Overview

This module combines a programme of individual instrumental or vocal tuition with an introduction to a range of important issues which concern performers, including preparing and delivering a recital programme, working with other musicians, and exploring different approaches to technical and interpretive study.

The Assessment Schedule is three-fold: 1. Final Assessment (80%). Participants will prepare and perform a short recital lasting between 9-10 minutes, to be held during the Assessment Period of Semester 2. 2. Interim performance test (20%). An assessed performance lasting 5 minutes to be held during the Assessment Period of Semester 1. 3. A non-assessed timetabled workshop performance lasting up to 5 minutes to take place during Semester 2 - students will receive feedback from the workshop leader.

This module combines a programme of individual instrumental or vocal tuition with an introduction to a range of important issues which concern performers, including preparing and delivering a recital programme, working with other musicians, and exploring different approaches to technical and interpretive study.

Students will receive 1-to-1 tuition from a designated teacher across the year. They will also attend regular performance workshops devoted to topics such as practice techniques, musicianship and injury prevention. Participation in the workshops is scheduled, and every musician can expect to perform at least twice in public.

The module runs across Semesters 1 and 2 and accounts for 20 credits.

The module is only available to students following BA (Music), BMus programmes, and joint / major honours programmes in Music.

The module is a pre-requisite for taking Solo Performance (WXC/P 2241) in Year 2.

Assessment Strategy

Third Class: D– to D+ (40%-49%) The performance demonstrates a basic grasp of technique and stylistic awareness appropriate to the repertoire chosen. It will typically be limited by consistent weakness in aspects such as technical control; projection of rhythm, tempi, dynamics and articulations; coordination with an accompanist; and stagecraft.

Lower Second Class: C– to C+ (50%-59%) The performance will demonstrate a good grasp of technique, presented without significant breaks or errors, and the interpretation will demonstrate some understanding of stylistic practices. The composer’s criteria of rhythm, dynamics and pitch will be partially fulfilled, though there will be inaccuracies (the performance may not be entirely secure) and inconsistencies in coordination with the accompanist.

Upper Second Class: B– to B+ (60%-69%) The performance is focused and demonstrates some original thought, a consistent technique, and an attempt to use rhythmic and dynamic control as a means of creative communication in accordance with the composer’s intentions and the style of the chosen repertoire. There may be minor inaccuracies of pitch and rhythm, although these will not have disturbed the performance. The performance will reflect a satisfactory rapport with the accompanist.

First Class: A– and A (70%-83%) The performance demonstrates well-developed technical and interpretative skills and will reflect an understanding of the historical issues and performance practice concerns in the repertoire studied. In addition, the student will demonstrate clearly developed creative understanding, and an ability to make original and convincing interpretative decisions. The student will communicate effectively with the accompanist and project the performance with conviction.

First class: A+ to A** (84%-100%) A performance in this category will demonstrate all the features of the A– to A category, in addition to a level of musicianship in which technical demands are integrated into an expressive performance where research into the repertoire, style, and context has contributed to an individual realisation of the work(s) performed.

Learning Outcomes

• Develop basic skills in self-reflection and the critical evaluation of music and project these in performance.

• Engage with expressive, stylistic and interpretive practices in the repertoire studied in accordance with the composer's intentions.

• Lay the foundations for a secure and consistent technique on chosen instrument or voice.