded by the technology and for a career at leading
illustrious roster most vibrant, opera, musical thrive in today’s contacts
one tuition take part in outstanding peers Academy and in our world-class the top of an institutions
of visiting creative cities theatre, historical musical world from around
with the world’s around 500 from over the University performance ever-expanding including The
professors in the world and all forms of and build the world
finest teachers events every year 50 countries of London spaces music profession Juilliard School
new music your audience

4 5
 PRINCIPAL’S WELCOME
guests – distinguished figures who As Britain’s oldest conservatoire the
are part of the Academy family – in Academy is steeped in tradition, but
performances and masterclasses that you it is also one of the most progressive
will remember for the rest of your life. conservatoires in the world. Students
We are delighted that our commitment have access to cutting-edge technology
to excellence has been recognised with in our beautiful new performance
Welcome to the Royal Academy of a Gold Rating in the Teaching Excellence spaces (page 30), our programming is
Music’s prospectus. Choosing where Framework 2018 (page 17). groundbreaking, and in all our disciplines,
to study is an important – perhaps even from classical to musical theatre, jazz and
life-changing – decision. In these pages Preparing students for a career in music composition, we ask students to explore
you will get a sense of the unrivalled is our central objective. Alongside the their musical horizons to the limit.
opportunities that the Academy has to delivery of intensive, high-level artistic
offer, and the many ways in which we training, we also offer professional For you, the most pressing question is
help our students realise their potential. development support that will teach you probably ‘what will it actually be like to
how to make the most of your talent in study at the Academy?’ In the pages
One of the biggest influences on your a demanding, ever-expanding industry. that follow you will see quotations from
development as a musician will be The sheer breadth of collaborative students about their experience here, and
your teacher, and at the Academy you opportunities here lay the groundwork our website can provide further insight
will find the very best – their names for the variety of life as a musician. We into how your time with us will be spent.
are listed in the department pages. measure our success by our impact and If possible, do consider coming to one of
In addition to artistic creativity and influence on the music world – on pages our performance events or Open Days
inspiration, our outstanding staff bring 18, 19 and 23 you can browse the names to experience our friendly atmosphere in
with them first-hand knowledge of of a few graduates who, in some cases person – we would love to welcome you.
how to succeed in today’s world. not long ago, faced the decision you are
You will also get to work regularly now making, and for whom coming here Professor Jonathan Freeman-Attwood CBE
with renowned visiting professors and was the start of an exceptional journey. Principal

6 7
ABOUT THE ACADEMY
 WHAT MAKES US A WORLD LEADER?
We are entirely focused on musical excellence with a tradition of innovation
Our range of disciplines is among the broadest of any UK conservatoire
We offer opportunities with a remarkable family of world-renowned musicians
Our educational and industry partnerships are truly exceptional
Since 1822 we have always fostered a global outlook
We are committed to broadening participation in all forms of music
Our alumni excel internationally in every musical discipline
Our vibrant research culture is focused on artistic practice
We have an important collection of over 250 fine Italian instruments
Our graduates enjoy stellar careers as soloists and recording artists
We have a critically acclaimed catalogue of recordings
Our graduates’ employability is second to none
10 11
 OUR HERITAGE
1822 1830 1935 1953 1984 1991 1993 1997 1998 1999 2001 2005 2009 2011 2012 2017 2018
The Royal King Junior Co-ordination of choral and The Academy The innovative BMus degree The Da Capo We become The Sinfonia The Academy The two-year A combined Our Bach Royal The Privy Council grants The Academy is ranked top The Academy
Academy George IV Academy orchestral arrangements presents is launched Composers the first makes its first becomes postgraduate Academy Cantata Academy degree-awarding powers UK conservatoire in the achieves a
of Music is grants a is founded for HM Queen Elizabeth II’s its first Festival conservatoire orchestral the first Royal and Juilliard Series, which Opera to the Academy Guardian University Guide TEF Gold
EVENTS

founded as Royal Charter coronation is entrusted to International The Sinfonia travels overseas features to found visit to conservatoire Academy School will run over presents the and The Complete University Rating for
Britain’s first Academy professors Hugh Composer for the first time, to the more than its own Beijing and to be Opera orchestra a 10-year acclaimed An Academy and Juilliard Guide‘s Arts, Drama and the second
conservatoire, Marchant and David Martin Festival Republic of Korea 60 Academy- recording Tokyo admitted as a Programme performs period, is premiere orchestra performs at the Music League Table for 2018 time. The
in Tenterden trained label full member is introduced under Sir launched of Sir Peter BBC Proms with soloist and is rated Gold in the award is valid
Street, composers of the Colin Davis Maxwell Imogen Cooper, conducted Teaching Excellence for up to
Hanover University of at the BBC Davies’s by John Adams Framework (TEF) three years
Square London Proms Kommilitonen!

1826 1856 1886 1903 1923 1936 1953 1957 1961 1969 1971 1982 1996 1998 2002 2010 2011 2012-17
Carl Maria Arthur Franz Liszt Aged 13, Sir Henry Richard HM The Harrison Former Felicity Lott Simon Rattle Evelyn Michael HRH The A Royal Honorary Honorary Visiting professors appointed
von Weber Sullivan (later visits the Myra Hess Wood, a Strauss visits Queen Birtwistle student (later Dame) (later Sir) Glennie Nyman, John Duchess of Opera House Doctorates Doctorates include John Adams,
conducts our Sir) enters Academy (later Dame) former the Academy becomes the (later Sir) Sir John becomes becomes (later Dame) Williams, Ron Gloucester performance are given are given to Semyon Bychkov, James
PEOPLE

2022
1822

first orchestral the Academy wins a student, Academy’s studies Barbirolli a student a student becomes Goodwin becomes the with Sir to Stephen Sir Simon Ehnes, Sir Mark Elder,
concert scholarship joins as a Patron clarinet at becomes a student and Michael Academy’s Elton John Sondheim, Rattle and Edward Gardner, Richard
to study professor the Academy conductor Kamen President raises nearly Pierre Boulez Sir George Goode, Dave Holland, Steven
piano at the of the first conduct £1m for the and Daniel Martin Isserlis, Oliver Knussen,
Academy orchestra at our Elton John Barenboim Claude-Michel Schönberg,
Film Music Scholarship Christian Thielemann and
Festival Fund Nikolaj Znaider

1880 1911 1968 1976 1992 2001 2009 2013 2014 2017 2018
The Academy The Academy HM Queen The Sir The The new An extension The Sir Elton A practice centre on Cross The The new
now has moves to Elizabeth Jack Lyons refurbished museum and to the main John/Ray Keys Close, a few minutes’ Academy’s Susie
BUILDING

more than custom-built The Queen Theatre is Duke’s Hall the David building Cooper organ walk away from the main entrance is Sainsbury
340 pupils premises on Mother opened reopens Josefowitz creates is installed in building, is added to our refurbished Theatre
Marylebone opens our Recital Hall space for 18 Duke’s Hall. facilities. We also begin to to include and Angela
Road new library are opened dedicated Planning use nearby St Mark’s Church step-free Burgess
practice permission is for recordings and as a large access Recital Hall
rooms and given for new rehearsal space open and
two chamber performance soon garner
music rooms spaces awards

12 13
 OUR WORLD VIEW ASSOCIATED ARTISTS
The students and professors of the Royal Academy of Music
create a global community
We owe our existence to European Performing Arts Vienna are based on
culture – our first professors were our shared values of artistic and
almost all from the great European educational excellence and are integral
nations – and today our students, alumni to the Academy’s identity. John Adams Pierre-Laurent Aimard Semyon Bychkov Laurence Cummings
and faculty are a truly global family.
Academy students represent the very We remain deeply committed to
best talent from around the world, with this identity. We will continue to offer
approximately half coming from the UK, the very best education to students
a quarter from the European Union and from all over the world and will make
a quarter from other countries. This sure that European students are Sir Mark Elder Edward Gardner Philippe Herreweghe
vibrant international mix is fundamental welcomed as part of the inspiring
to who we are and how we approach mix of musicians here.
music. When you come here you will
build lifelong friendships with people Our Registry Department will be happy
from across the globe. to help with any queries you might
have about applying to the Academy John Adams Visiting Professor of Composition
Pierre-Laurent Aimard Visiting Professor of Music Trevor Pinnock Christian Thielemann
We encourage the free exchange from outside the UK. Contact the team Semyon Bychkov Klemperer Chair of Conducting
of ideas across all boundaries, both on +44 (0)20 7873 7393 or email Laurence Cummings William Crotch Professor of Historical Performance
intellectual and physical. Our fruitful registry@ram.ac.uk. Sir Mark Elder Sir John Barbirolli Chair of Conducting
Edward Gardner Sir Charles Mackerras Chair of Conducting
collaborations with The Juilliard School Philippe Herreweghe
and growing relationships with Sibelius Steven Isserlis Marquis de Corberon Visiting Professor of Cello
Academy, Shanghai Conservatory, Trevor Pinnock Principal Conductor, Academy Chamber Orchestra
Christian Thielemann Carl Maria von Weber Visiting Professor of Conducting Nikolaj Znaider
Tokyo Geidai, Glenn Gould School in Robin Ticciati Sir Colin Davis Fellow of Conducting
Toronto and the University of Music and Nikolaj Znaider Viotti Visiting Professor of Music

14 15
 YOUR SUCCESS IS OUR SUCCESS
We’re a world-leading conservatoire – but don’t just take
our word for it. The Academy ranks consistently high in
conservatoire league tables
We are proud to have been awarded a In the National Student Survey 2017,
Gold Rating in the Teaching Excellence which is based on detailed feedback
Framework (TEF), which was created from students on a number of aspects
by the UK government to measure of their learning experience, the
the quality of teaching in higher Academy achieved the highest score
education. We achieved the rating in of all UK conservatoires in overall
2017, and again in 2018. The award is student satisfaction.
now valid for up to three years. The
report states that our students achieve The Academy was also rated as the top
‘consistently outstanding outcomes’, also UK conservatoire both in the Guardian
specifying that the Academy provides University Guide 2018 and the Complete
‘an exceptional range of enrichment University Guide‘s Arts, Drama and Music
activities and external collaborative League Table for 2018.
projects that enhance educational
and professional development’.

Graduation 2018
16 17
RECENT GRADUATES
Our talented alumni excel in every musical discipline and follow
varied and rewarding career paths

Nathaniel Anderson-Frank Alberto Casadei Jason Evans Peter Holder Ksenija Sidorova
Leader, BBC Concert Orchestra Principal Cello, Rotterdam Philharmonic Principal Trumpet, Philharmonia Sub-Organist, Westminster Abbey The ‘princess of the accordion’, signed
Orchestra Orchestra to Deutsche Grammophon
Stephenson Ardern-Sodje Luke Hsu
Currently performing in Hamilton in Allan Clayton Jennifer France Finalist in 2017 Michael Hill International David Stark
the West End Tenor, winner of the RPS Music Awards’ Soprano, made her Royal Opera Violin Competition and 2018 Paganini Associate Principal Double Bass,
Solo Singer Award 2018 debut in 2018 Competition Academy of St Martin in the Fields
Charlotte Ashton
Principal Flute, BBC Scottish Symphony Jacob Collier Christina Gansch Trystan Llŷr Griffiths Luka Šulić
Orchestra Two-times Grammy-winning jazz and Soprano – recent lead roles include Tenor signed to Decca Records Cellist, one half of 2CELLOS
pop multi-instrumentalist at the Opéra National de Paris,
Mary Bevan Miloš SuRie
Royal Opera, Glyndebourne and the
Soprano, Young Artist of the Year at the Lucy Crowe Guitarist described by the Independent Singer and songwriter – represented the
Staatsoper Hamburg
2014 RPS Music Awards Soprano – recent roles include at Royal as ‘not only a magician, but a serious UK in the Eurovision Song Contest 2018
Opera, ENO and Glyndebourne Tom Greenleaves and accomplished musician’
Julian Bliss Adam Walker
Principal Timpani, Leipzig
Solo clarinettist, chamber musician and Iestyn Davies MBE Sam Oladeinde Principal Flute, London Symphony
Gewandhausorchester
jazz artist Countertenor, winner of two Currently performing in Hamilton in Orchestra
Gramophone Awards and a Grammy Benjamin Grosvenor the West End
Laura Bowler Shona White
Solo pianist and Decca recording artist
Composer, director, vocalist, conductor Jonathan Davies Valentina Peleggi Actress, singer, musical theatre star ‘A stellar list of alumni
and Artistic Director of Size Zero Opera Principal Bassoon, London Philharmonic Christopher Hart Mackerras Conducting Fellow, ENO spanning the worlds
Jingzhuo Zhang
Orchestra Principal Trumpet, Royal Scottish
James Buckle Fabian Schäfer Principal Cello, Shanghai Philharmonic of classical and
National Orchestra
Principal Bass Trombone, Philharmonia Kit Downes Solo oboist, Staatskapelle Berlin Orchestra popular music’
Orchestra, Royal Over-Seas League Jazz pianist and ECM recording artist Jonathon Heyward
Annual Music Competition 2017 winner Assistant Conductor, Hallé The Independent
18 19
‘The lively atmosphere and
the healthy curiosity, open
minds and energy of the
students wash away any
cynicism. The future seems
to be in good hands’
Magnus Lindberg, composer STUDENT LIFE
 YOUR FUTURE
Whatever your musical dreams and ambitions, we will help
you make them a reality
Maybe you know what you want to do Jenkins, Daniel Hope), Decca (Benjamin
when you graduate; maybe you want Grosvenor, Martynas Levickis, Trystan Llŷr
to explore as many options as possible Griffiths, Sheku Kanneh-Mason) and Sony
before choosing your path. What is certain (Gabriela Montero, Ashley Henry).
is that you work hard, love performing
and are passionate about music. At the And it’s why alumni such as Sir Simon
Academy you will immerse yourself in Rattle, Edward Gardner, Maxim Vengerov,
music, graduating with the artistic vision Sir Harrison Birtwistle, Lesley Garrett,
and practical skills you’ll need to succeed. Dame Evelyn Glennie, Dame Felicity Lott,
Sir Elton John, Michael Nyman and Annie
Our commitment to preparing students Lennox fill the concert halls, opera houses
for careers at the top of the music and recording studios of the world.
profession is why, according to an
independent Destinations of Leavers
survey published in 2016 by the UK’s ‘The Academy is an
Higher Education Statistics Agency, 100% environment that not only
of Academy graduates who responded
were either working or undertaking
encourages collaboration
‘This building has been further study six months after graduation. and creativity, but also
absolutely at the centre of positivity and a love of
everything that I have done, It’s why our students and graduates music making’
win contracts with major international
everything that I have learnt’ labels including Deutsche Grammophon Angharad Elin Thomas,
Sir Simon Rattle (Miloš Karadaglić, Max Richter, Sir Karl bassoon student
22 23
 INSPIRATIONAL TEACHING
Your professor will be one of the most significant
musical influences of your life. We know how vital it is
to find someone who brings out the very best in you
Academy teachers are leading one-to-one classes, too. The Academy
professional musicians who combine is made up of a close-knit community
active performing careers with the in which the friendly, open-minded
challenge of helping young players, exchange of ideas is always encouraged.
singers and composers to achieve their
musical ambitions. They share not only Our academic staff provide the
their artistic and technical expertise with intellectual background to your
their students, but also practical advice instrumental studies, fuelling your
on how to succeed in the business. curiosity and offering a firm foundation
There’s plenty of inspiration beyond your for your musical development.

‘This institution is so special

precisely because of the
people who study and teach
here. And, in fact, those
who study also teach and
those who teach also learn’
One-to-one lessons
will form the Semyon Bychkov,
foundation of your
musical learning conductor
25
 LEARN BY PERFORMING
The only way to find your individual voice as a musician is to
perform. That’s why concerts are a way of life at the Academy
Students are involved in nearly 500 conductors include Semyon Bychkov,
events a year, from intimate solo and Christian Thielemann, Trevor Pinnock,
chamber performances to orchestral Sir Mark Elder and Edward Gardner.
concerts, staged operas, musicals and We invite members of the world’s top
festivals. Our busy performance schedule orchestras to lead sectional rehearsals,
provides plenty of opportunities for and students participate in side-by-
students to gain ensemble experience side schemes with orchestras including
and to perform publicly, not only in the London Symphony Orchestra,
our own performance spaces but also Philharmonia Orchestra, London
in world-famous London venues such Sinfonietta and Czech Philharmonic.
as the Royal Albert Hall, Royal Festival Jazz students have performed at the
Hall and Wigmore Hall. EFG London Jazz Festival, and our
Musical Theatre and Royal Academy
The Academy’s orchestras and ensembles, Opera productions are fully staged and
which include the Symphony Orchestra, directed by well-known artists at the
Manson Ensemble (contemporary peak of their careers.
music), String Orchestra, Jazz Big Band,
Symphonic Wind and Brass Ensembles, We offer plenty of support to prepare
‘The Royal Academy seems and the Academy Baroque Orchestra and you for a career as a performer.
to me an inspiring and Becket Ensemble (Classical instruments), Alongside your individual learning
enchanted institution’ cover a huge breadth of repertoire. you will take part in practical classes
covering topics including stagecraft and
Bruno Monsaingeon, And you’ll be working with the very how to handle performance anxiety.
film-maker and writer best in the business. Regular guest

27
PROFESSIONAL SKILLS OUR FACILITIES
It takes more than being a superb performer to make a life ‘The Royal Academy The Academy’s buildings combine historic elegance with
in music – you will need to develop many other personal, of Music’s teaching is contemporary architecture and cutting-edge technology
practical and technical skills. With our resources we can offer outstanding. So is the Most of your studies will take place in STUDENTS ALSO BENEFIT FROM:
you the best chance to succeed in your chosen career value it adds ... it rolls our striking Edwardian building, which • outstanding teaching and
out musicians who are dates from 1911, and a Regency terrace practice studios and rehearsal
PROFESSIONAL DEVELOPMENT production suite at the heart of
highly employable’ designed by John Nash in the 1820s. and lecture rooms
Our professional development provision its audiovisual operation. Each
• further practice studios in our
is an integral part of your degree course of our performance venues has
The Guardian Our main performance spaces are custom-built suite at Cross Keys
and helps to foster your resilience broadcast-quality microphones and
Duke’s Hall, our flagship 350-seat Close, a short walk away
and self-reliance. We offer individual cameras connected to the latest
concert venue; the David Josefowitz • use of nearby St Mark’s Church
guidance in tandem with events, consoles and workstations. Students Academy groups also have a proud
Recital Hall, which was built in 2001; • dedicated professional
lectures and seminars. Practical topics can use these professional cameras and discography dating back 20 years, with
and the fabulous new Susie Sainsbury recording services
covered include the preparation of microphones, free of charge, through an our recordings regularly praised in the
Theatre and Angela Burgess Recital • a well-equipped library
industry-standard CVs and promotional innovative iPad remote-control system. mainstream press. You will have the
Hall, which opened in spring 2018. • our museum, which hosts
material, social media, starting and These ‘unattended’ recording sessions chance to be part of this legacy.
regular research events
running ensembles, entrepreneurial are available in all our performance
and includes on-site
skills and strategies for turning your venues during term time.
‘The world-class teaching instrument workshops
individual skills into a sustainable career.
and the wonderful halls • an excellent canteen serving
We also hold showcases and industry In addition, students can book ‘attended’
healthy and affordable meals
panel events to help you meet the right sessions with an engineer for projects and recording facilities • Academy Chimes shop,
people and find the exposure you need involving editing, mixing and post- have all helped to make my a convenient source for music,
early on in your career. production. Typically these are held
years at the Academy as accessories and more
at St Mark’s, a former church building
RECORDING FACILITIES equipped with state-of-the-art recording productive and valuable
As part of the Susie Sainsbury Theatre equipment, 10 minutes’ walk from as I could have hoped for’
and Angela Burgess Recital Hall project the main building.
(page 30), the Academy has a new Yehuda Inbar, piano student
29
 NEW SPACES
You will have the opportunity
to perform in our state-of-
the-art theatre and recital hall
The Susie Sainsbury Theatre and
Angela Burgess Recital Hall opened in
early 2018, following one of the most
ambitious building and renovation
projects in the history of the Academy.
The new spaces have won two RIBA
awards (London Building of the Year
and a National Award) as well as an
RICS Tourism and Leisure Award.

The 309-seat theatre and 100-seat

rooftop recital hall include professional-
standard recording facilities and the
very latest in new technologies,
‘A superbly rebuilt and ensuring that they will continue to be
enlarged theatre, beautifully fit for purpose long into the future.
These new spaces, together with 14
finished in cherry wood, refurbished practice and dressing rooms,
not unlike Glyndebourne a large refurbished jazz room, five new
inside and blessed with percussion studios and a new control
excellent acoustics’ suite for the audiovisual recordings
department, have significantly enhanced
The Times Susie Sainsbury Theatre the Academy’s facilities. Angela Burgess Recital Hall
30 31
 ‘Among the many wonderful
things that the Royal LIBRARY MUSEUM
Academy represents is The Academy’s library is well equipped for students and The Academy Museum gives students access to superb
an absolutely necessary also holds historical collections of international significance, historic and modern instruments from its collections, as well
combination of tradition on making it a recognised centre for research as an illuminating archive of important musical materials
the one hand and striving
for the development of The library contains over 200,000 for access to the University of London Since its foundation in 1822 the Academy great figures including Yehudi Menuhin,
items, covering materials for the Library and the British Library. has acquired important collections of Robert Spencer, Harriet Cohen, David
new ways on the other’ Munrow and Henry Wood. These
day-to-day lessons and music making musical instruments. These include fine
Daniel Barenboim of undergraduate and postgraduate IT SERVICES stringed instruments by Stradivari and extensive archives offer students, staff
students, and also remarkable Technology plays a vital role in Amati, and others of the French, German and members of the public unique
collections of performance materials – supporting your studies. Our drop-in and Dutch schools from the Becket insights into the creative processes of
16th-century lute books in the Robert IT Service Desk will help you set up and Rutson Collections. In recent years great musicians, as well as informing
Spencer Collection, autograph your email account, connect to wifi and we have been building up the unique our knowledge of performance practice.
manuscripts by Purcell, Sullivan, access our range of services. You will Calleva Collection, commissioning
Vaughan Williams, Kenny Wheeler be able to get Office 365 for free on stringed instruments from today’s finest There is a practice space in the gallery,
and other leading composers, and your devices and book practice rooms luthiers. Students may be offered the giving students an opportunity to
marked scores and parts from the from your phone between classes. We use of many of these instruments, rehearse with an informal audience,
collections of Henry Wood, Nadia also have a number of computer suites, providing an important boost to their try out new repertoire and interact
Boulanger, John Barbirolli, Yehudi where you can access the internet, print musical development. with visitors. Classes, seminars and
Menuhin, Otto Klemperer and documents and use specialist music events also often take place in the ‘I was privileged to borrow
Charles Mackerras. software including Sibelius, which is Our museum displays some of these galleries, which adds a different the Academy’s 1718 “Maurin”
also available from home. instruments, including historic keyboards dimension to students’ learning.
by Broadwood, Pleyel and Érard,
Stradivari, which enabled me
The Orchestral Library has approximately
4,000 sets of parts, constantly and the Spencer Collection of lutes Students can also apply to become to access a wider range of
augmented with new acquisitions. and guitars. The Academy also holds gallery assistants, which is a paid expression and colours’
Important research collections include important collections of art, scores, opportunity designed to fit around
the libraries of Sir Henry Wood and Otto performance materials, manuscripts their studies. Clare Howick,
Klemperer. Students can also apply and other objects which belonged to violinist and alumna
32 33
 RESILIENCE AND SUPPORT
The wellbeing of our students is critical. We want you to make the most of your time here
and establish good habits that will help you throughout your career
All aspects of our programmes are that will help you frame your career, range of medical specialists through
designed to develop your ability to thrive from entrepreneurial skills and forging our uniquely close relationship with the
in the music profession and sustain your professional identity to maintaining charity Help Musicians UK.
your wellbeing through a lifetime in a healthy, balanced lifestyle and dealing
music. We have a strong network of with the pressures that inevitably arise. Students with an impairment or specific
experienced staff to help you through learning difficulty can get practical
your studies and we dedicate significant SPECIAL SUPPORT support – including assistance with
resources to this area. If things get tough it’s important to know funding applications, where relevant –
where to turn. This may be your teacher from our Disability Advisor. We also have
Your Programme Tutor and Principal or Programme Tutor, but there are also an Additional Support Tutor, who can
Study Teacher will be the primary trained counsellors (male and female) arrange specialist tuition and work with
contacts in your studies and your first whose doors are always open to talk you to develop strategies that will help
ports of call for advice and guidance. about any aspect of your life and address your musical learning.
They are supported by your Head of problems, small or large. They will also
Department and Head of Programme, be able to refer you to specialist external Our specialist English Language Support
and by the Deputy Principals and resources as appropriate. Tutors can help all international students
Principal, all of whom take a close improve their communication skills.
interest in the quality of your experience We believe in a preventative approach to Some students will be invited to attend
at the Academy. performance-related injury by teaching an English Language Welcome Week
excellent technique and providing a before the start of the academic year.
We know how vital it is to nurture the range of therapeutic disciplines including We provide weekly language classes for
person as much as the musician. In each Alexander Technique, physiotherapy, students who need regular assistance,
of our programmes regular time is set pilates and yoga. If physical issues arise, and a Help Desk for those who require
aside to focus on the practical things we can facilitate access to a broad language support for their written work.

34 35
 STUDENTS’ UNION
Living and studying in London is an experience unlike any
other, and for musicians the opportunities are endless. And
there’s plenty going on within the walls of the Academy, too…
Our Students’ Union (SU) is central to Working alongside the Students’
all aspects of life at the Academy. Every Union President are four student
enrolled student is a member of the SU representatives – an undergraduate
and can get involved on many levels. rep, a postgraduate rep, a welfare rep
and a societies and events rep. Your
We start the year with Freshers’ Week, SU team works together to ensure
with other social highlights including that students’ voices are represented
the Christmas Party, the Film Orchestra at all levels of the Academy. The
and the Summer Ball. The bar and SU President attends all boards and
canteen areas are ideal locations for committees to make sure concerns
our regular jazz jams and soul nights, ranging from courses to facilities are
with pub quizzes and film nights also heard, and to create the best possible
taking place throughout the year. environment for students. Additionally,
We have very active male and female students have the opportunity to
football teams and regular SU yoga address staff members directly at
sessions. As a constituent college of committees such as the Student-Staff
the University of London we also Liaison Committee.
‘The Academy exudes a have access to hundreds of different
cosmopolitan confidence societies and clubs.
in tune with the global
classical music business’
The Guardian
37
 LOVE LONDON
The Academy is in the heart
of one of the most exciting
cities in the world

London is one of the most vibrant, Street, the many theatres of the West End
cosmopolitan, eclectic, exciting, historic and the diverse bars of Soho. It’s also easy
and beautiful cities in the world, and to enjoy the unique offerings of Camden
‘Moving to a new country the Academy is situated right in its Market and the buzz of the South Bank, a
centre. It’s a great place to be a student hub of culture and creativity.
was daunting, but I and an inspiring place to study music.
needn’t have worried – It’s for all of these reasons, and more,
the atmosphere at the On any day of the week you can hear that London took the top spot in the
Academy is very friendly some of the world’s best soloists, bands, most recent Student City Rankings by
orchestras and singers in venues across university experts QS (May 2018). The
and welcoming. I spent the city – many with your student criteria included student experience,
Freshers’ Week making discount. And if you’re looking for job prospects and friendliness to
friends and getting as creative inspiration of a different kind, international students.
much advice as I could there are countless theatres, galleries,
clubs, bars, parks and museums to visit. Whatever your passions and interests,
from staff and students’ in London you will find somewhere to
Lucie Chabard, Within walking distance of the Academy enjoy them and people with whom
are Regent’s Park, Wigmore Hall, Oxford to share them.
harpsichord student Regent’s Park Camden Market West End

38 39
ACCOMMODATION SCHOLARSHIPS AND BURSARIES
The sheer size of London can make moving here seem a Our alumni and friends
daunting prospect. We can help you find the right place to live contribute generously each
Our Estates Department is uniquely International Students House
year to provide financial
equipped to help students and (ISH) – this charity offers affordable support to students like you
prospective students with a wide range accommodation for students from a
In fact, about a third of all scholarship
of accommodation, including: variety of universities and institutions.
funds awarded by the Academy come
ISH is located on Great Portland Street,
from donations. Every effort is made
Marylebone Flats – 12 self-catered flats very close to the Academy.
to increase the amount available to
leased by the Academy and sublet on a
students each year.
per-room basis to students. They are just There are also other private halls of
five minutes’ walk from the Academy and residence across London, as well as
Entrance Scholarships (except for Gap
provide space for 34 students. hostels, lodgings, homestays and
Year and Year Abroad Programmes) are
house shares. Our guides to
merit based and are awarded following
University of London Intercollegiate accommodation are available online
a live audition in the UK or at one of our
Halls – the largest community of at www.ram.ac.uk/accommodation.
overseas audition centres (see page 95).
Academy students live together in UoL’s
Nutford House, which is within walking All current and future Academy
FINANCIAL HARDSHIP
distance of the Academy. students are eligible for free
Students who are suffering financial
advice and guidance on private
University of London Student Homes – accommodation and house hunting
hardship during their time at the ‘Every time I attend an
Academy can apply for help through opera, Lieder recital or other
these are houses or flats sourced by from the University of London
the Deputy Principal and Dean’s office.
the University of London from private Housing Services (ULHS). They musical event I feel that my
landlords in areas within 30 minutes have a large database of available decision [to contribute] was
of the Academy. They can range in accommodation – both whole
size from four to eight bedrooms, with properties and individual rooms.
absolutely the right one’
shared living spaces. Paul Duffy, donor
40 41
‘The Royal Academy
is an institution that is
internationally known
and recognised as
representing the highest
values of music and
musical society’
Daniel Barenboim OUR DEPARTMENTS
 ACCORDION
HEAD OF ACCORDION Tel: +44 (0)20 7873 7380
OWEN MURRAY Email: accordion@ram.ac.uk
Administrator: Karen Ingram Web: www.ram.ac.uk/accordion
‘I consider all of my students
to be unique, and it is that VISITING PROFESSORS VISITING PROFESSOR The Royal Academy of Music was the
OF ACCORDION OF BANDONEON
very uniqueness that I strive Friedrich Lips Mario Stefano first British conservatoire to introduce
Cao Xiaoqing Pietrodarchi
to develop. A copy, no matter teaching for the classical accordion
how good, is worthless; the Since it was founded in 1986, the Accordion
original is priceless’ Department has been a pioneering force,
developing new repertoire and producing some
Owen Murray, of the world’s most successful accordion players.
Head of Accordion Our focused, friendly community is led by the
Head of Accordion, Owen Murray, himself a
celebrated performer, dedicated teacher, recording
artist and international soloist with experience in
all aspects of accordion performance.

Students and professors work together in a

lively and creative environment. As part of your
programme you will perform solo repertoire, hone
technical skills, form chamber music ensembles
and connect to the wider musical world.

The accordion is thoroughly integrated into the

life and work of the Academy. Our undergraduate
and postgraduate students enjoy countless
collaborations with Academy composers and
performers of other instruments.
Visiting professor Mario Stefano Pietrodarchi
teaches a one-to-one lesson
45
 BRASS
ARTISTIC DIRECTOR AND Tel: +44 (0)20 7873 7320
HEAD OF BRASS Email: brass@ram.ac.uk
MARK DAVID Web: www.ram.ac.uk/brass
Administrator: Alice Kelley

INTERNATIONAL Richard Watkins Bob Hughes The Academy’s Brass Department

VISITING PROFESSORS Dennis Brain Chair bass trombone
Horn Katy Woolley Keith McNicoll is one of the premier conservatoire
Radovan Vlatković bass and
Trumpet contrabass trombone departments in the world, with recent
Trumpet Paul Beniston Mark Templeton alumni performing in top ensembles
Eric Aubier Mark David Head of Brass tenor trombone
Reinhold Friedrich Robert Farley Adam Woolf and holding principal orchestral
natural trumpet, cornetto sackbut, early trombone
Trombone John Hutchins positions both in the UK and abroad
Jörgen van Rijen natural trumpet, Tuba
BMus Tutor Patrick Harrild We offer individual lessons with our team of
SENIOR TUTOR Mike Lovatt Derek Watkins distinguished professors and visiting professors,
OF BRASS Chair of Trumpet Euphonium and
Bob Hughes Will O’Sullivan Bass Trumpet who are active at the highest professional level,
Gareth Small James Maynard an unparalleled range of masterclasses with the
PROFESSORS many internationally renowned artists who visit
Horn Trombone Serpent and
Roger Montgomery Ian Bousfield Ophicleide regularly, and a rich orchestral and chamber
natural horn tenor trombone Stephen Wick music programme.
Martin Owen Dudley Bright
‘Working with such Michael Thompson tenor trombone ENSEMBLE IN
As well as receiving the essential musical and
talented and motivated Aubrey Brain Chair Matthew Gee RESIDENCE
tenor trombone Septura technical grounding in the core repertoire, our
students makes my role at undergraduate and postgraduate students take
the Academy an exciting, advantage of a wide range of performance
challenging and fulfilling opportunities. Collaborations with prestigious
venues across London, partnerships with
one. Seeing them achieve orchestras, and competitions – both internal
the success they deserve is and external – will help you make the most of
a rewarding experience’ your time at the Academy and prepare you for
a fulfilling career in music.
Mark David, Head of Brass
47
 HEAD OF CHORAL CONDUCTING
PATRICK RUSSILL
Tel: +44 (0)20 7873 7405
Email: choralconducting@ram.ac.uk CHORAL
Administrator: Sam Batchelor Web:
www.ram.ac.uk/choralconducting CONDUCTING
VISITING TEACHING STAFF Sian Edwards The Academy’s two-year Choral
PROFESSORS Alexander Ashworth Symphonic Repertoire
Roland Börger Vocal Technique and Skills Conducting Programme is the UK’s
David Hill Paul Brough Technique Cathal Garvey
James O’Donnell and Interpretation Baton Technique longest-established specialist course
Performance Classes Esther Jones Pedagogy in conducting for choirs
Ruth Byrchmore Patrick Russill
Aural Skills Head of Choral Conducting
The programme covers a wide range of sacred
music for both concert and liturgical events, as
well as selected secular repertoire. With expertise
in conducting, rehearsal and baton technique,
choral music, vocal technique and aural skills, our
professors will equip you with all the necessary
skills for an active and diverse career.

The Academy’s location in the centre of London,

at the heart of the British choral tradition, provides
an enviable learning environment and enables us
‘My role is to draw students to collaborate closely with leading professional,
both into the modern amateur and collegiate choirs.

realities of the choral We offer Principal Study Choral Conducting at

conducting profession and postgraduate level only. At undergraduate level it
the rich British traditions is offered as an optional choir-training class, but
of choral musicianship’ not as Principal Study.

Patrick Russill,
Head of Choral Conducting
49
 HEAD OF COMPOSITION
PROF PHILIP CASHIAN
Tel: +44 (0)20 7873 7379
Email: composition@ram.ac.uk COMPOSITION AND
Administrator and Project Manager:
Emily Mould
Web: www.ram.ac.uk/composition
CONTEMPORARY MUSIC
VISITING PROFESSORS Dr Edmund Finnis Dr Patrick Nunn Composition at the Academy centres
Sir Harrison Birtwistle Helen Grime Techniques of Composition
Tod Machover Morgan Hayes on intensive project-based and highly
James Newton Howard David Sawer HONORARY
Andrew Norman RESEARCH FELLOWS collaborative degree programmes.
Bent Sørensen SUPPORTING STUDIES Dr Tansy Davies Composers have a wide range of
Òscar Colomina Bosch Huw Watkins
PROFESSORS Orchestration and opportunities for performance and
Dr Rubens Askenar Conducting
Christopher Austin Philip Dawson recording in different creative contexts
Prof Simon Bainbridge Creative Technology
Gary Carpenter Paul Morley Our undergraduate programme is shaped to
Prof Philip Cashian Music and give you a strong foundation in compositional
Head of Composition Contemporary Culture
technique, whether your interests lie in writing for
concert, media and film, staged productions or
electronic music.

At postgraduate level our demanding programmes

comprise a full schedule of project work, including
workshops, performances and recordings of student
‘As a regularly performed and compositions. Over the last year the Composition
commissioned composer, Department has staged at least 20 concerts of new
I am acutely aware of the works, both inside and outside the Academy.
importance of training our
Both programmes are taught by dedicated teachers
students to be able to get and active composers who are engaged in a broad
work after they leave’ range of compositional activities. Our collaborative
environment will allow you to develop your individual
Prof Philip Cashian,
Students have the opportunity to with such respected style and musical personality.
composers as Sir Harrison Birtwistle Head of Composition
51
 CONDUCTING
HEAD OF CONDUCTING Tel: +44 (0)20 7873 7405
SIAN EDWARDS Email: conducting@ram.ac.uk
Administrator: Sam Batchelor Web: www.ram.ac.uk/conducting

TEACHING STAFF Prof Raymond Holden Colin Metters The Academy’s postgraduate
Ruth Byrchmore Contextual Studies in Professor Emeritus
Aural Training and Performance Practice and of Conducting Conducting Programme is recognised
Musicianship Performance History Patrick Russill
Sian Edwards Choral Repertoire and Skills as one of the foremost in the world,
Head of Conducting with students regularly being coached
by leading conductors
Focusing on a small, high-quality intake, we are able
to offer students many opportunities to rehearse
and perform in different settings, from two-piano
workshops and intimate chamber ensembles to full
symphony orchestra. The environment is friendly,
collaborative and focused.

The programme begins with technical and rehearsal

skills, followed by opportunities to integrate your
work into other departments including early music
performance, opera, contemporary music, and
education and outreach.
‘Working with the students
We offer a two-year course of Principal Study
from the Royal Academy Conducting at postgraduate level. At undergraduate
of Music is an absolute level you can study conducting either in
delight! They are so introductory classes or, if you wish to pursue it to a
prepared and passionate’ high level, as an intermediate or advanced elective.

Marin Alsop
52 53
 GUITAR
HEAD OF GUITAR Tel: +44 (0)20 7873 7320
MICHAEL LEWIN Email: guitar@ram.ac.uk
Administrator: Alice Kelley Web: www.ram.ac.uk/guitar

VISITING PROFESSORS CONSULTANT The Academy has established itself

PROFESSORS Christoph Denoth Julian Bream
David Russell voice and guitar as a leading international centre for
John Williams Stephen Goss
Fabio Zanon Guitar Ensembles the study of the classical guitar at
Michael Lewin undergraduate and postgraduate levels
Head of Guitar
Timothy Walker
voice and guitar Our comprehensive curriculum and unique
musicological resources help students to reach
the highest standards as soloists, ensemble players
and teachers. The expertise of the department
covers every aspect of guitar performance, from
the concert platform to the theatre, ballet, opera
house and recording studio, as well as specialisms
in the main historical periods.

You will take part in masterclasses, lectures

and concerts with distinguished visiting artists,
‘Michael [Lewin] was luthiers and composers. The promotion of
incredible because he never student compositions for the guitar also forms
an integral part of the department’s work.
stopped me from expressing
myself the way I wanted to, The Academy is the custodian of the Spencer
but he always helped me Collection, which includes important lutes,
express myself better’ guitars, printed books and manuscripts.

Miloš Karadaglić, alumnus

Distinguished classical guitarist
David Russell shares his expertise and President of Alumni
55
 HARP
HEAD OF HARP Tel: +44 (0)20 7873 7380
KAREN VAUGHAN Email: harp@ram.ac.uk
Administrator: Karen Ingram Web: www.ram.ac.uk/harp

VISITING PROFESSORS VISITING PROFESSOR Charlotte Seale The Harp Department is a tight-knit,
OF HARP OF JAZZ HARP LRAM Teaching Diploma
Milda Agazarian Park Stickney Helen Tunstall thriving community, with students
Catrin Finch Contemporary Music
Isabelle Moretti PROFESSORS Studies and professors working together in
Isabelle Perrin Sue Blair Orchestral Tutor Karen Vaughan a supportive environment
Erika Waardenburg Prof Skaila Kanga Head of Harp,
Professor Emerita of Harp Orchestral Studies
Frances Kelly early harp Catherine White Teaching at undergraduate and postgraduate level
Alison Martin Opera Tutor Sight-reading Tutor covers solo, concerto and chamber repertoire and
all aspects of orchestral playing. From Baroque to
jazz, our harpists are trained to take on anything
the music profession requires.

The harp is thoroughly integrated into the

life and work of the Academy, with students
collaborating regularly with composers and
other instrumentalists, and new works being
commissioned every year by the Harp Department.
Our professors include celebrated performers and
recording artists. You will have the opportunity
‘I had four amazing years to work with specialists in orchestral and
here and inspirational contemporary repertoire, early harp, jazz and opera
teachers who led and guided as well as distinguished visiting professors.
me. The standard of playing
Academy harpists have won prizes in international
now is inspiring’ competitions and many alumni hold orchestral and
Catrin Finch, alumna and teaching positions worldwide.

Visiting Professor
56 57
 HEAD OF HISTORICAL
PERFORMANCE
Tel: +44 (0)20 7873 7379
Email: historical@ram.ac.uk HISTORICAL
‘The Academy is a fascinating
PROF MARGARET FAULTLESS
Administrator and Project Manager: Emily Mould
Web: www.ram.ac.uk/historical
PERFORMANCE
and stimulating musical MICAELA COMBERTI Prof Margaret Faultless Flute Academy graduates permeate the
CHAIR OF violin, Head of Lisa Beznosiuk
environment – each student BAROQUE VIOLIN Historical Performance current generation of professional
Rachel Podger Elizabeth Kenny Oboe
brings his or her own lute, theorbo Katharina Spreckelsen historical performance specialists
inspirational musicianship, WILLIAM CROTCH Jonathan Manson
CHAIR cello, viola da gamba Clarinet The Historical Performance Department will
challenging questions and Laurence Cummings Nicolette Moonen Eric Hoeprich foster your musicianship, instrumental technique
harpsichord, basso violin, viola
astute observations’ continuo Chi-chi Nwanoku Bassoon and unique creativity, as well as developing your
double bass Andrew Watts understanding of historical performance practice.
Prof Margaret Faultless, Head VISITING PROFESSORS Simon Standage violin Our undergraduate and postgraduate students
Viola Matthew Truscott violin Brass
of Historical Performance Jane Rogers Robert Farley work with world-class professors and study a
Keyboard natural trumpet, cornetto wide range of repertoire, including other relevant
Recorder Carole Cerasi John Hutchins disciplines such as dance and continuo. Recorder
Daniel Brüggen harpsichord, fortepiano natural trumpet
Peter Holtslag Pawel Siwczak Roger Montgomery players also explore contemporary repertoire and
harpsichord, basso natural horn techniques, often working with young composers.
PROFESSORS continuo Stephen Wick Students are encouraged to develop their own
Strings serpent, ophicleide
Pavlo Beznosiuk Recorder Adam Woolf ventures in a friendly and collaborative atmosphere.
violin, viola Anna Stegmann sackbut, early trombone
Pamela Thorby Performance opportunities range from the major
Bach series, the Haydn symphony series, opera,
Philippe Herreweghe orchestral projects, chamber music, consort playing
and many external concerts, providing you with
invaluable experience as a professional musician.

59
 JAZZ
HEAD OF JAZZ Tel: +44 (0)20 7873 7379
NICK SMART Email: jazz@ram.ac.uk
Administrator and Project Manager: Web: www.ram.ac.uk/jazz
Emily Mould

JAZZ ARTIST Piano Voice Since our Jazz Programme started

IN RESIDENCE Tom Cawley Pete Churchill
Dave Holland Aural and Transcription Nia Lynn 30 years ago, we have produced an
Kit Downes Norma Winstone
VISITING PROFESSOR Nikki Iles outstanding array of versatile, creative
Chris Potter Liam Noble Rhythmic Skills and employable jazz musicians
Gwilym Simcock Barak Schmool
PROFESSORS
Bass Saxophone Composition and We support students to find their unique creative
(Electric/Acoustic) James Allsopp Arranging voice, which will speak equally across performance,
Jeremy Brown Iain Ballamy Pete Churchill improvisation and composition. We do this through
Laurence Cottle Tim Garland
Tom Herbert Gareth Lockrane Creative Technology full and varied undergraduate and postgraduate
Jasper Høiby Andy Panayi Aram Zarikian programmes that cover many aspects and forms
Michael Janisch Julian Siegel of jazz and its meeting points with other genres.
Martin Speake Repertoire/
Drum Kit Stan Sulzmann Improvisation
Martin France Tom Cawley The Jazz Programme is taught by an outstanding
Ian Thomas Trombone Pete Churchill faculty of musicians and teachers whose experience
Jeff Williams Mark Bassey Gareth Lockrane
Gordon Campbell Nick Smart covers the breadth of contemporary jazz practice.
Guitar Barnaby Dickinson Martin Speake We foster an encouraging environment in which
Chris Montague Trevor Mires to learn and experiment with this extremely broad
Mike Outram Mark Nightingale Jazz Supporting
John Parricelli Studies art form, equipping you with all the skills you’ll
Mike Walker Trumpet Nikki Iles need as a working musician. Thanks to the scale,
Steve Fishwick focus and personal approach of our training,
‘The Royal Academy of Jazz History/ Mike Lovatt
students get frequent performance opportunities.
Critical Listening Nick Smart Head of Jazz
Music’s big band … showed Keith Nichols Our regular ensemble projects and annual
Mark Racz Vibes Jazz Festival offer students the chance to work
the class of the emerging Alyn Shipton Jim Hart
intensively with some of the finest jazz players
jazz generation’ Martin Speake Anthony Kerr
and composers in the world.
The Guardian
61
 MUSICAL THEATRE
HEAD OF MUSICAL THEATRE Tel: +44 (0)20 7873 7483
DANIEL BOWLING Email: mth@ram.ac.uk
Company Manager: Katie Blumenblatt Web: www.ram.ac.uk/mth
Events Manager: Gillian Schofield

VISITING PROFESSOR Matt Ryan Project Director REPERTOIRE Hone your skills and prepare for
OF MUSICAL THEATRE Anne-Marie Speed COACHES
Claude-Michel Head of Voice, Kevin Amos a career in professional musical
Schönberg Spoken Word Tom Brady
Karl Stevens Dance Alfonso Casado Trigo theatre with our specialist one-year
SONDHEIM Milo Twomey Ron Crocker postgraduate programme
PROFESSOR OF Acting Through Song Caroline Humphris
MUSICAL THEATRE Lloyd Wylde Voice Sam Kenyon
VOCAL STUDIES Stuart Morley Rigorous conservatoire training will give you an
Mary Hammond SINGING TEACHERS in-depth understanding of the profession and equip
Ross Campbell PANEL OF ADVISERS you with the skills you need to succeed. We provide
TEACHING STAFF Kevin Fountain Pippa Ailion MBE
Dylan Brown Acting Alison Guill John Caird a direct link to the industry by combining daily class
Josh Darcy Improvisation Ann James Chrissie Cartwright work, project work and one-to-one tuition with
Ryan Gover Tap Mary King Sir Trevor Nunn opportunities to perform for experts and influencers.
George Hall James Spilling Matt Ryan
Project Director,
History of Musical Theatre MUSICAL DIRECTOR VISITING THEATRE The Musical Theatre Department functions as a
Sam Kenyon PROGRAMME TUTORS DIRECTORS, MUSICAL theatre company. The schedule is packed with
LRAM Teaching Diploma Daniel Bowling DIRECTORS AND
Olga Masleinnikova Nick Skilbeck SPECIALISTS classes, with a typical working week running from
‘Such was the superlative Devising and Movement Mark Warman See www.ram.ac.uk/ 9am to 7pm daily, sometimes including weekend
quality of the production, for Actors David White mth for recent visitors work. We offer Principal Study in two areas – an
the esteemed reputation MA in Performance (Musical Theatre) and an MA
in Musical Direction and Coaching.
of the company, and the
ensemble nature of 2017-18 students and recent alumni have already
the show, that it was a been cast in productions including Hamilton in
genuine challenge to single the West End, Les Misérables in London and on
tour in the UK and US, and the UK tours of Miss
out individuals for praise’ Saigon and Beautiful.
Musical Theatre Review
63
 OPERA
DIRECTOR OF OPERA Tel: +44 (0)20 7873 7383
GARETH HANCOCK Email: opera@ram.ac.uk
Company Manager: Michael Wardell Web: www.ram.ac.uk/opera
Assistant Company Manager: Amy Lindsay-Parker

FELIX MENDELSSOHN Ingrid Surgenor MBE OPERA COACHES Royal Academy Opera (RAO) prepares
EMERITUS Principal Operatic Coach Alexander Crowe
PROFESSOR OF David Gowland exceptionally talented opera singers
MUSIC PROFESSORS Iain Ledingham
Prof Jane Glover OF SINGING Steven Maughan for careers on the world’s most
Alexander Ashworth Michael Pollock prestigious stages
VISITING Catherine Benson Susanna Stranders
PROFESSORS Richard Berkeley-Steele
John Mark Ainsley Michael Chance STAGECRAFT RAO functions as a small opera company and
Sir Thomas Allen Raymond Connell AND LANGUAGES a bridge to the profession. The two-year
Barbara Bonney Ryland Davies Ludmilla Andrew Russian postgraduate programme*, which includes
Susan Bullock Marjorie Philip Doghan David Antrobus Acting
Thomas Visiting Professor Nuccia Focile Maria Cleva Italian unrivalled performance experience, is for advanced
Simon Keenlyside Andrew Foster-Williams Florence Daguerre singers with the potential and aspiration to succeed
Angelika Kirchschlager Glenville Hargreaves de Hureaux French as principals at the highest levels. Generous
Anthony Legge Sir Arthur Yvonne Howard Mandy Demetriou
Sullivan Visiting Professor Caitlin Hulcup Movement bursaries are available for RAO students.
Dame Felicity Lott Mary Nelson Johanna Mayr German
Ann Murray Kate Paterson Victoria Newlyn Our highly focused study environment includes
‘The standard of Dennis O’Neill Head of Vocal Studies Movement
Brindley Sherratt Elizabeth Ritchie Isabella Radcliffe Italian one-to-one tuition, group classes and opera
performances is absolutely John Shirley-Quirk Professor Giles Underwood scenes, as well as three fully staged productions
amazing – not just the Marie Vassiliou per year, which are regularly attended by
PRINCIPAL STUDY Sarah Walker
singing but the acting, PROFESSORS Lillian Watson representatives from opera companies, artist
Gareth Hancock Mark Wilde agencies and the national press.
the stagecraft, the whole Director of Opera Prof Mark Wildman
bundle. Royal Academy Jonathan Papp Henry Cummings
You will work closely with distinguished in-house
Principal Operatic Coach Distinguished Professor
Opera students are being Kate Paterson of Singing professors and pre-eminent international visiting
Head of Vocal Studies Catherine Wyn-Rogers artists, and will also benefit from acting and
given everything they need Philip Sunderland
movement classes, language coaching and classes
to succeed’ Head of Preparatory and
Vocal Faculty Opera in many other areas of professional development.
Dame Felicity Lott DBE *For undergraduate training see Vocal Studies (page 74)

64 65
 ORGAN
HEAD OF ORGAN Tel: +44 (0)20 7873 7405
PROF DAVID TITTERINGTON Email: organ@ram.ac.uk
Administrator: Sam Batchelor Web: www.ram.ac.uk/organ

VISITING PROFESSORS William McVicker As an undergraduate or postgraduate

PROFESSORS Bine Bryndorf Organology
Franz Danksagmüller Prof David Titterington Anne Marsden Thomas student in the Organ Department, you
Susan Landale Head of Organ Art of Teaching
E Power Biggs Professor Gerard Brooks Alexander Walker will learn with distinguished soloists,
Emerita Improvisation Specialist Keyboard holders of prestigious cathedral posts
James O’Donnell Anne Page harmonium and Aural Skills
and dedicated teachers
Programmes for learning the crucial aspects
of playing range from solo repertoire in a wide
variety of styles to improvisation, harmonium and
organology. Frequent performance opportunities
are complemented by study trips abroad to play
important historic instruments. Many of our
organists hold cathedral or church positions that
enhance their studies with real-world experience.

‘I am passionate about The Academy has two dedicated organ teaching

organists learning to and practice rooms with mechanical-action
immerse themselves in instruments, and daily access to our main teaching
repertoire beyond the instrument, the four-manual classical organ by
Rieger in St Marylebone Parish Church. In 2013 a
familiar and comfortable, three-manual symphonic organ built by Orgelbau
and collaborating with Kuhn was installed in Duke’s Hall, with generous
other Academy departments’ support from Sir Elton John and Ray Cooper.
We also own a rare 1763 Neapolitan organ by
Prof David Titterington, Michelangelo and Carlo Sanarica, which is housed
Head of Organ in nearby St Mark’s Church.
66 67
My aim is to encourage
PIANO
HEAD OF PIANO Tel: +44 (0)20 7873 7405
PROF JOANNA Email: piano@ram.ac.uk
young pianists to think MACGREGOR OBE
Administrator: Sam Batchelor
Web: www.ram.ac.uk/piano

creatively, be daring, and

create opportunities
VISITING PROFESSORS PIANO Led by the internationally renowned
PROFESSORS Sulamita Aronovsky ACCOMPANIMENT
for themselves’ Adrian Brendel Prof Christopher Elton AND ENSEMBLE pianist Joanna MacGregor, the
Chamber Music Professor Emeritus of Piano COACHING
Imogen Cooper William Fong Prof Michael Dussek Academy’s innovative Piano Department
Prof Joanna MacGregor OBE, Pascal Devoyon Ian Fountain Head of Piano will help you to find your artistic identity,
Head of Piano Broadwood Visiting Chair Rustem Hayroudinoff Accompaniment
of Piano Diana Ketler John Reid develop your technique and become a
Richard Goode Prof Joanna Chamber Music
Stephen Hough MacGregor OBE Administrator well-rounded 21st-century musician
Steven Osborne Head of Piano James Baillieu
Pascal Rogé Tessa Nicholson Ian Brown Our intelligent, proactive and professional students
Kathryn Stott Carole Presland Nicola Eimer are given plenty of opportunities to perform
Yevgeny Sudbin Tatiana Sarkissova Diana Ketler
Amandine Savary Iain Ledingham publicly. Our professors include celebrated
Colin Stone Malcolm Martineau performers, recording artists and festival directors.
Mei-Ting Sun Joseph Middleton Visiting professors teach one-to-one lessons and
Florian Mitrea
Amandine Savary give masterclasses and lectures on a regular basis.
Andrew West
In addition to a substantial programme of core
repertoire and chamber music, we also encourage
you to curate performances, commission new
music and collaborate across artistic boundaries –
an approach that lies at the heart of our annual
Summer Piano Festival.

We offer two areas of Principal Study for pianists –

Piano Solo (undergraduate and postgraduate)
and Piano Accompaniment (postgraduate only).
Repetiteurs study with Royal Academy Opera.

69
 STRINGS
Students from the Academy and HEAD OF STRINGS Tel: +44 (0)20 7873 7395
Tokyo Geidai rehearse for a concert PROF JO COLE Email: strings@ram.ac.uk
conducted by Trevor Pinnock Administrators: Emily Good, Rebecca Herman Web: www.ram.ac.uk/strings
Chamber Music Co-ordinator: Gwenllian Llyr

VISITING Joshua Fisher Lionel Handy The Strings Department provides

PROFESSORS Michael Foyle Ben Hughes
Violin Rodney Friend Professor of Cello and a structured framework for
James Ehnes Mayumi Fujikawa Orchestral Studies
Daniel Hope Clio Gould Josephine Knight* undergraduate and postgraduate study,
Tasmin Little Erich Gruenberg
Giovanni Guzzo
Alfredo Piatti Chair of Cello and almost limitless creative scope to
Mats Lidström
Viola Philippe Honoré Christoph Richter establish your niche in the fast-moving
Garth Knox Richard Ireland* Hannah Roberts
Hartmut Rohde So-Ock Kim Nadège Rochat career to which you aspire
Su Zhen Hu Kun Felix Schmidt
Sophie Langdon David Smith* Throughout your time at the Academy you will
Cello Jack Liebeck Prof David Strange receive intensive training in the crucial disciplines of
Mario Brunello Nicholas Miller Professor Emeritus
Colin Carr György Pauk of Strings solo performance, chamber music and orchestral
Steven Doane Ede Zathureczky Professor playing. We will nurture your talent and help you to
Steven Isserlis of Violin Double Bass become a versatile, creative and practical musician.
Marquis de Corberon Alexander Sitkovetsky Tom Goodman
Professor of Cello Maureen Smith Graham Mitchell Our highly distinguished professors and visiting
Guy Johnston Tomotada Soh Senior Professor of professors range in age from their 20s to their 90s,
Guest Professor 2018-19 Double Bass encompassing an incredible breadth of knowledge
Sung-Won Yang Viola Dominic Seldis
Hélène Clément* and boasting an unrivalled musical lineage.
Double Bass Juan-Miguel Hernandez CHAMBER MUSICIAN
Matthew McDonald Yuko Inoue IN RESIDENCE Students have access to instruments from the
Garfield Jackson* Levon Chilingirian
‘The walls of the Academy VISITING ARTIST Martin Outram* Academy Museum’s extensive collection, from
are quite porous. People Joel Quarrington Paul Silverthorne TEACHING QUARTET newly minted modern instruments to ‘golden-
James Sleigh* IN ASSOCIATION period’ Stradivari violins.
from the profession come PROFESSORS Jon Thorne* Doric Quartet
Violin
in and students go out. Remus Azoitei Cello PIANO Our approach is to create grounded, rounded
There’s no “them and us”’ Levon Chilingirian*
Diana Cummings
Robert Cohen
Prof Jo Cole*
ACCOMPANIMENT
SUPPORT
musicians whose progression into the music
Richard Deakin Head of Strings Małgorzata Garstka profession is natural, informed and positive.
Prof Jo Cole, Head of Strings
Students have access to all professors for chamber music coaching,
but * indicates special responsibility in this important area 71
 HEAD OF TIMPANI
AND PERCUSSION
Tel: +44 (0)20 7873 7320
Email: percussion@ram.ac.uk TIMPANI AND
NEIL PERCY
Administrator: Alice Kelley
Web: www.ram.ac.uk/percussion
PERCUSSION
INTERNATIONAL William Lockhart Drum Set, Latin The Academy has a worldwide
VISITING PROFESSORS Principal Timpani, American and
Peter Erskine Drum Set English National Opera Ethnic Percussion reputation for excellent training in the
Marinus Komst Timpani Paul Clarvis complex world of percussion playing
Joe Locke Vibraphone Percussion David Hassell
Andrew Barclay
PROFESSORS Principal Percussion, Marimba, Solo Our teachers include principal players with
Timpani London Philharmonic Repertoire and London’s leading orchestras, international
Antoine Bedewi Orchestra Concerti soloists and leading session musicians, all of
Principal Timpani, BBC Neil Percy Colin Currie
Symphony Orchestra Head of Timpani whom are active in music making of the highest
Simon Carrington and Percussion; Principal Marimba standard and understand the priorities of an
Principal Timpani, London Percussion, London Eric Sammut ever-changing profession.
Philharmonic Orchestra Symphony Orchestra
Benedict Hoffnung Sam Walton
Baroque Timpani, Co-Principal Percussion, Your employability is central to our mission –
Academy of Ancient Music London Symphony whether you come to us as an undergraduate or
Orchestra
a postgraduate, you will develop all the skills you
need for your lifelong musical and professional
‘Our ethos has always been development through a programme that offers a
to keep standards high variety of experience across related instruments.

and numbers relatively low. By focusing on a small number of talented students

Add to this our incredible we are able to provide ample resources and
line-up of professors and dedicated practice spaces, as well as a wide range
the prospects of high of performance opportunities and projects – one of
the reasons our graduates go on to have rewarding
achievement take off’ and diverse careers.
Neil Percy, Head of
Timpani and Percussion
72 73
 VOCAL STUDIES
HEAD OF VOCAL STUDIES Tel: +44 (0)20 7873 7444
KATE PATERSON Email: voice@ram.ac.uk
Senior Administrator: Chris Loake Web: www.ram.ac.uk/vocal

VISITING PROFESSORS
John Mark Ainsley
Prof Mark Wildman
Henry Cummings
Philip Sunderland
Head of Preparatory and
The Academy’s Vocal Studies
Sir Thomas Allen
Barbara Bonney
Distinguished Professor
of Singing
Vocal Faculty Opera
Ingrid Surgenor MBE
Department attracts talented singers of
Susan Bullock Marjorie Catherine Wyn-Rogers Principal Operatic and every voice type from all over the world
Thomas Visiting Professor Vocal Repertoire Coach
Simon Keenlyside DIRECTOR OF OPERA Lada Valešová and has a fine tradition of training
Angelika Kirchschlager Gareth Hancock Opera Role Coach
Anthony Legge Sir Arthur Chad Vindin Repertoire students for international careers
Sullivan Visiting Professor VOCAL COACHES
Dame Felicity Lott James Baillieu SONG, STAGECRAFT
Ann Murray Repertoire, Song Circle AND LANGUAGES Vocal Studies students are driven, dedicated and
Dennis O’Neill Michael Chance Ludmilla Andrew Russian versatile, with a reputation for outstanding quality
Brindley Sherratt Baroque Opera David Antrobus Acting
John Shirley-Quirk Professor Alexander Crowe Gavin Carr English and and professionalism. Our singing professors are
Opera Role Coach American Song, Oratorio committed teachers with considerable experience
PRINCIPAL STUDY Matthew Fletcher Maria Cleva Italian
PROFESSORS Repertoire Florence Daguerre as professional performers and a wide range of
Alexander Ashworth Christopher Glynn de Hureaux French industry knowledge and insight.
Catherine Benson Repertoire Mandy Demetriou
Richard Berkeley-Steele Sholto Kynoch Repertoire Movement
Michael Chance Iain Ledingham Alessandro Grottola We offer Principal Study at undergraduate and
Raymond Connell Opera Role Coach, Italian
Ryland Davies German Repertoire, Karen Halliday Movement postgraduate levels. As a member of our department
Philip Doghan Italian Recitative, Choirs Caitlin Hulcup you will benefit from unrivalled opportunities and
‘It says something of the Nuccia Focile Joseph Middleton Opera Audition Repertoire
one-to-one lesson time. Our comprehensive
Andrew Foster-Williams Repertoire, Song Circle Esther Jones
quality of tutoring and Glenville Hargreaves Jonathan Papp Vocal Ensemble training includes vocal and performance technique,
Yvonne Howard Repertoire, Opera Role Yvonne Kenny
mentoring at the Academy Caitlin Hulcup Coach Handel and Mozart stagecraft, repertoire, historical performance, new
Neil Mackie Ian Partridge Johanna Mayr German music, audition preparation and language tuition,
that such rounded, fully Mary Nelson Lieder and English Song Victoria Newlyn
Kate Paterson Valeria Racco Movement preparing students for high-level work on stage
developed characterisations Head of Vocal Studies Opera Role Coach Isabella Radcliffe Italian and in concert. Students and recent graduates
Elizabeth Ritchie Jean Rigby James Simmons Acting
and vocal maturity are Giles Underwood Opera Role Coach Richard Stokes Professor have found success in top concert venues, with
present in singers in their 20s’ Marie Vassiliou Marek Ruszczynski of Lieder, Song Circle opera companies in the UK and abroad, and in
Sarah Walker Repertoire Nicole Tibbels French
Lillian Watson Andrew Smith Repertoire, Mark Wilde English Song international competitions.
Bachtrack Mark Wilde Opera Role Coach

75
 WOODWIND
HEAD OF WOODWIND Tel: +44 (0)20 7873 7320
KEITH BRAGG Email: woodwind@ram.ac.uk
Administrator: Alice Kelley Web: www.ram.ac.uk/woodwind

VISITING Kate Hill Christopher Richards As a student in our department you

PROFESSORS Sophie Johnson piccolo Mark van de Wiel
Flute Karen Jones Chi Yu Mo E flat clarinet will learn everything you need to
Emily Beynon Helen Keen piccolo
Denis Bouriakov Patricia Morris piccolo Saxophone know about playing in a professional
Paul Edmund-Davies Simon Haram woodwind section at the highest
Oboe Huw Wiggin
Oboe Tom Blomfield international standard
Jonathan Kelly Sue Böhling cor anglais Bassoon
Christopher Cowie Jonathan Davies Our professors have decades of experience as
Clarinet Jill Crowther cor anglais Simon Estell
Andrew Marriner Ian Hardwick contrabassoon internationally renowned soloists, seasoned
Patrick Messina Celia Nicklin Fraser Gordon chamber musicians and principal players in
Melanie Ragge contrabassoon London’s top orchestras, and have trained some
PROFESSORS Timothy Rundle Amy Harman
Flute Robin O’Neill of the finest orchestral players in the UK.
William Bennett Clarinet John Orford
Keith Bragg Laurent Ben Slimane Our undergraduate and postgraduate programmes
Head of Woodwind bass clarinet LRAM (ART OF
‘For me it was the ideal Samuel Coles Timothy Lines TEACHING) offer hugely varied opportunities, from one-to-one
Michael Cox Angela Malsbury Simon Carr lessons with world-class soloists to full symphony
place to pursue my orchestra concerts, equipping students with the
studies. The tuition, skills they need to enter the music profession.
both instrumentally and
academically, is exceptional Students study solo repertoire, hone technical
skills, form chamber music ensembles and learn
and it is a privilege to the crucial aspects of playing in a professional
be surrounded by such orchestral woodwind section. You will be
accomplished musicians’ encouraged to perform frequently and helped to
establish and promote your own chamber groups.
Hannah Morgan,
alumna (oboe)
77
‘A student’s choice of
university makes a difference
when it comes to finding
a job or a place in a graduate
program … The Royal
Academy of Music was the
only British post-secondary
institute with a perfect score’
New York Times OUR PROGRAMMES
 PROGRAMMES OF STUDY
What makes our programmes special?
Whether you are coming to study on PROVEN TRACK RECORD performance traditions. Artistic and
a four-year BMus programme, starting Our emphasis on one-to-one lessons intellectual curiosity are given every
your postgraduate studies on our MA and small-group teaching and our opportunity to flourish.
or MMus programmes, pursuing post- tailored approach to professional
Master’s professional training on our development result in one of the
Professional Diploma or Advanced best employability records of any
Diploma courses, or undertaking an British university.
extended research project for a PhD,
you will be among like-minded INSPIRING RESOURCES
musicians who share your commitment Our library, collections and museum
and talent. provide a wide range of excellent,
regularly updated resources that
PATHS TO SUCCESS support teaching and research and
‘With a list of alumni that Our curricula offer a finely tuned mix enable young musicians to find their
reads like a Who’s Who of of Principal Study, practical activities, own artistic identity in the context of
classical music over the professional development and academic the musical riches of the past.
components. Programmes are designed
last two centuries, there is to give you everything you need for IGNITE YOUR CURIOSITY
no doubting that the Royal a successful career in music, offering All our programmes benefit from
Academy of Music has enough flexibility to meet the individual a vibrant research culture, to which
successfully retained and aspirations of each student while students at all levels contribute.
also covering the realities of being a We focus in particular on creative
developed its status as a professional musician. practice, whether through artistic
centre of excellence’ collaboration, the creation of new
texts, or the investigation of
Classical Music magazine
81
UNDERGRADUATES

ONE-YEAR PROGRAMMES FOR UNDERGRADUATES

As an Academy undergraduate you will be challenged and inspired.
Our four-year Bachelor of Music (BMus) allows you to tailor your
studies to suit your musical interests
The BMus combines focused study lecturers and professors to monitor ACADEMIC STUDY and recognise and make the most of We offer several one-year programmes EXCHANGE
in performance, composition or jazz your overall progress. Academic study is essential to your opportunities when you see them. that enable you to study at the The Academy has exchange agreements
with academic studies. Every aspect is creative, intellectual and professional We offer a wide range of activities, Academy as a fully enrolled member with conservatoires across the world.
designed to help you realise your full BMus students’ study programmes development. Core modules (Analytical events and modules for you to hone of the student body, with access to the Exchanges are normally for a full
potential and to prepare you for a can be diverse, but they all share three Skills, Aural Skills, Conducting Skills your skills in areas such as studio Academy’s resources, without taking a academic year, although shorter
career in music. BMus Programme core elements: and Performing in Context) reinforce recording and editing techniques, course that leads to a degree. placements may be possible.
Tutors are available to discuss all aspects your awareness as a listener, develop self-promotion and marketing, writing
of your programme of study, including PRINCIPAL STUDY your interpretative abilities and extend CVs, making funding applications, GAP YEAR STUDY ABROAD
your performance and academic This is the focal point of your musical your knowledge and imagination. understanding the music business and Spend a year at the Academy before This allows non-UK students studying
options, your personal wellbeing and development and includes individual Electives encourage you to pursue your working in arts management. At the taking up a full-time undergraduate for a music degree elsewhere to benefit
how to balance your busy timetable. lessons as well as a combination of individual interests as you prepare for end of each year you will submit a place at another institution. from a conservatoire education as
With responsibility for both academic masterclasses, performance classes, a musical career. Some class electives portfolio of professional materials, part of their degree studies at their
and pastoral welfare, tutors work chamber music, concerts and everything encourage exploration of specific which will help you to prepare for life ORGAN FOUNDATION ‘home’ institution. The standard
closely with your Head of Department, else you do in your specialism. The focus repertoire and development of technical after the Academy. This is for gap-year students preparing placement length is one academic
for performers is to gain experience in skills, others enhance your professional for an Oxbridge organ scholarship, year, but shorter periods are possible
public concerts. You will have at least skills. You can also choose to do a You will also have the opportunity to or for those who want to develop (minimum one academic term).
HEAD OF UNDERGRADUATE PROGRAMMES
Dr Anthony Gritten one hour of one-to-one tuition per week self-directed Research Project. get involved in Open Academy, which organ and choral direction skills
in your Principal Study and may also take has an active programme of Learning before starting formal university or For more information, visit
BMUS PROGRAMME TUTORS a Related Study (for example, piccolo for PROFESSIONAL STUDY and Participation electives and projects conservatoire training. ram.ac.uk/one-year
Ruth Byrchmore
Senior Tutor in Undergraduate Pastoral Support a flautist). You will be assessed during A successful career requires more (page 90). If you want to develop your
Dr Adriana Festeu the year through technical testing and than pure talent. You will need to be teaching skills you can take courses
John Hutchins chamber music, and at the end of each able to draw on a whole range of that lead to the award of the Academy’s
Martin Outram
year by recital examination. professional and entrepreneurial skills, teaching licence, the LRAM.
82 83
POSTGRADUATES
Postgraduate study is a vital part of the Academy’s musical culture – we have the largest
body of postgraduate musicians in the UK. Students work in a uniquely collaborative
performance environment that is designed to help talented musicians achieve their ambitions
We offer a wide range of opportunities,
including a broad selection of degrees MASTER OF ARTS IN PERFORMANCE MASTER OF ARTS IN MUSICAL normally a two-year programme,
(page 85) and diplomas and professional OR COMPOSITION (MA) THEATRE (MA) but in certain cases students can
development courses (page 87), as well The Master of Arts in Performance A one-year programme of intensive take it in one year.
as a thriving research culture (page 88). (including orchestral or choral full-time study for Musical Theatre
conducting) or Composition is the specialists (page 62). Your final Master’s project can be
The creative buzz that our environment standard postgraduate programme a concert with commentary, a
for students who want to focus on MASTER OF MUSIC IN PERFORMANCE recording-based project, a dissertation

POSTGRADUATE DEGREES
generates is second to none, and our
aim is to ensure that you will have their Principal Study and build their OR COMPOSITION (MMUS) or a combination of these. You will
significant opportunities to work under professional skills. The MA is designed The Master of Music in Performance be supported by a team of specialists
the direction of world-leading musicians. to allow maximum flexibility for you (including orchestral or choral and we will encourage you to pursue
HEAD OF POSTGRADUATE PROGRAMMES to develop your own performance conducting) or Composition has the MA project work that is directly useful
We provide individual tutorial supervision Prof Neil Heyde
for all students, which is unique in the initiatives and form a bridge to a at its core and adds a Master’s project. to your creative development. A
sector, and our vibrant postgraduate SENIOR POSTGRADUATE TUTOR AND performance career. The MA is normally This is the standard postgraduate concert based around your own
ASSOCIATE HEAD OF RESEARCH a two-year programme, but in certain programme for composers and is research, compositions or performance
community provides excellent Prof David Gorton
networking opportunities. cases students can be allowed to take interests might include a practical
SENIOR POSTGRADUATE TUTOR it in one year. focus on the delivery of the event,
Whether you want to focus solely on
Dr Sarah Callis ‘… one of the most or you might pursue more conceptual
performance, study a specialism or POSTGRADUATE TUTORS prestigious hothouses areas in a substantial written document.
incorporate research into your studies, Dr Amy Blier-Carruthers of young musical talent
Roderick Chadwick
we offer a variety of highly flexible study Dr Briony Cox-Williams in the world’
programmes to suit your individual Dr Gwendolyn Tietze
interests and career ambitions. Dr Jessica Walker BBC Music
84 85
 PROFESSIONAL DIPLOMA (PROF DIP) projects (page 90), and you will for the Advanced Diploma will
The Professional Diploma offers also be offered project placements usually hold a postgraduate degree
you the chance to explore a specialism with partner organisations. In the in performance.
at postgraduate level in preparation final term you will be supported
for the next stage of your career to design, lead and evaluate your ADVANCED DIPLOMA IN OPERA
development. Applicants normally own project. (ADV DIP)

POSTGRADUATE DIPLOMAS
hold a postgraduate degree in Royal Academy Opera offers a two-
performance or composition, and ADVANCED DIPLOMA IN year postgraduate course of intensive
must include a proposal outlining PERFORMANCE (ADV DIP) training for opera singers (page 64).
their specialism and what they hope The Advanced Diploma in Performance
‘This is a place of sheer joy to achieve. is designed to provide high-level
and exuberance, this is a professional performance training
place of meticulous artistry, CPD DIPLOMA IN within a largely self-directed one-year
where futures are built, this CREATIVE MUSIC LEADERSHIP programme of study.
This Continuing Professional
is a place where people Development (CPD) Diploma is You will be mentored by an Academy
come to learn a craft, where an opportunity for professional professor and receive one-to-one
talents are passed on from portfolio career musicians to gain lessons throughout the year. The
generation to generation … valuable skills, knowledge and openness of this structure will allow
experience in creative music you to plan and execute a programme
this is a very special place’ leadership. There are opportunities of study that is tailored to your
Sir Elton John to be part of Open Academy individual artistic needs. Applicants

86 87
RESEARCH THE ART OF COLLABORATION
Pursue your creative and intellectual passions with our MPhil/PhD research degrees Beyond our research programmes, the force of creative
in Performance Practice or Composition and collaborative investigation runs through the Academy
Our research degrees are aimed at We actively encourage interaction 32 and 33). Many of our research
DEPUTY PRINCIPAL (PROGRAMMES Dr Alexander Hills
performers and composers with AND RESEARCH) Prof Raymond Holden between performers, composers, events – including experimental
highly developed skills and focused Prof Timothy Jones Dr Roy Howat instrument makers and scholars, and workshops, composer forums, probing
career aspirations. You will work with a Dr Colin Huehns support projects that promote creative interviews with leading figures from
HEAD OF POSTGRADUATE PROGRAMMES Dr Zubin Kanga Honorary Research Fellow
supervisor and a team of creative staff Prof Neil Heyde Dr Emily Kilpatrick and intellectual curiosity in both students the music profession, lecture-recitals,
on a substantial research project. This Prof Joanna MacGregor OBE Head of Piano and staff. Through this dialogue we and symposia and colloquia – are also
will normally be driven by your activity as ASSOCIATE HEAD OF RESEARCH Gerard McBurney Honorary Research Fellow aim to re-evaluate and build on our open to the public.
Prof David Gorton Prof Hamish Milne
a performer or composer, but will also Martin Outram musical traditions and generate new
require critical context and reflection. FACULTY Dr Frances Palmer Honorary Research Fellow types of creative practice. Such projects
Kathryn Adamson Librarian Daniel-Ben Pienaar include the analysis and application of
Prof Simon Bainbridge Curzon Lecturer in Performance Studies
The Academy offers a two-year MPhil Dr George Biddlecombe Honorary Research Fellow Mark Racz Deputy Principal and Dean performance materials and research on
and a three-year PhD degree. MPhil Dr Amy Blier-Carruthers Christopher Redgate Honorary Research Fellow instruments, as well as the critical and ‘The Academy’s research
students will usually apply to transfer Dr Timothy Bowers Honorary Research Fellow Patrick Russill Head of Choral Conducting reflective study of practice itself.
to PhD in their second year of study.
Dr Sarah Callis David Sawer programme has given
Dr Gary Carpenter Dr Olivia Sham Honorary Research Fellow
For both MPhil and PhD, you will be Prof Philip Cashian Head of Composition Peter Sheppard Skærved This research culture is underpinned me space to experiment
allocated 30 hours of supervision per Roderick Chadwick
Pete Churchill
Viotti Lecturer in Performance Studies by our rich collection of musical with my own projects,
Dr Alyn Shipton
year. You may apply for a further year Dr Briony Cox-Williams Dr Robert Sholl artefacts, including our globally while also developing
to complete or write up your portfolio Prof Margaret Faultless Nick Smart Head of Jazz renowned collection of fine stringed
or dissertation at a reduced rate. Head of Historical Performance Janet Snowman Bicentenary Research Fellow instruments, our historic keyboards,
as a composer within a
Supervision hours are divided between
Dr Edmund Finnis
Prof Jonathan Freeman-Attwood CBE Principal
Richard Stokes
our large holdings of composers’ community of thoughtful
Prof David Titterington Head of Organ
academic and practical supervision, Prof Jane Glover Nicholas Walker manuscripts and annotated performance and creative musicians’
as negotiated with the Postgraduate Felix Mendelssohn Emeritus Professor of Music Huw Watkins Honorary Research Fellow materials, and our significant collection
Programmes Board and your supervisor.
Helen Grime
Dr Anthony Gritten
Sioned Williams Honorary Research Fellow
of musical iconography (see pages Freya Waley-Cohen,
Dr George Zacharias
Head of Undergraduate Programmes PhD Student
88 89
 OPEN ACADEMY
HEAD OF OPEN ACADEMY Tel: 020 7873 7442
JULIAN WEST Email: openacademy@ram.ac.uk
Administrator: Mateja Kaluza Web: ram.ac.uk/openacademy

VISITING LECTURERS James Redwood The Academy’s Learning and

AND PROJECT Tony Robb
LEADERS Jackie Walduck Participation Department provides
Isabelle Adams John Webb
John Barber Caroline Welsh vital experience for students in this
Sam Glazer Suzi Zumpe exciting and expanding area of work
Gawain Hewitt
Jessie Maryon Davies
James Moriarty Open Academy works in partnership with leading
Hannah Opstad specialist organisations to bring creative workshops
into schools, hospitals, centres for the homeless,
care homes and day centres. It reaches around
6,000 people a year, making participation in music
more accessible. It also gives our students an
opportunity to practise their musicianship and
skills away from the concert platform, and the
chance to reflect upon the contribution they can
‘The immersion with make to society.
Academy students who
are extremely passionate All undergraduate students can take the Open
about what they do Academy electives, and postgraduates can explore
this field of work as part of their professional
clearly worked, with pupils portfolio by choosing the Open Academy pathway.
being pushed out of their
comfort zones successfully
and meaningfully’
Sam Parratt, Head of Music,
King Solomon Academy
90 91
‘I knew the Academy was
the best place for me to
apply, and this past year has
exceeded all my expectations’
Merryl Ansah,
Musical Theatre student NEXT STEPS
 STEPS TO APPLYING AUDITIONING
You’re interested in studying at the Royal Academy of Music. Auditions help us to discover talent and spot potential.
What should you do now? Here’s what you need to know
• Come to a concert or masterclass to • Apply for most Academy programmes The audition process is important for • need (including your instrument and WHERE AND WHEN
experience our friendly atmosphere through UCAS Conservatoires. Our detecting talent, but we also want to music) and dress comfortably. If you live in Europe, auditions take
and outstanding music making. We UCAS Conservatoires ID is R53. To discover what makes you tick musically, place in London on dates between
hold over 500 events every year, join the Academy in September 2019, where your ambitions lie and what • Be prepared – if you’re not ready, it 28 November and 14 December 2018,
many of which are free of charge. the application deadline for most stage you’ve reached in your musical might be better to wait a year. except for Conducting, Choral
studies is 6pm on 1 October 2018. understanding. It’s not so much about Conducting, Repetiteur, the Continuing
• Meet our current students and • Try to enjoy yourself – we want you
what you already know as what we think Professional Development Diploma
find out more about studying here Please check our website for all to do your best.
you’re capable of achieving, and whether and Research Degrees, auditions and
at one of our Open Days. application and audition dates. we can help you on that journey. interviews for which begin in January
• Put the audition in perspective.
Whatever the outcome, the world is 2019. See www.ram.ac.uk/application-
• Take a virtual tour of the Academy
We are on the lookout for potential big and the possibilities endless if dates for full details.
at www.ram.ac.uk/about-us/
Academy students who can demonstrate you have ability and perseverance.
facilities.
individuality, determination and We recommend that international
• Ask the relevant department or our personality – not a particular ‘type’. DISABILITY candidates audition in London, but
Registry if you have any questions – Candidates are recruited on the basis some Principal Studies can be
email registry@ram.ac.uk or call • Do your research before your of their musical abilities and potential auditioned in audition centres in
‘Auditions will always be audition – browse our website and and we welcome enquiries and North America and in Beijing, Hong
+44 (0)20 7873 7393.
nerve-racking but I was social media channels, come to an applications from disabled students. Kong, Seoul, Shanghai, Singapore,
• Choose the appropriate course given such a warm and Open Day and talk to our students. See page 35 for more information Sydney, Taipei and Tokyo. You can find
using our form at www.ram.ac.uk/ professional welcome at about the disability and additional the audition requirements for your
study/programmes. • Approach the audition like a learning support services that are in Principal Study on our website at
the Academy, I felt ready concert – arrive in good time, make place for Academy students. www.ram.ac.uk/departments
to give it my very best shot’ sure you have everything you will

Milo Harper, harp student

94 95
TUITION FEES 2019-20 CONTACT US
BMUS ADVANCED DIPLOMA (Performance) SWITCHBOARD: +44 (0)20 7873 7373 INSTRUMENTAL DEPARTMENTS
LOANS
UK/EU students TBC UK/EU students £10,830 General enquiries: registry@ram.ac.uk Accordion: accordion@ram.ac.uk
Non-EU students £23,000 Non-EU students £21,500 UK and EU BMus students Brass: brass@ram.ac.uk
Disability Adviser: disability@ram.ac.uk Choral Conducting:
can borrow money to
MA AND PGCERT (one year/two years) ADVANCED DIPLOMA (Opera) Students’ Union: ramsu@ram.ac.uk choralconducting@ram.ac.uk
help pay for tuition fees Advice on fees and visas: Composition: composition@ram.ac.uk
UK/EU students £14,050/12,050 UK/EU/non-EU students £17,000
Non-EU students £25,850/£23,850 and living costs. admissions@ram.ac.uk Conducting: conducting@ram.ac.uk
CONTINUING PROFESSIONAL Postgraduate loans are also Guitar: guitar@ram.ac.uk
Camden Town

MA AND PGCERT (Musical Theatre) DEVELOPMENT DIPLOMA Harp: harp@ram.ac.uk

available. These are funded
UK/EU students £15,600 UK/EU students £10,830 Historical Performance:
by the UK government and historical@ram.ac.uk
Non-EU students £19,280 Non-EU students £21,500
administered through the Jazz: jazz@ram.ac.uk

LE
RC
CI
ER
Student Loans Company. Musical Theatre: mth@ram.ac.uk

N
MMUS (one year/two years) MPHIL/PHD
IN

UK/EU students £15,050/£13,050 UK/EU students £6,650 Opera: opera@ram.ac.uk

The Academy provides Organ: organ@ram.ac.uk

YO
Non-EU students £28,850/£26,850 Non-EU students £14,550 REGENT’S PARK

KR
means-tested fee waivers

BR
ID
Piano: piano@ram.ac.uk

GE
PhD writing-up fee £1,470 Warren

PARK
for UK/EU students from OU RRAC
E

Strings: strings@ram.ac.uk

BRU
R TE Street
PROFESSIONAL DIPLOMA
TE

SQU
RC ULSTE ST

NSW
IR E EA
CL RRAC

ARE
E TE
YORK
Timpani and Percussion:
Sherlock

low-income households.

ICK
MACF
YORK
UK/EU students £10,830 STUDY ABROAD (incoming)

W
Holmes ROYAL Great

PL
ARRE
Museum T
E WES ACADEMY
AC
Regent’s Portland

GAT
TERR

N PL
OF MUSIC

Non-EU students £21,500 EU students £15,500

YORK
NE ROAD Park percussion@ram.ac.uk

E
MARYLEBO Street

Vocal Studies: voice@ram.ac.uk

Madame
Mad

H ST
Non-EU students £22,600
Tussaud
ssauds St Marylebone

HIG
Church
For more information visit Baker
Woodwind: woodwind@ram.ac.uk

ONE
OAD
PROFESSIONAL DIPLOMA LEBO
NE R
Street

LEB
www.ram.ac.uk/financial-support ARY

Y
M

MAR
(Musical Direction and Coaching) GAP YEAR/ORGAN FOUNDATION Paddington Hyde Park Oxford
d Ci
Circus

UK/EU students £11,280 EU students £11,800

Non-EU students £21,700 Non-EU students £22,600
To find out more about
Fees correct at the time of going to print. For the the Academy, go to our
latest information go to www.ram.ac.uk/fees website at www.ram.ac.uk
96 97
ROYAL ACADEMY OF MUSIC
The Royal Academy of Music was GOVERNING BODY Administrative Staff Representative
established in 1822 and granted a Royal Kathryn Adamson MA, Hon FRAM
Charter in 1830 (supplemental charter Chair Dame Jenny Abramsky CBE, DBE Student Union President and
granted in 1998). The Academy is a Hon RAM Student Representative
registered charity, number 310007 and Deputy Chair Lady Sainsbury of Peter Cowlishaw
a company registered with Companies Turville CBE Hon FRAM, FSA
House, number RC00043. Deputy Chair The Rt Hon Lord Sumption SENIOR MANAGEMENT TEAM
OBE PC, FRHistS, FSA, Hon FRAM
Patron Lord Blackwell Principal Professor Jonathan
HM The Queen John Burgess Hon FRAM Freeman-Attwood CBE BMus, MPhil,
Robin Butler Hon FRAM Hon RAM, FKC, FRNCM, FRCM
President Lucy Crowe FRAM Deputy Principal and Dean
HRH The Duchess Amanda Hill Mark Racz BA, MFA, Hon FBC, Hon RAM
of Gloucester GCVO Hon FRAM Rehmet Kassim-Lakha Deputy Principal – Programmes
Timothy Parker and Research Professor Timothy Jones
Vice-Presidents Professor Sir Richard Trainor KBE BA, MA, MA, DPhil, LTCL, Hon RAM
Lord Burns GCB Hon FRAM DPhil, FKC, Hon FRAM Deputy Principal – Advancement
Sir Elton John CBE Hon RAM, DMus William de Winton Kirsty MacDonald BA, MA (Oxon)
Sir David Lumsden MA, DPhil, Damian Wisniewski BSc (Eng), Director of Finance
Hon RAM, Hon FRCO ACGI, LRAM, ACA Judith Barber BSc, CPFA, Hon ARAM
Professor Sir Curtis Price KBE Hon RAM
Academic Staff Representatives Chancellor of the University of London
Melanie Ragge MPhil (Cantab), MA (Cantab), HRH The Princess Royal LG, LT, GCVO
LRAM, DipRCM
IMAGE CREDITS
Jon Thorne Royal Academy of Music © 2018 CLIVE BARDA page 15 (Thielemann) MARCO BORGGREVE page 15 (Aimard) MARC BRENNER pages 27 (bottom), 28, 37 (bottom), 62 HANYA CHLALA page 23 (Birtwistle) CHRIS CHRISTODOULOU
Every effort has been made to ensure that the information pages 15 (Adams), 25 (centre and right), 26, 32, 34, 36, 41, 47, 48, 52, 60, 74, 81, 83, 85, 87, 94, 97 JUNCHI DENG page 44 BENJAMIN EALOVEGA page 15 (Elder, Gardner) TIMOTHY ELLIS page 68 LARS
included in this publication is correct at the time of going GUNDERSEN page 15 (Znaider) BENJAMIN HARTE page 67 MICHIEL HENDRYCKX page 15 (Herreweghe) RICHARD HUBERT-SMITH page 65 FRANCES MARSHALL: pages 1, 10, 14, 16, 17, 19, 20, 21,
to print. Any queries regarding its content should be
addressed to publicity@ram.ac.uk 24, 25 (top and bottom left), 29 (bottom), 42, 43, 56, 58, 69, 76-79, 86, 92-93, 99 SIMON JAY PRICE pages 50, 66, 70, 73 ADAM SCOTT pages 8-9, 30, 31 MATTHIAS VON DER TANN page 15 (Pinnock)
ROBERT WORKMAN pages 15 (Cummings), 27 (top), 29 (top), 37 (top), 59, 63, 64

98
Patron
HM The Queen

President
HRH The Duchess of Gloucester GCVO

Principal
Professor Jonathan Freeman-Attwood CBE

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