Department of

Music

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Contents

The department 3What makes us different 4Performance 6Musical Theatre 10Instrumental Teaching and Vocal Teaching 14Composition 20Music Business 22Community Music 24Contextual Study 26Study Skills 30Touring and Concert Activities 31Teaching Staff 32

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The department

The department

Our Music programme is one ofthe largest and liveliest in theUK, and focuses on music as anapplied art, one that is engagedwith the musical world in all itsdiversity and excitement.

This means that our courses are focused onpractical work, from performance,composition and improvisation to musicaltheatre performance, training in instrumentalor vocal teaching, music business, musictherapy and community music, as well astraditional music analysis and critical theory.

There are more than 80 staff, some of whomare listed at the back of this brochure – theseare exciting practitioners so you may want tospend some time looking at their CVs on ourwebsite: www.chi.ac.uk/music

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What makes us different

What makes us different?

Tuition takes place in our modern musicfacilities, which include well-equippedpractice rooms with new grand pianossupplied by Steinway & Sons, an acousticallysuperb performance venue with twoSteinway model D concert grands, a concertorgan, Baroque and modern pitchharpsichords and a genuine theatre with a130 square metre stage and an orchestra pit.

We have an extensive programme ofprofessional concerts and masterclasses oncampus, free to students, produce an operaand three musical theatre shows each year,as well as the chance to experience overseasperformance tours as part of your degree(examples of tours during 2011-12 are onpage 31).

There are 10 different undergraduateprogrammes of study and threepostgraduate programmes, and which oneyou choose will depend on what your maininterest is.

Performance

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There are two main routes ifyou want to focus onperformance:

BA (Hons) Music Performance(three years)

BMus (Hons) Performance(four years)

The three year BA (Hons) programme givesyou individual tuition in instrumental and/orvocal performance throughout your degree,supplemented by joining one or more of ourfour orchestras, five choirs, and nine othertaught performance ensembles (listed onpage 33).

The four year BMus (Hons) gives you moreextensive individual tuition comparable tothe levels you would receive in aconservatoire, and more chamber music,ensemble or orchestral coaching.

Whichever route you choose, you’ll also betrained in the art of performance itself, studyperformance anxiety, the use of gesture inperformance, concert and event hosting, andcan choose to study Alexander Technique,Yoga, dance and acting alongside a widechoice of contextual modules. Ourensembles are involved in a lot ofperformance work along with a richprogramme of concerts, recitals andmasterclasses by visiting artists. A sample ofwhat they’ve been doing in 2011-12 isdescribed in the current edition of ‘What’sOn’ which can be found at:www.chi.ac.uk/music

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Performance

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Some of the performance modules youmight take…

Performance Development modulesThe first year of study is intended to put inplace the basic performance andcommunication skills on which yoursubsequent achievement and technical andexpressive development will depend. In thefirst year you will assess your currentrepertoire and begin an exploration of newwork under the direction of your individualvocal or instrumental specialist teacher.

Subsequent years of study develop anexploration of musical style in practical workand encourages a willingness to approachnew and more ambitious repertoires. Amore sophisticated relationship topresenting performance and to preparing foraudition is encouraged as you progressthrough your degree.

Performance AnxietyThis module examines theories in the studyof performance anxiety and helps you todevelop skills in analysing contexts whereanxiety can affect performance. The modulealso offers an opportunity in allowing you toreflect upon how performance anxiety mayaffect your own performance and researchways of handling these issues.

Movement and GestureThe musician expects to be a performer formuch of the time, but rarely attributes to thesuccess of a musical performance the extra-musical attributes of physical confidence,expressive body language andcommunicative movement. This course isintended as a complement for PerformanceDevelopment, allowing you to develop skillsin the physical projection of musicalexpression which will prove invaluable insupporting your performance practice.

The ideas and concepts, and the inheritedbehavioural codes which lie behind ourinstinctive interpretation of movement andgesture are important too, and the courseaims to couple the acquisition of practicalskills with an understanding of their socialorigins.

Musical EventPerformers work in a myriad of identifieddisciplines and genres, often producing astrongly defined self-image at an early stagein their acquisition of skills. This course isintended to engage you in the productionand development of a major and a-typicalmusical event, including the option of multi-disciplinary and cross-arts collaborations,and to lead to the questioning and testing ofthis self-image. The course is intended as adevelopment of Movement and Gesture,and as with that module, examining ideasand concepts behind the art-work, and theinherited behavioural codes which inform itsreception by the viewer/listener, will beimportant aims for participants.

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Performance

Ensemble experienceFor students who have chosen to focus onperformance, the ensemble modules areintended to develop an exploration ofmusical style in practical work and toencourage a willingness to approachchamber music and other relevant ensemblestyles. A more team based relationship topresenting and preparing performance isencouraged and you will undertake this workunder the direction of a specialist ensemblecoach. In your final year of study you willwork towards more polished andprofessional standards in group performanceand presentation. This module aims toconsolidate existing repertoire(s) and toforeground strengths within the individual'soverall repertoire, and you will also join inhosting a campus event – liaising withexternal artists, welcoming the audience andrepresenting the university.

Performance Personal StudyEveryone completes a personal study as partof their undergraduate work, and forperformers this is an opportunity to presenta longer and more challenging programmeof work.

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Musical Theatre

There are two degrees routes inMusical Theatre available:

BA (Hons) Musical Theatre(three years)

BA (Hons) Music with Musical Theatre(three years)

The three year BA (Hons) Musical Theatre isa ‘triple threat’ style programme, with abalanced mix of dance, acting and singing,and quite a heavy practical timetable.Productions, rehearsals and workshops aremostly located in a genuine off-campustheatre, working with all the resources ofset, lighting, sound, costume and live pitorchestra. The course also providesopportunities to specialise in technical andbehind the scenes areas like stage and tourmanagement. Masterclasses given by visitingprofessionals in areas as diverse as stagecombat and costume making provideexciting opportunities to work with leadingpractitioners – see the current MusicalTheatre Masterclasses leaflet for moredetails.

There is production work in the first year,two major productions in year two, and onthis course you can audition for the thirdyear touring company at the end of yoursecond year, which takes production workto different venues around England.

Musical Theatre

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The three year BA (Hons) Music withMusical Theatre is designed for vocalists andis a broader musical training with a specialismin Musical Theatre. You will be involved incommunity outreach in year one, productionwork in year two, and devising musicaltheatre work in year three, alongsideindividual vocal lessons, ensembleexperience and the study of differentMusical Theatre styles. If you areperformance focused you have the option totake dance and acting classes, and thosechoosing the composition route within theBA can centre Music with Musical Theatreon a training for an aspiring Musical Director.

Perhaps the most exciting thing about ourMusical Theatre programmes is theinvolvement as teaching staff of West Endprofessionals supporting your productionwork (see page 32 for some examples),offering you a genuinely challengingenvironment for the development of yourskills.

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Musical Theatre

Instrumental Teaching and Vocal Teaching

There are three routes availablefor students who want to trainas practical music teachers:

BMus (Hons) InstrumentalTeaching(four years)

BMus (Hons) Vocal Teaching(four years)

BA (Hons) Music withInstrumental or Vocal Teaching(three years)

Instrumental Teaching and Vocal Teachingare important career options for performersand our four year BMus (Hons) InstrumentalTeaching and BMus (Hons) Vocal Teachingare particularly designed to equip you for acareer as a visiting teacher and in your ownprivate practice, whilst at the same timedeveloping your skills as a performer. Youwill learn how to practically prepare pupilsfor public performances and for gradedexaminations and school music assessmentswhile developing an in-depth understandingof individual, group, and ensemble teachingskills. You will work as part of a vibrantcommunity of musical performers, workingin all musical styles, and undertaking workplacements in local schools, with WestSussex Music Service or with UCMA (ourown Junior Academy - please visitwww.chi.ac.uk/ucma), have individual vocalor instrumental tuition, and join the choirs,orchestras and other ensembles at theuniversity.

The three year BA (Hons) Music withInstrumental or Vocal Teaching is analternative route which entails a broaderacademic musical training, whilst also keepinga focus on developing teaching skills. In yearone you will study repertoire and techniquefor young learners, learn about preparingstudents for graded exams in year two andhow to teach in groups in year three.Whichever route you take you’ll alsodevelop important career skills like businessplanning, lesson planning, marketing yourselfas a teacher, and being self-employed.

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Dance BA (Hons)Instrumental Teaching and Vocal Teaching

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Some of the modules you might take…

Psychology of Learning and TeachingThis module explores psychology - theinternal processes - involved from both theteacher and student perspective duringmusical learning. These lecture-basedsessions involve exploration of the impact ofphysical learning demands on the youngmusician’s body and of effectively meetingthis challenge through age appropriatestrategies. The understanding of motivation,self-efficacy, self-regulation, mental skills, andcognitive strategies are explored and thenapplied to real-life situations through role-play and peer teaching scenarios.

Technique for the Young PerformerAppropriate technical advice is especiallyimportant for beginners, particularly theyoung player or singer whose physicaldevelopment – rather like a young tennisplayer’s – can be adversely affected by poorinformation in the early stages of learning.While musicians can expect to teach a fewadult learners as part of their work, themajority of their future pupils will bechildren.

Grades and DevelopmentThis module is designed to make connexionsbetween the measured progress of theyoung player or singer and the generalmusical development of the child. Sessionsare focused on graded development at earlystages, with particular attention being paid tothe acquisition of aural training andsightreading skills. During the courseconsideration is given to general aspects ofrepertoire and skill development andstudents are encouraged to focus at leastpart of their study on an elected specialistarea. The concept of a musical curriculum isexplored. With grade VIII acceptable as an Alevel for university entrance purposes, thisprocess is as academically important to theyoung player as other work they undertakeat school or college.

Preparing Young Musicians forAssessmentThe placement experience will include afocus on the ‘new’ instrument that thestudent learns during this term. Aural tests,scales, and sight reading will be included in abroad exploration of the examinationsyllabus and the pressures or constraints thatthe exam places on the preparation process.This enables students to truly recreate thefeelings experienced by beginner studentsand will reflect on how this informs andshapes their teaching approaches. Studentswill have the chance to observe schoolchildren in the early stages of learning a newinstrument, will reflect on how theobservations relate to their personalexperience during the module, and on howthe preparation for an exam fits in to thebroader context of musical learning.

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Instrumental Teaching and Vocal Teaching

Repertoire for the Young PerformerTo provide students with an understandingof appropriate repertoire for young playersand singers, the established graduatedrepertoire of the Associated Board,TrinityGuildhall, and Rockschool examinationsyllabi are examined. In order to understandand begin to create a well-roundedcurriculum for a student learning yourspecialist instrument or voice, ways in whicha range of adapted or purpose-createdmusics can usefully become part of therepertoire of the beginner are developed.

Approaches to TeachingStudents will engage in workshop activitydesigned to explore the potential ofstrategies and material in various teachingcontexts and will be encouraged to reflecton the relationship between this activity andtheir practical, placement experience.Students will be placed with a student fromwithin the university setting, possibly fromanother department (for example a historystudent), and will deliver six 30-minutelessons as a private teacher. Externalplacements will be with a musicalgroup/class/ensemble at a school or amusic centre and students will both observethe methods, manner, and style of thatteacher and will choose and adapt a piecefor that group. The culminating experienceof the module will be to have their chosenpiece played by the school children in ateaching situation. In preparing for this, thestudents will create a ‘mock’ situation with avaried ensemble made of their peers, gaininghands on experience in having to gauge amusical level and manage a group.

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Instrumental Teaching and Vocal Teaching

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Composition

The three year BA (Hons)Music course can be focused oncomposition, with choices incomposition throughimprovisation, composing forfilm and multimedia, devising fordance, composing for musictheatre, arranging for choirs,ensembles and orchestras.

If you choose this route you’ll also receivepractical training in skills like conducting,aural development, improvising, and choirtraining.

Composition modules:

Introduction to Improvisation andCompositionThis module is designed both for studentswho already have some skills in improvisingand composing music and for those whohave never composed before. It sets out tore-establish composing and improvising as anexciting and interesting tool in the musician’skit bag and introduces the fundamentals ofmusical composition through experientiallearning and group process. This module isnot genre specific and the emphasis will beupon introducing the basic organisingprinciples which govern musical processes ina practical and lively way.

Compositional TechniquesThis module aims to build upon and developmany of the key skills acquired in theIntroduction to Improvisation andComposition module by focussing on arange of compositional techniques includingmodality, tonality and line.

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Composition

Arranging for Vocal EnsemblesThis module is designed for those with aninterest in developing their skills ascomposers and arrangers for vocalensembles. The work is specifically gearedtowards writing for voices, understandingthe voice as an instrument, and using existingmelodies and settings for practice inharmonisation and effective arrangement.

Arranging for InstrumentalEnsemblesYou will undertake regular assignmentsinvolving arranging in various styles and willstudy existing successful arrangements.Analysis will be made of the variouscomponents involved in good arranging -including voice leading, range, balance andvoicing, key relationships, and motivic andstructural cohesiveness.

Composing with LineWorking with ensembles, instrumental andvocal, effective composition can be informedby a horizontal perception of musicalfunction as well as by a vertical, harmonicunderstanding. The development ofconversation between voices, and thearticulation of line and melody are key skillsin creating and extending music. Thismodule will explore these skills, and drawupon historical models as illustration.

Electro-Acoustic CompositionThrough listening and analysis, you areintroduced to a diverse range of electro-acoustic and acousmatic musics and areencouraged, in your own compositionalwork, to experiment with texture, timbre,density, instrumentation, and to exploit thecharacteristics of a variety of performancespaces.

Arranging for orchestraThe art of writing for the orchestra isconcerned with the tone colour andtechnical capacity of an effective range ofinstruments. Central to the study oforchestration is learning how to combinethese tone colours effectively and with thesetting out of an orchestral score. Thismodule is intended to extend alreadyacquired arranging skills and develop newskills in working with more complextextures.

Composing for Film and MultimediaThrough viewing, listening and detailedmusical and cinematic analysis, you areintroduced to a wide range of approaches tothe composition of music for film, televisionand multimedia applications. Emphasis willalso be placed upon the many technicalaspects of post-production and editing, aswell as the further development of skills andtechniques of orchestration and pasticheacquired in previous composition modules.

Music Business

The three year BA (Hons)Music with Music Marketing andAdministration is designed tohelp you combine the choice ofeither a performance orcomposition focus within the BAwith specialist skills andknowledge in a variety of musicbusiness roles, including festivaland events management, musicmarketing, self employment, andfundraising.

Music Business modules:

Introduction to Music industryYou will develop your knowledge of avariety of professional roles both in thecommercial music industry and in publiclyfunded music organisations. You will also beencouraged to consider the qualities that arelooked for in post holders, with examplesexplored including: A and R; press; radiopromo; web promo; musical directors;producers; engineers; artists; lawyers;accountants; Management; agents; sessionmusicians; songwriters; multi-mediacomposers and distributors.

Industry – Professional BodiesIn engaging with the world of work, youngmusicians will inevitably find themselves on asteep learning curve, and their likelihood ofsuccess will be all the greater if theyapproach this with good information and asound understanding of behavioural norms.This course set out to provide you with auseful understanding of key organizationalstructures in the music industry, and anawareness of its legal frameworks.

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Music Business

Events ManagementHere you will explore the legal and logisticalaspects of planning a range of differentmusical events, and will experiment withpresenting ideas to tutors and peers. Basicspreadsheet skills useful in financialprojections will be introduced and you willconstruct Gantt charts and use otherplanning tools. You will explore therelationships between stakeholders in eventproduction, including artists, venues,audiences and funders, a range of models ofevent and festival production, and thediversity of approaches taken by differentorganisations and promoters.

Self-employment, Marketing and PromotionA successful career as a music professionalneeds to be informed, alongside musical andcommunication skills, by an understanding ofthe nature of self employment in business.This module will seek to develop this, and toencourage a confident approach to theworld beyond university, enabling tailoredfinancial and business planning whichencourages an awareness of local marketsand circumstances.

Business ProjectThis module will explore examples ofbusiness projects in commercial and publiclyfunded music and the different marketingmodels and will include an overview of theevolving management cultures which haveinfluenced the music industry over the last40 years. Building on your experience inSelf-Employment, Marketing and Promotionyou will be expected to experiment withdifferent approaches to your own marketingand general business strategies to extendyour imaginative range within the individualprojects, and in developing a viable individualbusiness model.

Introduction to FundraisingTo be an effective fundraiser you must beable to present your organisation in acompelling manner. To do this you need toappeal to a potential donor’s intellectual andemotional motivations for giving, usingresearched data, alongside clientendorsement and beneficiaries’ stories. Thiscourse will help students to gather thisimportant information, and to explorestrategies for producing effective planningand communication materials includinghierarchy of benefits.

Introduction to Fundraising in MusicThis module will focus on the developmentof professional standards in articulating anidentified project, presenting and researchinginformation, and on the need to work torigorous deadlines and wordage limits inproducing written work. The importance offunding criteria will be emphasised andstudents will be encouraged to develop anindependent and proactive approach toresearching trusts and other grant givingbodies.

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Community Music

The three year BA (Hons)Music with Community Musicmatches a focus on eitherperformance or compositionwith a dedicated training inmusic leadership skills, this routeincludes progressivedevelopment of improvisationwork, study of communitymusic and community musicoutreach experience, as well asan introduction to music therapyand world music.

Community Music Modules

World MusicThe module will provide an introduction tomusical texts and musical practices definedbeneath the umbrella term of “worldmusic”. This will include the music of non-European cultures as well as Europeanmusics which do not belong to the canon ofthe classical tradition. Basic approaches toethnomusicological study will be employed inthe examination of recorded texts from avariety of cultures. Practical skills will beintroduced mainly in drumming andvoicework.

Improvisation and CompositionThe concepts of expressive impulse, holdingform and realised form will be introduced inrelation to musical structure and techniquesof musical expression. These will include theapplication of a variety of rhythmicstructures, tonal and modal procedures, arange of instrumental and synthesisedtextures and the development of coherentform. Texts chosen for analysis will be drawnfrom a wide range of contemporary andclassical sources. The (intuitive) skill ofimprovisation will be balanced by the (moremeasured) skills in composition and variousnotations.

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Music and the MindThe module aims to develop anunderstanding of the nature of musicalexperience and the functions of musicalforms from a number of relatedperspectives. It seeks to explore the linksbetween musical structure and communitypractice. It encourages the development ofanalytical and evaluative techniques whichwill be use to the graduate working in thecontemporary musical world.

OutreachThis module will prepare you for directexperience of the use of music incommunity settings. It will then provide theopportunity to plan, deliver and evaluate acommunity music project within anappropriate context.

Advanced Improvisation and AppliedCompositionThe central focus of this module isvocational and applied. Building upon skillsand approaches developed in years one andtwo of the degree, you will now beencouraged to examine the contexts inwhich original music is produced within thecontemporary world and the diversity offunctions which music serves. You will thenlook at the various forms of this music (inrelation to context and function) and choosean individual and appropriate compositionalproject. Improvisation and composition aredefined as virtually synonymous terms forthe purpose of this module where theformer places an emphasis on process andthe latter on product.

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Community Music

Contextual study

Whichever degree route you choose, youwill draw upon our wide range of contextualstudy modules, allowing you to tailor yourown developing knowledge to suit your ownemerging stylistic or subject specialism

Contextual modules:

Music NowThis module introduces various critical andanalytical approaches that can serve to assistyou when encountering new music. Avariety of skills which will prove necessaryduring the degree course will be explored.You will be involved in the process ofassessment, using the module criteria, andwill also be required to evaluate your ownlearning on the course. Case studies ofcontemporary work will be introduced bytutors, and as the module progresses youwill use an increasing range of practical skillsto critically examine these models. To carryout assessment tasks, you will beencouraged to familiarise yourself withlibrary and recording studio resources

Style and GenreThe aim of this module is to provide youwith a vibrant chronological and analyticaljourney through the development of thewestern art-music tradition from itsbeginnings in the ancient world to thedisintegration of tonality and the inventionof the tone row.

Introduction to Popular MusicWith more than half a century of historybehind it, Popular Music has a notabletenacity in reframing and reinventingaccessible musical language for the listener.This module begins by tracing thedevelopment of popular musics in themiddle of the 20th century, through to thepresent day, and is intended to providestudents with an overview of succeedingstyles and reinforce an awareness of therelevant social context that can help translateand explain material for the modernaudience.

The Politics and Social context of Popular MusicThis module aims to develop and build uponthe key issues explored in Introduction toPopular Music, to make you aware of howpopular music has been consumed andperformed in recent historical contexts, andto explore current examples of this process.The module will explore connexionsbetween music, politics, gender, and society.

Introduction to Musical TheatreThe module will introduce you to keyrepertoire drawn from succeeding periodsof musical theatre history, supporting anexamination of musical structure with aparallel focus on developments in dance anddrama within the genre. Awareness ofhistoric performance practice will beemphasised, and connexions between musicfor the stage and film will be explored.

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Contextual study

Reading Popular MusicThis module is intended as an opportunityfor you to examine some key strategies incritical analysis, using the lens of popularstyles, subcultures and genres to explore avariety of analytical tools.

Modern JazzThe module will explore importantdevelopments in Jazz from its birth in NewOrleans to the present day. By examining thehistory of Jazz’s inception through to thecurrent developments, you will gain a broadunderstanding of the major styles and theparticular innovators in the field.

The BaroqueThis module aims to deepen yourunderstanding of the historical, cultural andmusic-theoretical context in which many ofthe most significant and influential works ofthe Western Art-Music canon werecomposed. Additionally, you will explore theissues that encircle baroque performancetoday – tuning, pitch, ornamentation, periodinstruments – and consider how thesefactors might inform your own practice.

ClassicismThis course will consider the Classical style inmusic primarily through the work of its chiefexemplars, Haydn, Mozart and Beethoven.Special consideration will be given toproblems of formal analysis and theapplication of the conventions of amusicology to an artistic period so muchdefined by the work of a very small group ofoutstanding composers. A variety of workswill be studied, large and small, sacred andsecular, and you will undertake originalcomposition as further exploration of thegeneric codes this study has identified.

Jazz and the Origins of the Modern MusicalThe influence of Jazz is felt today in musicaltheatre, and was very clearly evident in thetransition from the Variety show style to theearly work of Rogers and Hart and others.This module is intended as an opportunityfor you to examine some of these earlyshows, using the lens of this particularmusical style, and to chart a broaderdevelopment of Jazz over the same period.

Opera and OperettaFor many musical theatre practitioners therepertoire of the 19th century remains theedge of the known world, often recalled –although in a variety of styles – by the moreoperatic ‘crossover’ works which have wona permanent place in the 20th centurycanon. This course sets out to enrich yourperformance practice with a lively sense ofan appropriate performance context foropera and operetta, and to develop ascholarly interest in the social context thatcan help inform this. The module includes afully staged student performance.

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RomanticismThe Nineteenth Century was as eventful anddramatic a period as its literature and artsuggest, and for music - much of which is atthe heart of our concert repertoire today - itwas the age of the virtuoso. This modulewill examine the development of theorchestra, perhaps the most splendid'instrument' at the composer's disposal,noting some of the changes and additionsthat were gradually introduced to itscompendium, and drawing on set works toillustrate these. On a more intimate scale,many of the same composers werepreoccupied with the transition from folksong to art song that began in the earlydecades of the century, and particularemphasis will be placed on key works of thedramatic and lyrical vocal genres. Boththrough performance and by analysis, thesecond half of this course will seek toenhance an understanding of thecompositional processes at work in the Lied,and in the parallel development of theRomantic miniature.

ModernismThe outer form of a new musical style cansometimes obscure what is the real intentionbehind its construction, with listeners onlyable to come to terms with musical valueslong after the experimental perception ofthe work has been superseded by ahistorical legitimacy. This module places animportance in understanding the disparitybetween different Modernist composer’sintentions and aesthetics in order to becomefamiliar with the aural experience of theirmusic. By understanding the musical values inthe work of several 20th century composersand/or musical Movements coupled withthe cultural and social context of the time,the formal and structural apparatus ofModernist composition become clearer.

Structures and politics of Rock MusicThis module sets out to develop a soundunderstanding of the relationship betweencontemporary musical texts and the politicaleconomy in which they are produced andmediated. It will also provide theopportunity for you to produce your owncreative work within a contemporary idiomusing appropriate technology.Contemporary musical culture is dominatedby popular forms of music which resonatewith the aspirations and feelings of largeconstituencies of consumers. The modulewill examine the discourse between theforms in which these texts are created andthe political space in which they areemployed. The aim is to develop informedperspectives and creative skills in an area inwhich many musicians may find futureemployment.

Bollywood and Beyond: Asian Musical TheatreMany courses focus on the European andAmerican traditions in Musical Theatre.However, there is a rich and abundantsource of musical traditions in Asia wheremusic and theatre traditionally play afundamental part in society. This moduleexplores different traditions of musicaltheatre focusing on the multi-billion dollarindustry that is Bollywood, contextualised bythe historical traditions of musical theatrewe find in countries such as Japan, China andThailand. You will be encouraged to broadenyour understanding and definition of what isMusical Theatre by engaging with a wealth ofexamples from across the Asian continent –as well as engaging in Bollywood dancework.

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Study Skills

Progressing through your degree programmeyou will need to enhance and build upon yourskills as a musician, as a performer and as ascholar. In making their module choices, allstudents are able to draw upon study skillsmodules they feel are relevant to theirpersonal developmental needs.

Study skills modules:

Musical GrammarThis course is designed for you if yourpractical skills in performance, and creativeskills in composition and improvisation arenot matched by a confidence in using someof the technical language of music, or indescribing and articulating its mechanicalelements. Understanding of different musictheories (traditional, jazz, rock) will beexplored through the development of skillsin written and aural exercises and practicaldemonstrations.

Writing about MusicThrough the introduction of a range ofconcepts and debates which inform our livesas musicians, this course will combine thedevelopment of a critical and analyticalapproach with the confidence and skillneeded to express this in written form .These concepts and debates will beintroduced and explored through the studyand examination of a range of musics andrelated artworks from different styles,genres, and historical periods.

Listening skills 1Students will be introduced to a range oftechniques fundamental to the developmentof ear training. Practical musical activitiesinvolving reading of simple scores andperforming of short pieces will enhance auralunderstanding. A good range of musicallistening tests will be used to developstudents’ understanding of style and content.Weekly sessions will include regular listeningpractice encompassing the various musicalelements of melody, rhythm and harmonyetc.

Listening skills 2Further and extended listening materials willbe presented both by tutors and students.Advanced chordal progressions, use ofsyncopation and compound metre,chromatic harmony and more advancedmodulation will challenge the student further.Practical musical activities involving readingof scores and performing of short pieces willenhance aural understanding, and a widerange of musical listening tests will be usedto extend and develop your understandingof style and content.

Music and SocietyThis module will deal with a wide range ofissues concerning the cultural functions andsocial meanings of music by exploring bothacademic sources and your individualexperience of music. The content willexplore a wide variety of music and musicalcustoms drawn from European and non-European sources and you will beencouraged to examine how culture andsociety embed meaning into their musicalpractices.

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Touring and Concert Activities

The ensembles and orchestras of theUniversity of Chichester operate a fullconcert and touring schedule. SymphonyOrchestra has performed in Koblenz, Parisand Cologne as well as venues around theUK. It makes regular appearances inChichester Cathedral as well as our ownchapel. The Pops Orchestra, Wind Band andBig Band are also well travelled with tours toFrance and the Channel Islands; last yearPops Orchestra participated in “TheAvengers” symposium performing the musicof Laurie Johnson on BBC as well asfeaturing in pop videos such as theMummers new track “Call Me a Rainbow” .A recent concert for the NSPCC raised over£9000 in one night.

The University Chamber Orchestra will bevisiting Louisiana, USA this Summer wherethey have been invited to appear in twofestivals and will be giving concerts in NewOrleans and Baton Rouge. They have alsobeen invited to perform in Switzerland andAustria where they are guests of theSaltzburg Conservatoire, as well asperforming to Prince Charles in St Paul’sCathedral. With performances inGoodwood House and other venues aroundthe UK they are set to be very busy.

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Teaching Staff

Head of Orchestral studiesCrispin Ward

WoodwindBen Train FluteSophie Middleditch RecorderSusie Shrubb OboeEmma Alexandra ClarinetNick Higgins Jazz SaxophoneSpencer Bundy SaxophoneAlison Woodward Bassoon

BrassFraser Tannock TrumpetSimon Growcott French HornMike Saville TromboneClifford Bevan TubaKevin Smith Trombone and Tuba

StringsSebastian Mueller Violin Sarah Yffer Violin Eulalie Charland Violin SuzannahPattinson ViolaChristine Ward CelloSusan Denyer Double Bass

Orchestral PercussionRobert Kendall Haydn Walden

HarpFrances Kelly

KeyboardJonathan Plowright (Head of Keyboard)Chizumi Hollingworth PianoAdam Swayne PianoTerence Allbright PianoNick Reynolds Jazz PianoWayne McConnell Jazz Piano

David Pollock HarpsichordTim Ravalde OrganAngela Zanders Piano and Piano

Accompaniment

Musical TheatreJulian Kelly Musical DirectingDerek Barnes Musical Directing

and VoiceJan Winstone Musical Directing

and VoiceKaren Howard Acting/DirectionEd Burnside Acting/DirectionMiranda Kingsley ActingKirsty Dillon ActingDamien Delaney DanceAndrew Wright DanceLucy Dodd DanceSally Gibbons Stage Management

ConductingCrispin Ward ConductingArthur Robson Choral ConductingAlan Thurlow Choral Conducting

GuitarJon Perry RockSasha Levtov ClassicalDave Smith JazzNick Reynolds BassGary Simons Bass

KitJohn Maiden Loz Thomas

SingingSusan Legg (Head of Voice)Chip JenkinsGiles WhiteJacquelyn Fugelle

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Teaching Staff

Martin Elliott Phillip Drew Susan Yarnall Will Pool Lesley McClymont Michael Pearce Jon Grave Alison Guill

Yoga/Alexander TechniqueGraham Elliot

Ensembles

ChoirsFirst Year ChoirOtter ConsortChamber ChoirAscension SingersChorale

OrchestrasChamber OrchestraSymphony OrchestraPops OrchestraPit Orchestra

EnsemblesBig BandBrass EnsemblePit BandRecorder EnsembleSaxophone GroupWind Band Clarinet Choir Contemporary Music GroupFolk Group

WorkshopsConducting Workshop

Jazz Night Jazz WorkshopOpera Workshop Piano GroupTheory Classes

MasterclassesBrass MasterclassWoodwind MasterclassStrings MasterclassVocal MasterclassPiano Masterclass

DanceTap DanceBalletModern DanceBollywood DanceJazz DanceOpen Dance

The Performing Body (Yoga and Alexander Technique)

Academic StaffPaul AckerleyDr Stephen BaystedBen HallKaren HowardLouise JacksonJulian KellyDr Jonathan LittleDr Rod PatonDr Laura RitchieArthur RobsonNick ReynoldsDr Adam SwayneAlison Woodward

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