COURSE

PROSPECTUS
2012—13
 THE INSTITUTE
OF CONTEMPORARY
MUSIC PERFORMANCE

2 3
WELCOME
This is an extremely interesting and
challenging time to be choosing to study,
especially at the level of Higher Education.
The entire education sector is changing
rapidly with political and financial decisions
being made by Government and other
legislative bodies that will impact directly
on the student experience in coming years.
Therefore at the Institute we believe it is
our role to provide stability and confidence
to our students and to continue to ensure
they benefit fully from their chosen
course of study.
The new world of tuition fees is now
upon us, so the first issue we must address
is the question of value for money. With
many universities up and down the country
charging up to £9,000 per annum for their
undergraduate courses, we are conscious of
the need to be fair and reasonable towards
our students. This is of course a two-way
equation, a combination of the fees we
charge and the education, services and
support that we provide in return. In this
regard we believe we have got the balance
right; all our undergraduate tuition fees for
2013 are priced below £6,000 per annum,
thus ensuring that Institute students do not
have to accrue large debts to study here.
Combined with our great London location,
high quality teaching and curriculum,
small class sizes and high levels of contact
teaching hours, we believe the value we can
offer to students is unbeatable.
We must also consider how effective
we are at meeting the needs of our
students and supporting them both as
undergraduates and alumni as they make
their way in the ever-challenging music
industry. In this regard we also believe
we have plenty to offer. Alongside the
provision of inspirational teaching and
effective curriculum development, we
will continue to invest in our student
careers and advisory service (‘the Hub’),
our student wellbeing and support teams
and in the deployment of technology
and best practice to improve the student
experience in the classroom and beyond.
We understand that the success of our
students will determine the future success
of the Institute itself; a glance at the alumni
section of this prospectus or on our website
illustrates how Institute alumni continue to
lead the way in the music industry, securing
gainful employment and achieving artistic
and creative success at all levels.
Finally, and especially for those
students looking to enrol on courses
of more than one year, we have in place
plans to ensure that our provision is
continually developed and our quality
standards continually improved over time.
We have recently announced plans to Paul Kirkham
increase our available premises space by Institute Director
over 40% and invest a substantial sum in
new facilities and equipment including an
in-house recording studio, new teaching
and performance studios and enhanced
classroom technology. We will be further
developing our already-extensive industry
connections and partnerships and providing
an enhanced range of events and work
experience opportunities. Our world-
class teaching faculty will be extended to
include new and relevant specialist faculty
members. Importantly, as one of a small
and select group of ‘Voluntary Subscribers’
to the Quality Assurance Agency for
Higher Education (QAA) we can assure our
students that the highest academic and
operational quality standards will be met;
and as ‘Highly Trusted Sponsors’ as assessed
by UKBA we can reassure international
students that they will be both welcome
and able to enrol with us.
Of course this prospectus can only
cover a part of what we do. So if you are
interested in enrolling on an Institute
course don’t hesitate to visit our website,
attend an open day or contact our us
directly for further information. If you
are looking to develop your career as a
musician, performer, songwriter or music
entrepreneur, or if you simply want to be
the best you can be, then there has never
been a better time to invest in your future
by choosing to study with the Institute.
 the institute of contemporary music performance
course prospectus 2012-13
www.icmp.co.uk

CONTENTS Why choose the Institute?

London: the Music Capital
08
10
Studying at the Institute 11
Masterclasses, Clinics & Seminars 12
Artist & Career Development 14
Student & Alumni Successes 16
Music Industry Connections 18
Student Wellbeing 19
Partners & Accreditations 20
Our Teaching Facilities 21
Guitar Courses 23
Bass Courses 35
Drum Courses 47
Vocal Courses 59
Songwriting Courses 71
Music Business Courses 75
Masters Courses 79
Part-time & Specialist Courses 81
Teaching Faculty 93
Scholarships 108
Research 110
What to do next 112
How to find us & Online Support 113
Frequently Asked Questions 114
 www.icmp.co.uk
WHY CHOOSE THE INSTITUTE?
At the Institute we are proud of our
extensive experience in developing
and delivering high-quality courses for
contemporary musicians and songwriters.
For over a quarter of a century, we
have pioneered the teaching methods,
curriculum and philosophy that have
become the benchmarks for contemporary
music education, and we are able to
offer the kind of rigorous training that
conservatoires have offered classical
musicians for centuries.
Our teaching faculty, all of whom are
actively involved in the music business
whether as educators, professional
musicians or creative artists, is unrivalled in
the UK and probably anywhere in the world.
The Institute was the first to offer
full time programmes for students of
contemporary music, and we continue
to innovate and develop our provision
in line with needs of the ever-changing
music industry. During their time here,
our students acquire the techniques to
why choose the institute?
express themselves, the tools to survive
and grow in the industry and the confidence
to continually succeed as their careers
develop.
Our courses are written and delivered
by some of the best educators and
practitioners in the world, providing the
necessary training and education both
for those wishing to make a career in the
modern music industry as well as students
who just want to be the best they can be.
Importantly, many of our courses also
integrate a range of transferable skills
and knowledge that will help support the
entrepreneurial nature of life as a musician
welcome & introduction
or songwriter.
Institute students experience more
class time, in smaller groups, than other
schools, enabling them to effectively
benefit from our inspiring and challenging
teaching methods.
8 9
At all times, we are focused on the needs
and goals of the individual; as musicians we
are all on a personal journey to unlock our
potential and here at the Institute, we aim
to help you nurture and develop your own
unique voice.
This interest and care doesn’t stop once
you graduate; we work hard to make sure
our alumni continue to benefit from the
many opportunities that come our way.
Being located in London, at the heart of the
global music community, means Institute
students have unrivalled opportunities
to perform at a wide range of gigs and
showcase events. This provides a unique
opportunity to build networks and
connections so essential to the successful
musician or performer. We continually
invest in a world class, industry-standard
learning environment, with cutting-edge
equipment and technology to support
learning.
We are Ofsted accredited and
additionally count on a large number of
further accreditations and validations. Our
extensive network of academic and music
industry partnerships further illustrates
the Institute’s reputation as a leader in
the world of contemporary music and
ensures our students have the best possible
opportunities to achieve their goals.
As a school we have a deeply embedded set
of operating values and a philosophy that
puts the student at the heart of everything
we do. We encourage musicians and
creative artists from all backgrounds and
cultures to access our courses, and we have
in place a range of scholarship and bursary
programmes, always in great demand,
providing opportunities for talented and
deserving students. So whether you are
looking to develop a career in the music
industry or simply want to develop your
skills and knowledge to become the best
you can be, choosing an Institute course
is an excellent place to start.
the institute of contemporary music performance
course prospectus 2012-13
The Institute is internationally regarded
as one of the world’s leading schools of
modern music, not just by our students and
alumni, but by the wider music industry.
Here are some of the reasons why:
A Fantastic London Location
Where else can compare with the music
capital of the world? London offers
musicians diversity, a sense of community
and most importantly a wide range of
opportunities to support them while
building a career in music.
Quality & Standards
At the heart of the Institute’s values sits
an ongoing commitment to achieving
the highest quality in all that we do. The
Institute has Higher Education programmes
validated by both the University of East
London and Middlesex University and
delivers Further Education programmes
in partnership with the College of North
West London. The Institute is an approved
Edexcel centre, an approved EDI Centre,
a Rockschool Examination Centre, is
accredited by Ofsted, has ISO9002
accreditation at the highest level and holds
‘Highly Trusted Sponsor’ status as awarded
by UKBA. The Institute is also an active and
valued member of the UK’s Music Education
Council (MEC), the Music Industries
Association (MIA) and the Association of
Independent Higher Education Providers
(AIHEP).
Our Heritage & Reputation
With over 25 years of experience in the
sector, the Institute is considered by many
to be one of the pioneers of contemporary
music education in the country, leading the
way with innovative courses and services.
Home of the legendary Guitar Institute,
we are respected throughout the music
education sector and the music industry.
the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13
Environment & People
The Institute provides a world-class
learning environment, from its teaching
faculty to those behind the scenes to its
industry-standard facilities. We employ
only the best people, making sure that
students are given the most experienced
and supportive community possible. Our
students are at the heart of everything
we do.
Teaching & Curriculum
Our inspirational curriculum is designed,
written and delivered by the best educators
and practitioners in the world. A perfect
mix of high-standard academics and
active professionals in the music industry,
Institute courses are not only fully
accredited and offer nationally recognised
qualifications but are also intensively
practical, with extensive live performance
and instrument-based learning.
Opportunities & Progression
why choose the institute?
We are focused on supporting our
students before, during and after their
courses with us. We have significant
industry expertise in-house (including
Sony’s ex-Head of Marketing) and a
well developed careers, business and
industry liaison team to support our
students. With such strong links to music
industry, management, promoters, agents,
publishers, A&R representatives and
much more, our gigs and showcases are
regularly attended by industry scouts
and our courses are supplemented by
industry masterclasses and clinics.
welcome & introduction
Values & Philosophy
The Institute has a clear set of operating
values and a philosophy that puts the
student at the heart of everything we do.
Our goal is quite simply the success of
our students.
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

LONDON: STUDYING AT
THE MUSIC CAPITAL THE INSTITUTE

London is undoubtedly one of the most exciting and vibrant There’s more to student life than playing and practicing 24/7.
cities in the world, and the Institute’s central location means that At the Institute, we ensure our students feel they are part of a
all our students have the opportunity to experience every aspect community of like-minded musicians and artists, and get the
of London life. opportunity to build networks and relationships and perform
Besides having the greatest concentration of major tourist with fellow musicians and industry professionals.
attractions in Britain, London is one of the major international hubs We also understand the importance of finding a good balance
of popular music and culture. From all of the top international between educational and social life. Right from the start, at the
record labels to world famous music venues like the Royal Albert Institute we provide all our students with a wide range of social
Hall, Wembley Arena, the 02 and Abbey Road studios, music is events and activities, including:
being performed, played and created in London every day and
around every corner. • Freshers’ Fortnight, including a dedicated day to introduce
A destination in itself for music history, London continues to students to our partners and sponsors
set the standards of all things music. From the celebrated locations • Regular ‘open mic’ and jam nights at local venues
of Denmark Street, Soho and Camden to the up-and-coming hot • Live nights at famous London venues
spots of East London like Shoreditch, students have the opportunity • Industry showcase nights
london: the music capital

studying at the institute

to learn from the past, experience the present and help create the • In-house auditions with record labels and artists
future of London as a music landmark and trendsetter. • Organised student party nights
Importantly, by being located in London, the Institute is • Masterclasses and clinics
uniquely positioned for our students to develop their networks – a • Exclusive gigs by signed bands and artists
crucial element of commercial and critical success – and get seen by • Graduation celebrations
industry insiders. All the major record labels, publishers, promoters
and management companies have offices and are active in London, The Institute has a dedicated student website which is updated
and countless Institute students have performed at all the top on a regular basis and offers current students everything from
venues in London, including: auditions and opportunities, student documents, student discounts
and housing information.
• Royal Albert Hall • The Jazz Café And crucially, at the Institute we are able to provide students
• The O2 Arena • The Roundhouse with professional careers and business advice alongside personal
• IndigO2 • The Troubadour services and support. This ensures that students are able to develop
• Shepherd’s Bush Empire • The Purple Turtle their skills and knowledge on an Institute course in a supportive,
welcome & introduction

welcome & introduction

• Dingwalls • Proud Camden constructive and professional environment, thus maximising the
• KoKo • Hoxton Square Bar & Kitchen opportunities for success after graduation.
• Scala • The Forum
• Ministry of Sound • Brixton Academy
• Ronnie Scott’s • The Bedford
• Dublin Castle • The Barfly

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 www.icmp.co.uk the institute of contemporary music performance
course prospectus 2012-13

MASTERCLASSES,
CLINICS & SEMINARS
Every year we attract a wide range of leading musicians, singers, songwriters and industry
Guthrie Govan Terry Ellis Wes Borland
executives who are always eager to come and speak with our students. Masterclasses and Guitar En Vogue Limp Bizkit
clinics are free of charge to all who study with us full-time and can be one of the most Vocals Guitar
exciting and inspirational parts of student life at the Institute. Here is just a small selection
of the names that have visited us recently.

Doug Wimbish Billy Sheehan

& Will Calhoun Bass
Bass & Drums

Troy D. Antunes Bass & Production Sir Tim Rice Song & Lyric Writing Mark Schulman Drums Mattias Eklundh Ian Matthews Bill Bruford Larry Carlton
masterclasses, clinics & seminars

masterclasses, clinics & seminars

Troy D. Antunes has been a part of the music industry
for over 20 years and has been blessed with the unique
opportunity to have worked with recent pop music history’s
most successful artists as a touring musician and assistant
Musical Director. Troy has worked with the likes of The
Backstreet Boys, Justin Timberlake, Britney Spears, Tim
McGraw and Ciara just to name a few.
Legendary lyricist and multi-Grammy and Oscar-winner Drummer Mark Schulman took time out of his busy tour Guitar Kasabian Drums Guitar
Sir Tim Rice visited the Institute to watch students schedule with Pink to host a masterclass at the Institute. Drums
perform selected songs from his repertoire. Tim provided Showing his skills on the kit, he also answered questions
commentary and gave an insight into the art of songwriting. about his career of studio work and high-profile tours
worldwide with Pink, Simple Minds, Billy Idol, Tina Turner,
Beyonce and more.

Michael League Greg Howe

Snarky Puppy Guitar
Bass
welcome & introduction

welcome & introduction

Natalie Williams Vocals
With 4 critically acclaimed albums under her belt, Natalie
Williams, has become an essential fixture in UK music. As
Natalie goes from strength to strength, her incredible drive
was rewarded in October 2010 when she was nominated for
a MOBO Award for best UK soul, in a category alongside
international legends Sade, Corinne Bailey-Rae and Plan B.
Jamiroquai Rhythm Section Carl Verheyen Guitar Jennifer Batten Janek Gwizdala
with Daniel Pearce Band Former member of Supertramp and highly regarded L.A. Guitar featuring Jojo Mayer
Derek McKenzie (Drums), Rob Harris (Guitar) and Paul session guitarist, Carl Verheyen, made a point of visiting Bass & Drums
Turner (Bass) from Jamiroquai were joined by guest singer the Institute to deliver an interactive masterclass. Students
and percussionist Daniel Pearce performing as “Shuffler”, got the chance to not only ask Carl questions, but also to
delivering a masterclass in performance and their approach get up on stage and perform with him.
to different styles of music. Daniel sings on Dizzee Rascal’s
‘Dirtee Disco’, has toured with him and has performed
backing vocals on his tracks ‘Dance Wiv Me’ and ‘Holiday’.

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 www.icmp.co.uk the institute of contemporary music performance
course prospectus 2012-13

Gigs & Open Mics Recording

The Institute events team works closely
with The Hub to generate live performance
opportunities right across London to help
you develop your skills onstage . We also
work with London based and regional music
promoters to increase the opportunities for
our students to perform live in showcase
events at a wide range of venues, clubs
ARTIST & and festivals.
CAREER A&R Advice & Support
In addition to our own in-house facilities,
the Institute’s partnership with SAE means
our students have the opportunity to
record in state-of-the-art studios with
some of the best up and coming engineers
and producers in the country. Our own
network of recording studios continually
source session musicians from us too.
Agencies
We work with many organisations to

DEVELOPMENT
The Institute is in a privileged position;
we get to work with musicians and
artist & career development
As well as our specialist A & R artist
development team onsite, some of the
most respected people in the music
business regularly host seminars,
workshops and advice sessions for our
students. The Hub team is always on
hand to offer support and advice on
songs, planning and strategy, marketing,
promotion, and much more.
Work Experience & Internships
support our students’ careers including
function band agencies, cruise liner
specialists, overseas booking agencies
and external careers services.
The following are just a few examples
of students and alumni we have supported
Saint Saviour permanent drummer for the band in collaboration with Institute partners
in their careers through our network of
Institute guitar student Dave Jorgensen who recently played Glastonbury. Gibson, BMI and SAE. Attended by many
industry contacts:
and bass student Sean Brennan are industry representatives it provides a
currently playing with the most exciting Bernstein’s Mass at Royal platform for our students and alumni to
Daughter
female artist of the year, Saint Saviour. Festival Hall showcase their talent to some key

artist & career development

artists who are taking their first steps
towards a career in music. Our aim is to
provide students the support, guidance,
opportunity and information to really
begin to shape their music industry
career from day one at the Institute.
To facilitate this the Institute has
recruited a full time Industry Liaison and
Careers Service called ‘The Hub’. There
are many ways that the Institute can
support and guide you as you embark
on your career in music.
Auditions
We proactively reach out to industry
contacts and partners on students’ behalf
welcome & introduction
We have an excellent and ever-growing
network into the music industry and
regularly source work experience
opportunities for our students with record
labels, publishers, management companies,
marketing agencies, PR companies,
local studios and some of the biggest
manufacturers in the business, such as
Roland, Yamaha and Shure.
The Hub Presents … Next Steps
Sessions + Careers & Networking days
Next Steps is a series of events and guest
lectures, case studies and Q & A session
with targeted industry professionals from
the most relevant areas of the music and
Institute alumni Elena Tonra, Igor Haefeli
She is embarking on a solo project after Institute bass degree student Hugh players in the business.
and Remi Aguilella perform under the artist
receiving unrivalled reviews as the front Richardson performed at London’s
name of ‘Daughter’ and are causing quite a
woman of Groove Armada. Royal Festival Hall in the culminating Community Festivals
stir in the music press for 2012. They have
performance of the year-long A local following can be an important
recently put pen to paper on a deal with
Animal Kingdom Warner Records Bernstein Project. foundation for an artist/band to build. The
4AD records, the home of artists such as
approached the Institute looking for a Institute works with local London festivals
Bon Iver, Iron & Wine and The National.
guitarist to join them on their tour dates Andrew Davie to promote student and alumni bands and
2013 promises to be a big year for Daughter
last year. Institute alumnus Matt Park was Institute vocal alumnus Andrew Davie artists, organising sessions for them on the
with a busy schedule playing various
auditioned and chosen for this outstanding featured in Music Week who described him main stage. The Shoreditch Festival was
festivals across the UK and Europe ahead.
opportunity. as ‘soulful pop’ with ‘real career potential’. a particular success as we worked with SAE
Andrew also recently supported Mumford to ensure our artists got to perform to the
Paper Crows
Unkle Bob & Sons on their UK tour. 30,000 visitors, supporting headline
Institute vocal alumni Emma Panas and
Institute bass alumnus Chloe Treacher band ‘The Whip’.
Duncan McDougall signed a development
and her band Unkle Bob have been on tour The Chakras
deal with Future Cut Productions. Future
with ‘James’, supporting them on their UK A band originally from Dublin the guys Somerset House
Cut made their mark on the industry when

welcome & introduction

to source as many audition opportunities
as possible. In the past we have facilitated
auditions with Sony/ATV publishing, RCA,
Sony Music, EMI, BBC, ITV, E4, Sky One,
Mercury Music, Fierce Panda Records,
Xenomania, Island, Columbia, Universal
Music, Channel 4, ITV, several international
artists and many more.
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entertainment industries. The core event in
this series includes a large networking and
careers event with 15 industry professionals
from across the music industry. Institute
students have unique access to ask advice,
pass demoes and start to build their own
essential network to help build their
own career.
dates, including a performance at the Royal
they co-wrote, produced and mixed songs
Albert Hall. They have also recorded an
on Lily Allen’s debut album, including hits
album with producer Ken Nelson (Coldplay,
‘Smile’ and ‘LDN’.
Feeder, Embrace and Gomez).
Marina and the Diamonds
Dub Pistols
Drum auditions were held at the Institute,
The Dub Pistols held auditions for
to gig with Marina, and alumnus Chris
students and teachers at the Institute.
Morris was delighted to be chosen.
Although only a ‘dep’ at first, Institute
alumnus Jack Cowens is now the
relocated to London and approached the
Institute on the hunt for a new drummer.
Stuart Lawson was eventually selected and
since then the band have gone on to sign a
record deal with ‘Planet Function Records’,
an off-shoot of the legendary R & S Label.
Sofas & Strings
This termly event is held at the world-
famous Hard Rock Café and is hosted
During the ‘summer series’ held annually
at Somerset House, our students and
alumni have the opportunity to play on
the main stage in one of the most striking
venues in London. Songwriting student
Karen Sheridan supported LAMB while
Dave Jorgensen, Lee Clifton, Salena
Mastroianni and Lauren Johnson supported
Hurts while playing with Saint Saviour.
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 www.icmp.co.uk
Daughter
Institute alumni Elena Tonra, Igor Haefeli and Remi
Aguilella perform under the artist name of ‘Daughter’
and are causing quite a stir in the music press for 2012.
They have recently put pen to paper on a deal with 4AD
records, the home of artists such as Bon Iver, Iron & Wine
and The National. 2013 promises to be a big year for
Daughter with a busy schedule playing various festivals
across the UK and Europe ahead.
STUDENT
& ALUMNI
SUCCESSES
student & alumni successes
The time you spend as a student at the
Institute is a platform for you to build
a career in music. Making the choice to join
the Institute is a life-long choice to
be part of our community and take
advantage of the opportunities we source
for you. Our students and graduates
continually prove that they have the skills,
attitude and drive to work at the highest
levels; session playing for top artists
and producers, playing and performing in
front of thousands on the biggest stages,
welcome & introduction
arranging or composing, teaching, and
much more. Here is a small selection
of the thousands of professionals we have
developed over the years. With the
right attitude, determination and support,
the possibilities are endless.
16
Matt Park Guitar
Matt won Guitar Higher Diploma ‘Student of the Year’
and went on to complete the Institute Degree course.
Matt was the guitarist in the band Helsinki, fronted by
Babyshambles bassist Drew McConnell, another graduate
of the Institute. The band has supported We Are Scientists,
toured with Kid Harpoon and has recorded with artists such
as Albert Hammond Jr. (The Strokes). Matt also plays for
various other artists and bands including singer/songwriter
Leona Naess, with whom he completed a month long US
tour supporting Ray LaMontagne. Matt was also the
multi- instrumentalist playing with The Noisettes.
Loick Essien Vocals
Loick, a graduate of our Vocal Higher Diploma and
Institute vocal scholarship winner, is developing into
quite the high profile artist. While at the Institute he
performed at an industry showcase which paved the
way to a Sony RCA development deal. Loick spent time
working with some outstanding producers in LA, Sweden
and Germany on his debut album which is due for release
this year. The first single was produced by Labrinth, the
songwriter/producer signed to Simon Cowell’s label Syco!
Loick has also collaborated with N-Dubz and hip-hop
artist Chipmunk. His latest single, ‘How We Roll’ peaked
at number 2 in the UK charts.
the institute of contemporary music performance
course prospectus 2012-13
Arni Hjorvar Bass
While studying at the Institute, Arni was a very busy
bassist taking advantage of every opportunity that came
his way, playing with Judy and Bailey Tzuke on tour, Sony/
RCA signed band, The New Devices and JJ Pistolet. From
his presence in the vibrant live music scene of Camden and
Shoreditch, Arni built his name as a fantastic bassist and
together with JJ Pistolet has put together the NME hotly-
tipped band, The Vaccines. One of the busiest bands in the
industry at the moment, they have completed several UK
and European tours as well as many dates in the US.
Robbie Boyd Band
Robbie graduated from the Professional Diploma in
Songwriting and has continued with his work ethic of
getting involved with as much as he can, displayed in
abundance during his studies at the Institute. His band
consists of Institute students and alumni Mike Newman,
Huw Benyon, Russel Smith and Simon Fitzpatrick. This year
they won the ‘alternative’ category of ‘Live and Unsigned’,
the largest competition in the UK for unsigned artists,
beating 10,000 other entrants and was announced as the
winner of the London busking competition. 2012 will see
the band play the ‘Tour Fest’ festival in Rome, building on
a fantastic festival presence during 2011 playing Standon
Calling, Nozstock festival, Lubstock festival, Get Loaded
in the Park and Beach Break Live. Sir Tim Rice is listed as
a fan after playing the song ‘Oh Alaska’ on his Radio 2
show referring to Robbie as a “very talented new singer/
songwriter with the ability to create original songs
without losing the commercial touch”.
the institute of contemporary music performance
course prospectus 2012-13
Andy Green Production
As a sound engineer/producer, Andy has worked at The
Townhouse, a famous studio in Shepherd’s Bush, and
worked with artists such as Bryan Ferry, Coldplay, Muse,
Jamiroquai, Kylie Minogue, Oasis, Queen and Robbie
Williams. He started as a sound engineer before moving in
to producing where he has credits with Elton John, Keane
(Hopes & Fears and Iron Sea), KT Tunstall (Black Horse and
the Cherry Tree), Paulo Nutini (These Streets) and
Scouting for Girls.
Nathan Williams Drums
Nathan was an Institute drum scholarship winner and
since graduating has been an extremely busy drummer.
He has worked hard and secured an endorsement with
Mapex. He has played with; Lauren Hill, Shola Ama, Kele le
Roc, Duncan James, Shaggy, Mica Paris and Sway. Nathan
has appeared on BB1, BBC3, MTV Base, VH1 and T4. He is
currently playing with new RCA signing Bluey Robinson and
touring and recording with Mclean. He has also played with
Chipmunk, N-Dubz, Tinie Tempah and Dizzee Rascal.
Cypher 16
Institute alumni band Cypher16: Jack Doolan (Vocals/
Guitar), Carl Dawkins (Bass) and Chris Woollams (Drums)
are continuing to make a massive impact in the UK Metal
scene. With high impact live performances across the
world, Cypher16 have become a hotly tipped band for the
throne of the metal industry after nailing down tours across
USA, playing with Mudvayne and not to mention touring
across India appearing festivals with the likes of Lacuna
Coil. With the UK fanbase being left in the dust as this band
rocket forward worldwide and now its time for the United
kingdom to wake up and enter the realm of Cypher16.
Chloe Treacher Bass
Chloe studied on the Institute’s Bass Degree and landed
her first job as the head double bassist with the production
of Sondheim’s ‘Company’. The musical was put on by top
West End producer Michael Strassen and Musical Director
Michael England. As a member of critically-acclaimed
indie/folk band Unkle Bob, Chloe has recorded with
Grammy and Mercury Award winning producer Ken Nelson
(Coldplay, Gomez, Paolo Nutini, Skin, Feeder). The band
supported James on their sold-out UK tour including
performing at the prestigious Royal Albert Hall. Chloe
also plays with up-and-coming girl band The Scarletz,
supporting Tinchy Stryder, Diversity, Alexandra Burke and
Boyzone. Chloe has also secured an endorsement deal
with a clothing company called ‘Funk Rock’.
www.icmp.co.uk
Emma Panas & Duncan Mcdougall Vocals
Institute vocal alumni Emma Panas and Duncan McDougall
form the band ‘Paper Crows’ and signed a record deal
with Pete Tong’s label; FFRR Records. After only a year of
working with Future Cut Productions originally, the band
were snapped up by Pete Tong after he was played their
tracks by fellow BBC Radio One presenter, Nick Grimshaw.
Future Cut made their mark on the industry when they
co-wrote, produced and mixed songs on Lily Allen’s debut
album, including hits ‘Smile’ and LDN’.
student & alumni successes
Ben Martinez Guitar
Ben is currently best known for his work writing and
arranging with the prolific singer/ songwriter, Jessie J
and is on tour with Sophie Ellis-Bextor. Ben began his
involvement with music singing in church and school choirs.
The music department in his secondary school led him to
sing, play and conduct in a variety of cathedrals, Ox-Bridge
Colleges, National Youth Orchestras and other prestigious
arenas. In his gap year Ben won scholarships to St. Martin in
the Fields (Trafalgar Sq, London) and The Oratory Church, in
Brompton, London. Ben wassubsequently asked to join the
band Fraid, and after sparking up an energetic relationship
the process of writing and gigging came naturally.
welcome & introduction
17
 www.icmp.co.uk
MUSIC INDUSTRY CONNECTIONS
Being located in London, the world’s
music capital, is of huge importance to
aspiring musicians and creative artists.
With thousands of the most important
and influential venues, promoters, labels,
managers, agents and events right on our
doorstep, the Institute can facilitate the
development of your network and make
sure the opportunities come your way.
The Institute has regular contact with
promoters, managers, A&R, record label
executives, publishers and other music
industry professionals. We also have a
dedicated Industry and Careers Service,
music industry connections
which is available to support and guide
students and alumni in developing the
best vehicles to showcase their material
and develop their professional profiles.
In addition to this we work with our
industry and academic partners to widen
our students’ skills and knowledge, all
of which assist in building a sustainable
career. No other school has the resources
and connections combined with a London
location – and being in the music capital
is critical for success.
In addition to the Industry and Careers
Service, the Institute counts on experienced
and respected professionals who are
welcome & introduction
committed to supporting the development
of your career, including:
18
Jason Guy is former marketing director
at Chrysalis, Polydor, Island and Sony UK,
and has worked with acts such as Sting,
Jamiroquai, The Coral and Janet Jackson.
Andy Inglis was a founder of London’s
famous venue the Luminaire and has a
background in management and record
labels. He has managed bands including
Utah Saints and the Dope Smugglers.
Ken Foreman was founding member
and singer of Thrashing Doves. Ken has
also produced records for Chrysalis, Sony,
and EMI and has composed music for
commercials including Adidas, Vauxhall
and 7Up.
Sophie Daniels is a singer-songwriter
who has worked for major labels including
Sony UK and Sony Records (BMG), where
she worked on major pop projects for
Simon Cowell.
Sam Frank has been working in the music
business for nearly twenty years and has
arranged, played live and recorded studio
sessions with acts ranging from Jay Z, The
Roots, US3, Aswad, Matt Bianco, Bernie
Worrel and Don Blackman (Parliament,
Funkadelic), Joss Stone and many more.
Paul Simm is a British songwriter, musician
and music producer who has written and
produced several hits for the Sugababes.
He is currently signed with Trevor Horn’s
publishing company, Perfect Songs.
the institute of contemporary music performance
course prospectus 2012-13
Kit Buckler runs the music division of
Guerillascope and has over 30 years
experience in the music industry, including
stints as a journalist with the NME and
as publicity director at A & M Records
followed by over 20 years at CBS and Sony
Music. During this time, he ran the CBS
press office, was marketing director of Epic
Records and founded Sony Music TV.
Joel Harrison After beginning his career at
Island as an A&R scout, Joel worked his way
up to A&R manager, working under Darcus
Beese and Nick Gatfield. Since leaving
Island in 2007 he has to set up his own
management and A&R consultancy firm,
Party Approved.
Jon Webster (MMF) spent the early part
of his career at Virgin – initially in retail,
then the record label in the 80s where he
was instrumental in the founding of the
Now! series. After the sale to EMI in 1992
he became a consultant working with
Virgin’s ‘heritage acts’. He has been a
manager, founded the Mercury Music Prize
and worked for the BPI. Jon now runs the
Music Managers Forum.
Matt Williams is the creative director
of Music-Jobs, the online resource built
and maintained specifically for individuals
looking for a career in music. Whether
you are a musician looking for work, or a
professional looking for your next career
move in the industry, Music-Jobs is the
ideal resource.
the institute of contemporary music performance
course prospectus 2012-13
STUDENT WELLBEING
At the Institute, it is understood that a
balanced mix between academic and
non-academic life is fundamentally
important for the health and wellbeing of
all students. Accordingly, The Institute has
a dedicated Wellbeing Team on-site, has
increased its investment in the teaching
and learning environment and continues to
receive active contributions from partner
organisations. This means Institute students
have access to a broad network of support,
advice and guidance should they need it.
The Institute is fully committed
to the ‘Every Child or Citizen Matters’
programme, a government-run initiative
which promotes the wellbeing of young
people and comprises the following
five strands:
Being Healthy
Enjoying good physical and mental
health, and living a healthy lifestyle
Staying Safe
Being protected from harm and neglect
Enjoying and Achieving
Getting the most out of life, and
developing skills of independence
Making a Positive Contribution
Being involved with society, and not
engaging in anti-social or offending
behaviour
Economic Wellbeing
Not being prevented by economic
disadvantage from achieving one’s
potential in life
At the Institute we call the scheme
‘Every Student Matters’ (ESM), and we
have a yearly schedule of activities and
promotions that are open to all students.
www.icmp.co.uk
Campaigns and events in which we have
participated in the past have included
the Race for Life, Brent Mind workshops,
combating exam stress, healthy eating
workshops, sexual health workshops, drug
awareness events, Alexander Technique
sessions and charity/fundraising events
such as Red Nose Day.
All events are promoted on notice
boards, on the student website and via the
Institute’s social media outlets. In addition
to this, the Institute functions with a view
to safeguarding and promoting the welfare
of young people receiving education and
training at the school.
As such, we are committed to ensuring
that the school:
• Provides a safe environment for young
people to learn in
• Identifies young people who are suffering,
or likely to suffer significant harm
• Takes appropriate action to see that such
young people are kept safe
The Institute is also committed to inclusive
learning and widening participation. To this
end, Institute students with disabilities
student welfare
and/or learning issues such as physical
or sensory impairment, dyslexia, mental
health problems, communication problems
(such as autism) and/or learning difficulties
will be signposted by The Wellbeing Team
to specialist external support services in
order to maximise their opportunities to
participate in college life and, ultimately,
complete their programme of study
successfully.
Finally, the Institute is committed to
welcome & introduction
signposting students, where applicable, to
organisations providing pastoral, financial,
housing and other general support to
students in need. Students at The Institute
can book a 1:1 consultation to discuss any
of the above topics with a member of The
Wellbeing Team in confidence by emailing:
studentwellbeing@icmp.co.uk
19
 www.icmp.co.uk
PARTNERS & ACCREDITATIONS
The Institute is widely recognised as a
leading provider of education and training
and as such counts on a wide range of
formal accreditations. This ensures that you
don’t have to simply rely only on our word
to evaluate the quality of our provision and
our reputation as an institution.
Institute courses are validated by
two partner universities, we are accredited
by Ofsted, we are an approved centre for
both Edexcel and EDI, we are ISO9000
accredited and we have been awarded
Highly Trusted Status (HTS) by UKBA.
Additionally we are active members
of various sector organisations such as
the Music Industries Association (MIA),
the Music Education Council (MEC) and
the Association of Independent Higher
Education Providers (AIHEP).
Naturally, we count on a wide range
of industry partnerships which ensure
that Institute students have access to
world class facilities containing the latest
equipment in which to train and develop as
partners & accreditations
musicians and performers. And in addition
to all this, our students benefit from
unrivalled access to major names from the
world of record labels, A&R, publishers and
promoters, providing a unique opportunity
to start building your network, a platform
to get noticed and opportunities to develop
your career post-graduation.
From our academic partners to industry
names, venues and manufacturers, the
Institute’s network is a fundamental
component of our student experience
and community.
“We commend the Institute on the
welcome & introduction
commitment and enthusiasm of staff...
the range and quality of the learning
facilities; and the personal and professional
development opportunities provided.”
Middlesex University
20
the institute of contemporary music performance the institute of contemporary music performance
course prospectus 2012-13 course prospectus 2012-13
OUR TEACHING FACILITIES
“Ernie Ball/Music Man is honoured to be At the Institute we are committed to
associated with the Institute, and equally creating the best teaching and learning
proud to have been asked to sponsor the environment possible, providing our
bass scholarship program on an ongoing students with the latest industry-standard
basis. We’ve had a very positive long- equipment in a custom-built space.
standing relationship with the Institute Investment in our performance, practice
and long may it continue in this way.” and teaching rooms and equipment is a
Alex Byford Artist Relations priority. And Institute students can access
Ernie Ball UK all facilities outside of timetabled teaching
for personal practice free of charge.
“[Institute students are] inspired and Institute students count on a wide
motivated by teachers’ excellent specialist range of specialist facilities including:
subject knowledge and instrumental
expertise.” Live Performance Studios
Ofsted Fully-equipped with professional PA
and monitoring system and a range of
“Students benefit from the extensive links professional standard backline.
with high-profile music industry companies
and professionals, and an outstanding Specialist Teaching Rooms
range of masterclasses, live performance Fully equipped with PA, keyboard and
opportunities and auditions.” instrument backline; some have electronic
Ofsted drum kits (Roland V-drums) which
supplement the wide range of acoustic
“Gibson Guitar is proud to be associated kits available around the school.
with and support the Institute. Their
educational program is second to none Broadcast-Quality Recording Studio
and they play a vital role in nurturing Linked via Roland’s Digital Snake to a live
musicians in all aspects of music making. performance room and based around the
The Gibson Guitar supported Sofa & Strings latest Mac Pro Quad Core running the
event in London is just one way in which latest version of Logic. Outboard includes
key influencers in the music industry are Lexicon, TL Audio, Line-6, Roland and
collaborating to support the Institute‘s Akai and mics by Shure.
home grown talent, providing them with
the world’s best guitars and invaluable Dedicated Keyboard
live music experience.” & Technology Suites
Jeremy Singer UK PR Manager Housing network-enabled individual
Gibson Guitar iMac pre-production stations each with
gear by M-Audio and Line-6, featuring
“Without doubt our favourite educational electronic V-Drums for laying down drum
partner with tutors of the highest standard tracks via MIDI while also offering the
and a ‘vibe’ within the facilities that I can’t latest in Roland keyboard technology.
put into words. To be involved in two
scholarships with the Institute says it all.” Drum Techniques Room
Paul Crognale Marketing Manager Dedicated to the study of drum-specific
Shure classes and fully equipped with acoustic
drum kit, PA and monitors.
www.icmp.co.uk
Songwriting Room
A Creative and dynamic environment,
the songwriting room provides songwriters
with a selection of professional instruments
including an electric piano, acoustic
guitars and percussion.
Acoustic Drum Practice Booths
Each air-conditioned custom-designed
booth has a full professional kit, a drum
machine, audio playback and headphone
mixer system.
Lecture Rooms
Institute lecture rooms are fully equipped
with the latest in information and
communications technology and are used
to deliver lecture and seminar classes as
well as video and film presentations.
Learning Resource Centre
The LRC is stocked with all the key course
texts for students to use on a reference
basis. It also features internet-connected
computer stations where students can
our teaching facilities
research and work in a quiet and relaxed
environment.
Student Area
Comfortably furnished with a mixture of
sofas, chairs, tables and live music TV, this
is where students can relax during their
breaks, read the latest music press or jam
and network with fellow classmates.
Instruments
We hold a wide range of guitars, basses,
mics and associated equipment, including
percussion ensemble kits, that are available
welcome & introduction
for classroom use by students. For the
study of percussion, the school also has a
wide range of large and small instruments
(from congas to triangles).
21
GUITAR COURSES

24
BMUS (Hons) DEGREE
26
BA (Hons) DEGREE
27
CERT HE
28
HIGHER DIPLOMA
30
DIPLOMA
32
CERTIFICATE

guitar courses
23
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

YEAR ONE YEAR TWO YEAR THREE

The first year consists of the following modules: The second year consists of the following modules: The third year consists of the following modules:

MUSIC PRACTICE MUSIC PRACTICE Specialised Performance Skills 3a and 3b (40 credits)
Instrumental Studies Instrumental Studies This module provides the opportunity to regularly
Technique, Styles, Reading Technique, Styles, Reading perform, create, and re-create music at an advanced level.
Music Theory Music Theory There are two components:
Aural & Transcribing, Harmony & Theory, Keyboards Aural & Transcribing, Harmony & Theory, Keyboards

BMus (Hons) “The BMus course really equipped me

Directed Instrumental Skills
MUSIC PERFORMANCE MUSIC PERFORMANCE Working collectively, as part of an ensemble under
Live Performance Workshop Ensemble Skills direction and in a variety of real world scenarios, this

DEGREE with the tools and knowledge I needed Ensemble

Percussion, Backing Vocals
A wide-ranging ensemble class supporting the
increasing development of performance, presentation,
component draws on the many musical skills acquired
at levels one and two.

GUITAR to make a career in music” History & Origins of Popular Music and communication skills, awareness of stylistic
indicators and industry-standard performance. Individual Instrumental Skills
MUSIC PRODUCTION Ensemble This class involves the student working in a specialised field
Rachael Travers BMus 2011 Music Technology Wire Choir/Choir requiring virtuoso technique.
Songwriting Live Performance Workshops
QUALIFICATION The Institute degree is the UK’s pre-eminent BMus (Hons) Degree course for Production Project 3b (20 credits)
Bachelor of Music (Hons) in Popular Music Performance
guitarists wishing to reach a professional standard of musicianship and build MUSIC PRODUCTION This module develops the skills necessary to plan, create,
Music Business rehearse, and realise a programme of original popular
LOCATION
a sustainable career in the music industry.
Arranging and Composing music, either as a live performance presentation or as a
Institute of Contemporary Music Performance London recorded portfolio of work.
KEY POINTS
UCAS CODE • Conservatoire-style education for the contemporary guitarist Event Management 3a (optional 20 credits)
W310 This module will consist of a broad range of relevant,
• Considerably more contact teaching hours than many popular music degrees
practical management techniques, including
START DATES • Unique Licentiate as an option in the third year offering experience of teacher training
communication, negotiation, organisation, co-ordination,
September Annually • Challenges students to achieve professional levels of musicianship and instrumental arbitration and resource management. Students will
skill through constant playing and regular performance also study venue operations, event culture and tour
DURATION
• Develops transferable and industry skills to prepare graduates for the real world management and acquire a functional understanding
Three Years Full Time of the relevant legal issues, obligations and regulations
• Delivered by the UK’s leading teaching faculty, with unrivalled professional credentials
such as public and personal liability, health and safety and
CLASS SIZE insurance.
Classes are typically 12 students per class. Academic This dynamic, relevant and challenging programme combines the development of
subject class sizes can vary depending upon the mode professional playing and musicianship skills with the provision of the tools and knowledge Licentiate 3a and 3b (optional 40 credits)
of delivery. This unique option equips the student with skills enabling
required to develop and sustain a career in the modern music industry.
them to design, deploy and evaluate a variety of teaching,
ENTRY REQUIREMENTS The course offers a ‘conservatoire style’ approach for the contemporary guitarist
learning and assessment methods. It will also enable the
• 200 UCAS Tariff points and delivers high instrumental standards. student to achieve a recognised teaching qualification.
bmus (hons) degree

bmus (hons) degree

• GCE A/VCE A Level
• BTEC National Diploma (at suitable pass levels)
• ICMP Higher Diploma or Diploma (at suitable pass levels)
• I B 26 points
• Applicants with equivalent qualifications or
professional musical experience may be considered.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• There is a mandatory audition prior to acceptance.
TIMING
Two 15-week semesters (inc. exams) per year,
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
guitar courses
It is mainly delivered through sustained playing, practice and performance based
modules (approximately 75% of the activities) and provides a unique practice-theory divide. In year 3 of the BMus, students must take one of the
Dissertation modules;
This enables students to develop skills in music practice, performance and production,
resulting in a high level of competence and literacy with the language of popular music. Dissertation 3a (optional 20 credits) and Dissertation
Students follow a core programme throughout the first two years, developing 3a and 3b (optional 40 credits)
their music skills in performance, theory and practice, technology, stylistic awareness, After an initial introduction to the dissertation module,
there will be a series of lecture seminars in which broad
collaboration, popular music history, songwriting, arranging and composition, percussion
interests are addressed, including identifying and
and backing vocals. This skill development is augmented in the second year by modules
selecting a suitable object of inquiry, reviewing the field/
which examine the business and economic aspects of the music industry. subject discipline, identifying primary and secondary
The third year provides the opportunity to study practical music skills to an advanced sources, resources, referencing, bibliographies, research
level, both in individual and ensemble ‘real world’ performance situations. Project options methodologies and scholarly apparatus, reprise of
conventions of scholarly writing style, citation, framework
within the third year of the programme offer numerous opportunities for the construction
and structure. Thereafter, one-to-one supervision
of individual learning routes so that students can develop more specialist skills in their supports production and writing-up of drafts, revisions
chosen area of music study (e.g. production project, event management). and final submission.
Significantly, students enrolled on this programme receive considerably more contact
teaching hours at every level than similar UK courses. Students also have the opportunity

guitar courses
BMus (Hons) in Popular
Music Performance to achieve teacher training experience by opting to take the Licentiate option during the
is validated by the third year of study. This unique and innovative element of the programme means that the
University of East London successful graduate is provided with an immediate pathway into teaching.
Our in-house Industry Liaison and Careers Service co-ordinates a range of
opportunities for students to engage with the industry.

24 25

BA (Hons)
DEGREE
GUITAR
QUALIFICATION
Bachelor of Arts (Hons) in Creative Musicianship
LOCATION
Institute of Contemporary Music Performance London
START DATES
September Annually
DURATION
Three Years Full Time
CLASS SIZE
Instrumental classes are typically 12 students per class.
Academic subject class sizes can vary depending upon
the mode of delivery.
ENTRY REQUIREMENTS
• Applicants will typically have GCE/VCE A levels
equivalent to 200 UCAS points, Institute BTEC level 3
Diploma DM profile, Institute Higher Diploma BTEC level
5 pass profile or equivalent qualifications in suitable
subject areas.
ba (hons) degree
• Applicants will usually be expected to possess three
GCSEs with grades A-C, including Maths and English
Language.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• All applicants will be expected to attend an audition
and interview which will assess their abilities in
performance, aural perception, harmony and theory,
instrument skills, sight reading and creativity.
• The Institute also welcomes applications from established
practitioners who are keen to undertake study at the HE
level but may not possess the required qualifications.
Students may be admitted through Accreditation of
Experiential Learning (AEL) or Accreditation of Certificated
Learning (ACL) processes.
TIMING
guitar courses
Two 15-week semesters (inc. exams) per year,
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
26
www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13
This exciting and innovative programme aims to develop your unique ‘creative
identity’, combining the development of performance, music technology,
YEAR TWO Continued
CERT HE This exciting and innovative one year programme is
identical to the first year of the BA(Hons) Degree and
GUITAR
aims to develop your key performance, technical,
creativity and musicianship skills with the critical business and entrepreneurial Entrepreneurship creative and business skills. The course has a
skills that will enable you to create a rewarding career in the music industry. This module will help you develop your entrepreneurial significant focus on creativity, especially working
skills. You will be introduced to marketing and look at within the band environment, and helps you to
KEY POINTS various case studies to generate ideas for your own understand and acquire the key skills required when
creative projects. collaborating with others. In addition, the course also
• Focuses on developing and refining your unique creative and musical identity both
aims to equip you with a solid overview of the music
as a performer and as a creator of new musical material The Music Entrepreneur QUALIFICATION industry and how to exploit your work.
• Develops your music technology skills Here you will further develop your entrepreneurial skills Certificate of Higher Education in
• Challenges you to develop professional standard performance and instrument skills
• Develops your entrepreneurial skills, helping you to exploit your creative ability
and concepts. You will study innovation in the music
industry and music & media performance management
Creative Musicianship Key Points
• Focuses on developing your unique creative and
• Offers opportunities to gain industry work experience
challenging you to create business models to suit your
own unique creative projects.
LOCATION
Institute of Contemporary Music Performance London
musical identity both as a performer and as a creator
of new musical material
• Delivered in London by the UK’s leading teaching faculty, with unrivalled • Develops your music technology skills
START DATES
professional credentials • Challenges you to develop your performance
YEAR THREE September Annually and instrument skills
The third year consists of the following modules: • Develops your basic music business and promotion skills
You will be challenged to develop your instrument/voice techniques, both individually DURATION and your understanding of the wider music industry
and in a performance environment. You will also engage in the analysis and synthesis of Final Performance Project One Year Full Time (30 Weeks) • Delivered in London by the UK’s leading teaching faculty,
music and the wider creative arts, offering you more material to draw from in your own work. In this module you will showcase yourself as a with unrivalled professional credentials
CLASS SIZE
In the business and entrepreneurial modules you will engage in marketing, entrepreneurial performer, synchronising the various strands of learning • Mirrors the challenges, performance opportunities,
so far undertaken. You will build confidence in working Instrumental classes are typically 12 students per class. creative processes, entrepreneurial studies and
innovation, new business models and social networking as well as developing personal Academic subject class sizes can vary depending upon
as the creative MD for your showcase. work experience opportunities of year one of the
skills, such as communication and management skills. Using industry standard music the mode of delivery. BA (Hons) degree.
technology applications, you will produce and workshop a significant personal portfolio Final Creative Project
ENTRY REQUIREMENTS
of work over the duration of the course and will be challenged to work in a wide range of In this module you will showcase yourself and your work This one year programme consists
as a music creator. You will develop an understanding of • Applicants will typically have GCE/VCE A levels of the following modules:
professional scenarios, learning to interact with other disciplines and media, such as film, equivalent to 120 UCAS points, Institute BTEC level
where your own work sits within wider creative contexts,
dance, games, fashion etc. Additionally, you will be given opportunities to gain valuable 3 Diploma MP profile, Institute Higher Diploma BTEC
working on your final media artefact. Developing Performance Skills
work experience through a range of extra-curricular activities. level 5 pass profile or equivalent qualifications in In this module you will be challenged to go in new
Dissertation suitable subject areas. musical and creative directions in the performance
You will undertake an individual study and dissertation • Applicants will usually be expected to possess three workshops. To support this you will study stage craft and
project in an area of your choice. You will study music in GCSEs with grades A-C, including Maths and English rehearsal techniques and engage in workshops focusing on
wider contexts as well as research methodology. Language. musical communication, timing, groove and improvisation
• Applicants who do not have English as a first language as well as receiving tuition on a second harmony
YEAR ONE THE BA (HONS) AND CERT HE will need IELTS 6.0 with a minimum of 5.5 in each instrument every week.
The first year consists of the following modules: are validated by the element (or an equivalent qualification).
University of East London • All applicants will be expected to attend an audition Developing Creative Skills
Developing Performance Skills Live Performance Technology and interview which will assess their abilities in This module will introduce you to the wider creative arts,
In this module you will be challenged to go in new In these performance workshops you will engage in the performance, aural perception, harmony and theory, developing creative skills in composing music for a range of
musical and creative directions in the performance implementation of a range of industry standard equipment. instrument skills, sight reading and creativity. media e.g. TV, film, dance, computer games, fashion videos
workshops. To support this you will study stage craft Separate instrumental classes will focus on the equipment • The Institute also welcomes applications from and radio drama. You will also study music technology in
and rehearsal techniques and engage in workshops that applies directly to your instrument. established practitioners who are keen to undertake this module and develop basic scoring and arranging skills.
cert he
focusing on musical communication, timing, groove study at the HE level but may not possess the required To further support your music creation you will study
and improvisation as well as receiving tuition on a qualifications. Students may be admitted through keyboards and aural perception.
second harmony instrument every week. YEAR TWO Accreditation of Experiential Learning (AEL) or
The second year consists of the following modules: Accreditation of Certificated Learning (ACL) processes. The Music Industry
Developing Creative Skills Topics covered will include promotion, marketing, finance,
This module will introduce you to the wider creative arts, Applying Performance Skills TIMING distribution and an introduction to management. You
developing creative skills in composing music for a range of In this module you will engage in substantial performance Two 15-week semesters (inc. exams) per year, will get support in creating written work and develop an
media e.g. TV, film, dance, computer games, fashion videos projects where you will write and arrange the musical +/- 16 hours/week, 3-4 days/week. awareness of your personal preferences for how you study,
and radio drama. You will also study music technology in material in collaboration with other students. You will learn and work, making sure you are as efficient as possible
this module and develop basic scoring and arranging skills. also receive tuition on a second harmony instrument. In FEES & COST both as a student and as a professional musician.
To further support your music creation you will study addition there will be specialised workshops focusing on Contact Admissions or see website for details
keyboards and aural perception. musical communication, advanced rehearsal techniques, of course fees and funding. Live Performance Technology
media training, performance programming, groove In these performance workshops you will engage with
The Music Industry building etc. a range of industry standard equipment. Separate
guitar courses
Topics covered will include promotion, marketing, finance, instrumental classes will focus on the equipment
distribution and an introduction to management. You will Applying Creative Skills that applies directly to your instrument.
get support in creating written work and develop your Here you will study songwriting and music for digital
awareness of your personal preferences for how you study, media as well as continuing to develop your aural
learn and work, making sure you are as efficient as possible perception and arranging/scoring techniques. You will
both as a student and as a professional musician. also take part of a collaborative project where the end
product is a media artefact of your choice.
27
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

LEVEL I (TERM 1) LEVEL II (TERM 2) LEVEL III (TERM 3)

CORE CURRICULUM MODULES CORE CURRICULUM MODULES CORE CURRICULUM MODULES

Harmony, Theory & Aural 1
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are
Harmony, Theory & Aural 2
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are
Harmony, Theory & Aural 3
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are

HIGHER “If you’re a musician who wants to do

used frequently to reinforce learning. used frequently to reinforce learning. used frequently to reinforce learning.
Fretboard Skills Fretboard Skills Fretboard Skills
Builds solid foundations on the fretboard that will enable Extends fretboard knowledge and technique considerably, Extends fretboard understanding in chords, scales

DIPLOMA something beneficial and worthwhile, you to master your instrument, both in technique and
understanding.
incorporating arpeggios and their use, and more advanced
modes and minor scales.
and arpeggios to an advanced level.

GUITAR do the Higher Diploma” Keyboards

Provides the student with an introduction to the
Improvisation
Introduces the key concepts required to become an
PERFORMANCE MODULES
Live Performance Workshop
keyboard as a 2nd instrument. effective and confident improvising musician over a Teaches guitarists to function in a real-band environment,
Ellen O’Reilly Higher Diploma Scholarship Winner 2012 range of styles. where you will learn and perform a repertoire of songs
PERFORMANCE MODULES covering three styles; Rock, Funk, and Soul/R&B.
QUALIFICATION The foremost intensive Higher Diploma course for guitarists wishing to Live Performance Workshop PERFORMANCE MODULES Advanced Performance Workshop
Edexcel Level 5 BTEC Diploma in Music Performance
study a wide range of contemporary styles, fast-track the development This module teaches guitarists to function in a real-band Live Performance Workshop Involves learning and performing a repertoire of more
environment. Alongside fellow students from the drum, This module teaches guitarists to function in a real-band advanced and esoteric instrumental styles. This module is
LOCATION
of their musicianship, playing and performing skills, and to discover their
bass and vocal faculties, you will learn and perform a environment. Alongside fellow students from the drum, where many of the aspects studied over the previous two
Institute of Contemporary Music Performance London creative potential. repertoire of tunes, covering three key styles: Blues, bass and vocal faculties, you will learn and perform a levels including improvisation are applied in a real band
Soul and Rock. repertoire of tunes, covering three key styles; Pop, Rock environment.
START DATES KEY POINTS Rhythm Section Workshop and World Music. Jazz
October & April This module begins to investigate the critical role of the Rhythm Section Workshop Involves both the practical and theoretical study in
• The first course of its kind in the UK and continually improved over 15+ years
guitarist as part of the rhythm section, both analytically and Deepens understanding of the critical role of the guitarist small instrument specific groups of how to play jazz and
DURATION • Delivered by the legendary Guitar Institute teaching faculty
practically. Essential styles are broken down, analysed and as part of the rhythm section, both analytically and improvise as well as group performance of a repertoire of
One Year Full Time (30 Weeks) • Covers a wide range of relevant musical styles examples from each performed in a band environment. practically. Essential styles are broken down, analysed and standard tunes.
• Intense focus on practical instrumental skills and performance, in small group sizes examples from each performed in a band environment.
CLASS SIZE
• Develops the highest levels of musicianship both practically and theoretically STYLISTIC STUDY MODULES STYLISTIC STUDY MODULES
Instrumental classes are typically 12 students per class. Rhythm Guitar STYLISTIC STUDY MODULES Chord Melody
Academic subject class sizes can vary depending upon the Covers a wide range of rhythm guitar styles, breaking each Rhythm Guitar Covers the role of electric and acoustic guitar in a solo
mode of delivery. This one year course is designed to equip aspiring professional musicians with the skills down into component parts. This module takes an advanced and in-depth look at a wider environment, incorporating solo arrangements of many
and awareness required by today’s ever-changing music industry. Successful students will Blues range of rhythm guitar styles. classic jazz and popular tunes.
ENTRY REQUIREMENTS gain a recognised qualification which can be used to progress to the Institute’s BMus or BA. Covers a wide variety of styles within the blues idiom Blues Rock
• Students should possess Intermediate skill levels on through study of some of the main stylistic innovators. This module builds upon previous learning, taking the skills Introduces the more demanding and contemporary
On the Higher Diploma course you will play every week in live band situations with
their instrument and would typically have a minimum of Rock acquired and developing them. Stylistically it incorporates techniques made popular post-1980 by players such as
5 GCSE’s grade A to C, or similar qualifications. There is a other instrumentalists, studying the different musical styles relevant to today’s wide-
Covers a wide variety of styles within the classic rock idiom more fusion and jazz styles. Eddie Van Halen, Yngwie Malmsteen & Steve Vai.
mandatory assessment prior to acceptance. Sight reading ranging musical arena. through study of some of the main stylistic innovators. Rock
skills are not required. Class sizes are generally no more than 12 students, creating a high level of interaction Fingerstyle Builds upon the studies undertaken previously, but MUSICIANSHIP MODULES
• Applicants who do not have English as a first language
higher diploma

higher diploma
with both your tutors and your fellow musicians. This module introduces and develops the fingerstyle introduces more technically demanding aspects. As rock Reading Studies
will need IELTS 5.5 with a minimum of 5.5 in each element technique, applicable to both acoustic and electric guitar. guitar has developed over the past 30 years, the physical Extends all of the concepts from the previous modules.
(or an equivalent qualification).
This ensures that your learning opportunities are maximised and the learning
demands have increased steadily; this module charts the Music In Context
environment remains extremely focused. MUSICIANSHIP MODULES progress of the rock genre. This module is an introduction to some critical perspectives
TIMING Reading Studies Country on how we engage with music and the contexts in which
3 x 10-week terms, 16/17 hours/week, 3 days/week The Higher Diploma course is broken down into four main areas of study, as follows: Introduces all of the concepts that will enable the guitarist Develops some of the more demanding techniques that the that engagement takes place. Every week a new topic within
to start sight reading standard notation, form, rhythm parts country guitarist has to master, such as banjo rolls, pedal the subject area shall be introduced followed by discussion
FEES & COST and chart reading. steel imitation and hybrid picking. and analysis facilitated by the tutor.
Contact Admissions or see website for details Core Curriculum Covers and develops the essential technical skills that you will
Music Technology
of course fees and funding. require throughout your career as a guitarist An introduction to the use of music technology, designed MUSICIANSHIP MODULES
to equip students with the skills required to program and Reading Studies
Performance Covers all the principal contemporary styles from blues, rock and soul realise their own works. Further develops from previous learning, incorporating
Professional Musician reading in various keys and positions, reading form, rhythm
through to advanced styles such as jazz and fusion
Develops the fundamental skills that all musicians need for guitar parts and chart reading.
developing and sustaining a professional career. Live Event Project
Stylistic Study This part of the course provides you with an in-depth understanding This module provides students with the opportunity to
of all the principal contemporary musical styles Contact Admissions or see website for details of course collaborate and merge music and business skills when
fees and funding. planning, organising and executing a live event.
guitar courses

guitar courses
Music Business
Musicianship These classes develop the wider skills that all professional musicians
Provides students with a practical, coherent and solid
need for sustainable careers as musicians. Subjects include reading music, music business overview of the main business practices currently used
and personal development, music technology and event management. within the industry, focusing on issues such as revenue
streams and copyright protection.

28 29
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

KEY POINTS TERM 1 TERM 2A

• Play and perform every week in live bands and discover your creative potential
CORE SKILLS CORE SKILLS
• Experience the Institute’s unique and inspirational teaching Instrumental Techniques Instrumental Techniques
• The Diploma programme is for guitarists wishing to develop their performance Reading Skills Reading Skills
and collaborative musicianship skills, improve their general musicianship and musical Harmony & Theory Harmony & Theory
knowledge, and explore their creative potential. Aural & Transcribing (including keyboard skills) Aural & Transcribing (including keyboard skills)

• Gain a nationally recognised qualification

DIPLOMA
STYLISTIC STUDY STYLISTIC STUDY
• Tuition fees are fully funded for UK-resident 16-18 year olds Styles Styles
Rock Funk

GUITAR The focus of this programme is very much on playing in bands, with lots of performance
opportunities each week and throughout the programme. Students form bands, choose,
Live Performance
Live Performance Rehearsals and Workshops
Live Performance
Live Performance Rehearsals & Workshops
Creative Ensemble Creative Ensemble
create and rehearse repertoire and deliver the results where it counts – on stage. You Songwriting Songwriting
will learn about a range of contemporary styles, study the techniques and theory of your Songwriting Songwriting (including music technology)
instrument, and develop your creativity and songwriting skills. Additionally, all students Humanities Humanities
study keyboard skills, gain an understanding of the music business, and explore various History of Popular Music History of Popular Music
QUALIFICATION Music Business Music Business
Edexcel Level 3 Diploma in Music (worth up to 240 UCAS social and historical issues surrounding contemporary music.
points), equivalent on QCF to two GCE A levels
The Diploma is broken down into five main areas of study: TERM 2B TERM 3
LOCATION
Institute of Contemporary Music Performance London CORE SKILLS CORE SKILLS
Core Skills These classes develop the fundamental skills that musicians require to
Instrumental Techniques Instrumental Techniques
START DATES progress on their instruments, such as Instrumental Techniques, Reading Skills, Harmony Reading Skills Reading Skills
September annually & Theory and Aural & Transcribing. Harmony & Theory Harmony & Theory
Aural & Transcribing Aural & Transcribing
DURATION
Stylistic Study This part of the programme provides students with an in-depth
One Year Full Time (34 Weeks) STYLISTIC STUDY STYLISTIC STUDY
understanding of contemporary musical styles such as rock, funk and pop, both in terms
Styles Styles
CLASS SIZE of performance and historical significance. Blues Fusion
Instrumental classes are typically 12 students per class. Live Performance Live Performance
Academic subject class sizes can vary depending upon the
Live Performance These units, where students of all four instruments come together, Live Performance Rehearsals & Workshops Live Performance Rehearsals & Workshops
mode of delivery. Creative Ensemble Pop Performance Project
provide opportunities to develop skills necessary to perform confidently in front of an
Songwriting Songwriting
ENTRY REQUIREMENTS audience, at the same time applying much of what is learned in other classes. Classes take Songwriting (including keyboard skills) Songwriting
• Solid technical playing/singing skills with a minimum of the form of weekly Live Performance Rehearsals, Live Performance Workshops, Creative Humanities Humanities
2-3 years experience – Subject to assessment – Minimum 5 Ensemble classes and a Pop Performance Project where learners prepare for their final Music & Society Music & Society
GCSE passes at C or above (including English and Maths) or Music Business Music Business
performances at a prestigious London venue.
equivalent (e.g. Baccalaureate).
• There is a mandatory assessment, interview and a literacy/ In addition, all students will study one prescribed Key Skill
numeracy evaluation prior to acceptance. Songwriting This year-long module focuses on developing students’ creative and have regular tutorial support
• Applicants who do not have English as a first language potential, as individually and collaboratively, giving them the skills to improve as
will need IELTS 5.5 with a minimum of 5.5 in each element
song-writers.
diploma

diploma
(or an equivalent qualification).

TIMING Humanities These units focus on historical, social, philosophical and cultural issues in
3 x 10-week terms, a minimum of 18 hours per week, 3-4 music, and help to develop highly transferable analytical and critical skills which are highly
days/per week. NB: Additional time may be allocated to transferable. Classes include Music Business, History of Popular Music, and Music & Society.
term 3 to prepare for and deliver the Final Performance.

FEES & COST
Tuition fees currently fully funded for UK-resident
16-18 year olds (but subject to CNWL funding allocation).
Applicants outside of this age-range should contact
Admissions or see website for details of programme fees
and funding. All students pay an additional registration fee.
guitar courses
If you love music and performing, this programme will help you develop the instrumental
and musical skills you need to start your career. Unleash your own true creative potential;
find out what you are capable of as a musician.
At the Institute we share your passion for music, so by choosing to continue your
music education with us you will become a valued member of a vibrant musical community.
In addition to timetabled studies, learners are encouraged to participate in a range of

guitar courses
extra-curricular activities designed to enhance and reinforce the learning experience.
These include master classes, clinics, recitals, and participation in jam nights, open days,
faculty-led ensembles and external musical events.

The Diploma programme is broken down in to the following key components

over three 10-week terms:

30 31
 www.icmp.co.uk the institute of contemporary music performance
course prospectus 2012-13

CERTIFICATE
GUITAR

QUALIFICATION The Certificate course is designed for those students who cannot commit to a
Institute Certificate
full year of study at one time, and provides the perfect opportunity to maximise
LOCATION
learning in a short period of time.
Institute of Contemporary Music Performance London
Students who complete the Certificate course obtain credits that they can use
START DATES towards the full Higher Diploma award at a later stage.
October, January, April & July (depending on level)
Each level of the Certificate course corresponds exactly to each of three levels
DURATION of the Higher Diploma course. So, for example, studying on Level I Certificate is exactly
10 weeks full time equivalent to studying on Level I of the Higher Diploma. Students play every week in live
band situations with other instrumentalists, studying the different musical styles relevant
ENTRY REQUIREMENTS
to today’s wide- ranging musical arena.
• Students should possess Intermediate skill levels on the
instrument for Level I, with higher abilities for direct entry
Class sizes are generally no more than 12 students, creating a high level of interaction
onto Levels II or III. There is a mandatory assessment prior with both your tutors and your fellow musicians. This ensures that your learning
to acceptance. Students would typically have a minimum opportunities are maximised and the learning environment remains extremely focused.
of 5 GCSEs grade A to C, or similar qualifications.
• Applicants who do not have English as a first language
The Certificate course is broken down into four main areas of study, as follows:
will need IELTS 5.5 with a minimum of 5.5 in each element
(or an equivalent qualification).
Core Curriculum Covers and develops the essential technical skills that you will
TIMING require to develop a career as a musician. For example, harmony and theory, instrumental
16/17 hours/week, 3 days/week
technique, transcribing, arranging and aural skills.
certificate

certificate
FEES & COST
Contact admissions or see website for details Performance Covers all the principle contemporary styles from blues, rock and soul
of course fees and funding. through to advanced styles such as jazz and fusion. This provides you with performance
experience and skills, as well as a widening song repertoire.

Stylistic Study This part of the course provides you with an in-depth understanding
of all the principle contemporary musical styles, both in terms of performance on your
instrument and their historical importance and perspective.

Musicianship These classes develop the wider skills that all professional musicians
need for sustainable careers as musicians. Subjects include reading music, music business
and personal development, music technology and the creation of music.

For full details of the course content at each Level of the Certificate (I, II or III), please
guitar courses

guitar courses
see the corresponding Level for the Higher Diploma course.

32 33
BASS COURSES

36
BMUS (Hons) DEGREE
38
BA (Hons) DEGREE
39
CERT HE
40
HIGHER DIPLOMA
42
DIPLOMA
44
CERTIFICATE

bass courses
35
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

YEAR ONE YEAR TWO YEAR THREE

The first year consists of the following modules: The second year consists of the following modules: The third year consists of the following modules:

MUSIC PRACTICE MUSIC PRACTICE Specialised Performance Skills 3a and 3b (40 credits)
Instrumental Studies Instrumental Studies This module provides the opportunity to regularly
Technique, Styles, Reading Technique, Styles, Reading perform, create, and re-create music at an advanced level.
Music Theory Music Theory There are two components:
Aural & Transcribing, Harmony & Theory, Keyboards Aural & Transcribing, Harmony & Theory, Keyboards

BMus (Hons) “The BMus course really equipped me

Directed Instrumental Skills
MUSIC PERFORMANCE MUSIC PERFORMANCE Working collectively, as part of an ensemble under
Live Performance Workshop Ensemble Skills direction and in a variety of real world scenarios, this

DEGREE with the tools and knowledge I needed Ensemble

Percussion, Backing Vocals
A wide-ranging ensemble class supporting the
increasing development of performance, presentation,
component draws on the many musical performance
skills acquired at levels one and two.

BASS to make a career in music” History & Origins of Popular Music and communication skills, awareness of stylistic indicators
and industry-standard performance. Individual Instrumental Skills
MUSIC PRODUCTION Ensemble These classes involve the student playing at a consistently
Rachael Travers BMus 2011 Music Technology Wire Choir/Choir high level in specialised fields requiring virtuoso technique.
Songwriting Live Performance Workshops
QUALIFICATION The Institute degree is the UK’s pre-eminent BMus (Hons) Degree course for Production Project 3b (20 credits)
Bachelor of Music (Hons) in Popular Music Performance
bassists wishing to reach a professional standard of musicianship and build a MUSIC PRODUCTION This module develops the skills necessary to plan, create,
Music Business rehearse, and realise a programme of original popular
LOCATION
sustainable career in the music industry.
Arranging and Composing music, either as a live performance presentation or as a
Institute of Contemporary Music Performance London recorded portfolio of work.
KEY POINTS
UCAS CODE • Conservatoire-style education for the contemporary bassist Event Management 3a (optional 20 credits)
W310 This module will consist of a broad range of relevant,
• Considerably more contact teaching hours than many popular music degrees
practical management techniques, including
START DATES • Unique Licentiate as an option in the third year offering experience of teacher training
communication, negotiation, organisation, co-ordination,
September Annually • Challenges students to achieve professional levels of musicianship and instrumental arbitration, and resource management. Students will
skill through constant playing and regular performance also study venue operations, event culture and tour
DURATION
• Develops transferable and industry skills to prepare graduates for the real world management and acquire a functional understanding
Three Years Full Time of the relevant legal issues, obligations and regulations
• Delivered by the UK’s leading teaching faculty, with unrivalled professional credentials
such as public and personal liability, health and safety,
CLASS SIZE and insurance.
Classes are typically 12 students per class. Academic This dynamic, relevant and challenging programme combines the development of
subject class sizes can vary depending upon the mode professional playing and musicianship skills with the provision of the tools and knowledge Licentiate 3a and 3b (optional 40 credits)
of delivery. This unique option equips the student with skills enabling
required to develop and sustain a career in the modern music industry.
them to design, deploy and evaluate a variety of teaching,
ENTRY REQUIREMENTS The course offers a ‘conservatoire style’ approach for the contemporary bassist and
learning and assessment methods. It will also enable the
• 200 UCAS Tariff points delivers high instrumental standards. student to achieve a recognised teaching qualification.
bmus (hons) degree

bmus (hons) degree

• GCE A/VCE A Level
• BTEC National Diploma (at suitable pass levels)
• ICMP Higher Diploma or Diploma (at suitable pass levels)
• I B 26 points
• Applicants with equivalent qualifications or
professional musical experience may be considered.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• There is a mandatory audition prior to acceptance.
TIMING
Two 15-week semesters (inc. exams) per year,
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
BMus (Hons) in Popular
bass courses
It is mainly delivered through sustained playing, practice and performance based
modules (approximately 75% of the activities) and provides a unique practice-theory divide. In year 3 of the BMus, students must take one of the
Dissertation modules;
This enables students to develop skills in music practice, performance and production,
resulting in a high level of competence and literacy with the language of popular music. Dissertation 3a (optional 20 credits) and Dissertation
Students follow a core programme throughout the first two years, developing 3a and 3b (optional 40 credits)
their music skills in performance, theory and practice, technology, stylistic awareness, After an initial introduction to the dissertation module,
there will be a series of lecture seminars in which broad
collaboration, popular music history, songwriting, arranging and composition, percussion
interests are addressed, including identifying and
and backing vocals. This skill development is augmented in the second year by modules
selecting a suitable object of inquiry, reviewing the field/
which examine the business and economic aspects of the music industry. subject discipline, identifying primary and secondary
The third year provides the opportunity to study practical music skills to an advanced sources, resources, referencing, bibliographies, research
level, both in individual and ensemble ‘real world’ performance situations. Project options methodologies and scholarly apparatus, reprise of
conventions of scholarly writing style, citation, framework
within the third year of the programme offer numerous opportunities for the construction
and structure. Thereafter, one-to-one supervision
of individual learning routes so that students can develop more specialist skills in their supports production and writing-up of drafts, revisions
chosen area of music study (e.g. production project, event management). and final submission.
Significantly, students enrolled on this programme receive considerably more contact
teaching hours at every level than similar UK courses. Students also have the opportunity

bass courses
Music Performance to achieve teacher training experience by opting to take the Licentiate option during the
is validated by the third year of study. This unique and innovative element of the programme means that the
University of East London successful graduate is provided with an immediate pathway into teaching.
Our in-house Industry Liaison and Careers Service co-ordinates a range of
opportunities for students to engage with the industry.

36 37

BA (Hons)
DEGREE
BASS
QUALIFICATION
Bachelor of Arts (Hons) in Creative Musicianship
LOCATION
Institute of Contemporary Music Performance London
START DATES
September Annually
DURATION
Three Years Full Time
CLASS SIZE
Instrumental classes are typically 12 students per class.
Academic subject class sizes can vary depending upon
the mode of delivery.
ENTRY REQUIREMENTS
• Applicants will typically have GCE/VCE A levels
equivalent to 200 UCAS points, Institute BTEC level 3
Diploma DM profile, Institute Higher Diploma BTEC level
5 pass profile or equivalent qualifications in suitable
subject areas.
ba (hons) degree
• Applicants will usually be expected to possess three
GCSEs with grades A-C, including Maths and English
Language.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• All applicants will be expected to attend an audition
and interview which will assess their abilities in
performance, aural perception, harmony and theory,
instrument skills, sight reading and creativity.
• The Institute also welcomes applications from established
practitioners who are keen to undertake study at the HE
level but may not possess the required qualifications.
Students may be admitted through Accreditation of
Experiential Learning (AEL) or Accreditation of Certificated
Learning (ACL) processes.
TIMING
Two 15-week semesters (inc. exams) per year,
bass courses
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
38
www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13
This exciting and innovative programme aims to develop your unique ‘creative
identity’, combining the development of performance, music technology,
YEAR TWO
Continued CERT HE This exciting and innovative one year programme is
identical to the first year of the BA(Hons) Degree and
BASS
aims to develop your key performance, technical,
creativity and musicianship skills with the critical business, and entrepreneurial Applying Creative Skills creative and business skills. The course has a
skills that will enable you to create a rewarding career in the music industry. Here you will study songwriting and music for digital media significant focus on creativity, especially working
as well as continuing to develop your aural perception and within the band environment, and helps you to
KEY POINTS arranging/scoring techniques. You will also take part of understand and acquire the key skills required when
a collaborative project where the end product is a media collaborating with others. In addition, the course also
• Focuses on developing and refining your unique creative and musical identity both
artefact of your choice. aims to equip you with a solid overview of the music
as a performer and as a creator of new musical material industry and how to exploit your work.
QUALIFICATION
• Develops your music technology skills Entrepreneurship
• Challenges you to develop professional standard performance and instrument skills
• Develops your entrepreneurial skills, helping you to exploit your creative ability
This module will help you develop your entrepreneurial
skills. You will study introduction to marketing and look at
Certificate of Higher Education in
Creative Musicianship
Key Points
• Focuses on developing your unique creative and
• Offers opportunities to gain industry work experience
various case studies to generate ideas for your own creative
projects.
LOCATION
Institute of Contemporary Music Performance London
musical identity both as a performer and as a creator
of new musical material
• Delivered in London by the UK’s leading teaching faculty, with unrivalled • Develops your music technology skills
professional credentials The Music Entrepreneur • Challenges you to develop your performance and
START DATES
Here you will further develop your entrepreneurial skills instrument skills
September Annually
and concepts. You will study innovation in the music • Develops your basic music business and promotion skills
You will be challenged to develop your instrument/voice techniques, both individually
industry and music & media performance management and your understanding of the wider music industry
and in a performance environment. You will also engage in the analysis and synthesis of challenging you to create your own business models to
DURATION
• Delivered in London by the UK’s leading teaching
One Year Full Time (30 Weeks)
music and the wider creative arts, offering you more material to draw from in your own work. suit your own unique creative projects. faculty, with unrivalled professional credentials
In the business and entrepreneurial modules you will engage in marketing, entrepreneurial CLASS SIZE
• Mirrors the challenges, performance opportunities,
creative processes, entrepreneurial studies and work
innovation, new business models and social networking as well as developing personal Instrumental classes are typically 12 students per class.
YEAR THREE experience opportunities of year one of the BA
skills, such as communication and management skills. Using industry standard music The third year consists of the following modules:
Academic subject class sizes can vary depending upon
(Hons) degree.
technology applications, you will produce and workshop a significant personal portfolio the mode of delivery.
of work over the duration of the course and will be challenged to work in a wide range of Final Performance Project This one year programme consists
ENTRY REQUIREMENTS
professional scenarios, learning to interact with other disciplines and media, such as film, In this module you will showcase yourself as a performer, of the following modules:
• Applicants will typically have GCE/VCE A levels
synchronising the various strands of learning so far
dance, games, fashion etc. Additionally, you will be given opportunities to gain valuable equivalent to 120 UCAS points, Institute BTEC level
undertaken. You will build confidence in working as the Developing Performance Skills
work experience through a range of extra-curricular activities. creative MD for your showcase.
3 Diploma MP profile, Institute Higher Diploma BTEC
In this module you will be challenged to go in new
level 5 pass profile or equivalent qualifications in
musical and creative directions in the performance
suitable subject areas.
Final Creative Project workshops. To support this you will study stage craft and
• Applicants will usually be expected to possess three
In this module you will showcase yourself and your work rehearsal techniques and engage in workshops focusing
GCSEs with grades A-C, including Maths and English
as a music creator. You will develop an understanding of on musical communication, timing, groove and
Language.
where your own work sits within wider creative contexts, improvisation as well as receiving tuition on a second
YEAR ONE The Music Industry • Applicants who do not have English as a first language
working on your final media artefact. harmony instrument every week.
The first year consists of the following modules: Topics covered will include promotion, marketing, finance, will need IELTS 6.0 with a minimum of 5.5 in each
distribution and an introduction to management. You will element (or an equivalent qualification).
Dissertation Developing Creative Skills
Developing Performance Skills get support in creating written work and develop your • All applicants will be expected to attend an audition
You will undertake an individual study and dissertation This module will introduce you to the wider creative arts,
In this module you will be challenged to go in new awareness of your personal preferences for how you study, and interview which will assess their abilities in
project in an area of your choice. You will study music in developing creative skills in composing music for a range of
musical and creative directions in the performance learn and work, making sure you are as efficient as possible performance, aural perception, harmony and theory,
wider contexts as well as research methodology. media e.g. TV, film, dance, computer games, fashion videos
workshops. To support this you will study stage craft and both as a student and as a professional musician. instrument skills, sight reading and creativity.
and radio drama. You will also study music technology in
rehearsal techniques and engage in workshops focusing • The Institute also welcomes applications from
THE BA (HONS) AND CERT HE this module and develop basic scoring and arranging skills.
cert he
on musical communication, timing, groove and Live Performance Technology established practitioners who are keen to undertake
are validated by the To further support your music creation you will study
improvisation as well as receiving tuition on a second In these performance workshops you will engage in the study at the HE level but may not possess the required
University of East London keyboards and aural perception.
harmony instrument every week. implementation of a range of industry standard equipment. qualifications. Students may be admitted through
Separate instrumental classes will focus on the equipment Accreditation of Experiential Learning (AEL) or
The Music Industry
Developing Creative Skills that apply directly to your instrument. Accreditation of Certificated Learning (ACL) processes.
Topics covered will include promotion, marketing, finance,
This module will introduce you to the wider creative arts, distribution and an introduction to management. You will
developing creative skills in composing music for a range of TIMING
get support in creating written work and develop your
media e.g. TV, film, dance, computer games, fashion videos YEAR TWO Two 15-week semesters (inc. exams) per year,
awareness of your personal preferences for how you study,
and radio drama. You will also study music technology in The second year consists of the following modules: +/- 16 hours/week, 3-4 days/week.
learn and work, making sure you are as efficient as possible
this module and develop basic scoring and arranging skills. both as a student and as a professional musician.
To further support your music creation you will study Applying Performance Skills FEES & COST
keyboards and aural perception. In this module you will engage in substantial performance Contact Admissions or see website for details
Live Performance Technology
projects where you will write and arrange the musical of course fees and funding.
In these performance workshops you will engage in the
material in collaboration with other students. This will implementation of a range of industry standard equipment.
be supported by several different instruments skills Separate instrumental classes will focus on the equipment
bass courses
classes. In addition there will be specialised workshops that apply directly to your instrument.
focusing on musical communication, advanced rehearsal
techniques, media training, performance programming,
groove building etc.
39
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

LEVEL I (TERM 1) LEVEL II (TERM 2) LEVEL III (TERM 3)

CORE CURRICULUM MODULES CORE CURRICULUM MODULES CORE CURRICULUM MODULES

Harmony, Theory & Aural 1
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are
Harmony, Theory & Aural 2
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are
Harmony, Theory & Aural 3
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are

HIGHER “If you’re a musician who wants to do

used frequently to reinforce learning. used frequently to reinforce learning. used frequently to reinforce learning.
Fretboard Skills Fretboard Skills Fretboard Skills
Builds a solid foundation on the fretboard that enables Extends fretboard knowledge/technique considerably, Expands fretboard understanding of chords, scales,

DIPLOMA something beneficial and worthwhile, the bassist to master technique, understanding and
visualisation.
incorporating arpeggios and their use modes and sequential
patterns.
arpeggios, modes and minor modes to support the
advanced styles being studied this term.

BASS do the Higher Diploma” Keyboards

Provides the student with an introduction to the PERFORMANCE MODULES PERFORMANCE MODULES
keyboard as a 2nd instrument. Live Performance Workshop Live Performance Workshop
Ellen O’Reilly Higher Diploma Scholarship Winner 2012 This module teaches bassists to function in a real-band Teaches bassists to function in a real-band environment.
PERFORMANCE MODULES environment. Alongside fellow students from the guitar, With students from other faculties, you will learn and
QUALIFICATION The foremost intensive Higher Diploma course for bassist wishing to study a wide Live Performance Workshop drum and vocal faculties, you will learn and perform a perform a repertoire of tunes, covering three key styles:
Edexcel Level 5 BTEC Diploma in Music Performance
range of contemporary styles, fast-track the development of their musicianship, This module teaches bassists to function in a real-band repertoire of tunes, covering three key styles: pop, rock and Rock, Funk and soul/R & B.
environment. Alongside fellow students from the guitar, world music. Advanced Performance Workshop
LOCATION
playing and performing skills, and to discover their creative potential.
drum and vocal faculties, you will learn and perform a Rhythm Section Workshop Involves learning and performing a repertoire of more
Institute of Contemporary Music Performance London repertoire of tunes, covering three key styles: Blues, Deepens understanding of the critical role of the bassist as advanced and esoteric instrumental styles. This module
KEY POINTS Soul and Rock. part of the rhythm section, both analytically and practically. is where many of the aspects studied over the previous
START DATES • The first course of its kind in the UK and continually improved over 15+ years Rhythm Section Workshop More essential styles are broken down and analysed and two levels including improvisation are applied in a real
October & April This module begins to investigate the critical role of the examples from each performed in a band environment. band environment.
• Covers a wide range of relevant musical styles
bassist as part of the rhythm section, both analytically Jazz
DURATION • Intense focus on practical instrumental skills and performance, in small group sizes
and practically. Essential styles are broken down and STYLISTIC STUDY MODULES Involves both the practical and theoretical study in
One Year Full Time (30 Weeks) • Develops the highest levels of musicianship both practically and theoretically analysed with examples from each performed in a band Funk small instrument specific groups of how to play jazz and
environment. Further and more in-depth study of funk bass, building an improvise as well as group performance of a repertoire of
CLASS SIZE
This one year course is designed to equip aspiring professional musicians with the skills understanding of style through technical exercises and standard tunes.
Instrumental classes are typically 12 students per class. STYLISTIC STUDY MODULES study of the main style exponents.
Academic subject class sizes can vary depending upon the
and awareness required by today’s ever-changing music industry. Successful students will
Soul/R&B Soul/R&B STYLISTIC STUDY MODULES
mode of delivery. gain a recognised qualification which can be used to progress to the Institute’s BMus or BA. Identifies the fundamentals of these crucial styles by Further strengthens both technique and musical Solo Bass
On the Higher Diploma course you will play every week in live band situations with learning/analysing repertoire & performers. understanding through studying a cross section of the The contemporary role of the electric bass as a solo
ENTRY REQUIREMENTS other instrumentalists, studying the different musical styles relevant to today’s wide- Blues greatest pieces in the idiom. instrument, covering classical and contemporary material
• Students should possess Intermediate skill levels on Introduction to blues idioms through study of the main Rock with work by Jaco Pastorius, Colin Hodgkinson and Stu
ranging musical arena.
their instrument and would typically have a minimum of stylistic innovators. Further study of the key practitioners in this style from Hamm.
5 GCSE’s grade A to C, or similar qualifications. There is a Class sizes are generally no more than 12 students, creating a high level of interaction
Rock 1975 to the present day, covering punk, metal, grunge Rock
mandatory assessment prior to acceptance. Sight reading with both your tutors and your fellow musicians. Covers a wide variety of Classic Rock styles through and rap/rock. Introduction to contemporary techniques made popular
skills are not required. This ensures that your learning opportunities are maximised and the learning study of the main stylistic innovators. World Music post-1980 with players such as Stu Hamm, Jaco Pastorius
• Applicants who do not have English as a first language
higher diploma

higher diploma
environment remains extremely focused. Funk Develops the rhythmic/harmonic skills used in this exciting and Victor Wooten.
will need IELTS 5.5 with a minimum of 5.5 in each element Introduces/develops the techniques of this style musical vocabulary, including Reggae, African and Latin.
(or an equivalent qualification). through learning/analysing great innovators, leading MUSICIANSHIP MODULES
The Higher Diploma course is broken down into four main areas of study, as follows: to funk performance MUSICIANSHIP MODULES Reading Studies
TIMING Reading Studies Extends all of the concepts from the previous modules.
3 x 10-week terms, 16/17 hours/week, 3 days/week Core Curriculum Covers and develops the essential technical skills that you will MUSICIANSHIP MODULES Develops concepts from Level 1, reading in various keys Music In Context
require throughout your career as a bassist Reading Studies and positions. Improvisation Introduces the key concepts This module is an introduction to some critical perspectives
FEES & COST Introduces reading of standard music notation. required to become an effective and confident improvising on how we engage with music and the contexts in which
Contact Admissions or see website for details Music Technology musician over a range of styles. that engagement takes place. Every week a new topic within
of course fees and funding. Performance Covers all the principal contemporary styles from blues, rock and soul An introduction to the use of music technology, designed Live Event Project the subject area shall be introduced followed by discussion
through to advanced styles such as jazz and fusion to equip students with the skills required to program and This module provides students with the opportunity to and analysis facilitated by the tutor.
realise their own works. collaborate and merge music and business skills when
Professional Musician planning, organising and executing a live event.
Stylistic Study This part of the course provides you with an in-depth understanding
Develops the fundamental skills that all musicians need for Music Business
of all the principal contemporary musical styles developing and sustaining a professional career. Provides students with a practical, coherent and solid
overview of the main business practices currently used
Musicianship These classes develop the wider skills that all professional musicians within the industry, focusing on issues such as revenue
need for sustainable careers as musicians. Subjects include reading music, music business streams and copyright protection.
bass courses

bass courses
and personal development, music technology and event management.

40 41
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

KEY POINTS TERM 1 TERM 2A

• Play and perform every week in live bands and discover your creative potential
CORE SKILLS CORE SKILLS
• Experience the Institute’s unique and inspirational teaching Instrumental Techniques Instrumental Techniques
• The Diploma programme is for bassists wishing to develop their performance and Reading Skills Reading Skills
collaborative musicianship skills, improve their general musicianship and musical Harmony & Theory Harmony & Theory
knowledge, and explore their creative potential. Aural & Transcribing (including keyboard skills) Aural & Transcribing (including keyboard skills)

• Gain a nationally recognised qualification

DIPLOMA
STYLISTIC STUDY STYLISTIC STUDY
• Tuition fees are fully funded for UK-resident 16-18 year olds Styles 1 Styles 2
Rock Funk

BASS The focus of this programme is very much on playing in bands, with lots of performance
opportunities each week and throughout the programme. Students form bands, choose,
Live Performance
Live Performance Rehearsals and Workshops
Live Performance
Live Performance Rehearsals & Workshops
Creative Ensemble Creative Ensemble
create and rehearse repertoire and deliver the results where it counts – on stage! You Songwriting Songwriting
will learn about a range of contemporary styles, study the techniques and theory of your Songwriting 1 Songwriting (including music technology)
instrument, and develop your creativity and songwriting skills. Additionally, all students Humanities Humanities
study keyboard skills, gain an understanding of the music business, and explore various History of Popular Music History of Popular Music
QUALIFICATION Music Business Music Business
Edexcel Level 3 Diploma in Music (worth up to 240 UCAS social and historical issues surrounding contemporary music.
points), equivalent on QCF to two GCE A levels
The Diploma is broken down into five main areas of study: TERM 2B TERM 3
LOCATION
Institute of Contemporary Music Performance London CORE SKILLS CORE SKILLS
Core Skills These classes develop the fundamental skills that musicians require to
Instrumental Techniques Instrumental Techniques
START DATES progress on their instruments, such as Instrumental Techniques, Reading Skills, Harmony Reading Skills Reading Skills
September annually & Theory and Aural & Transcribing. Harmony & Theory Harmony & Theory
Aural & Transcribing Aural & Transcribing
DURATION
Stylistic Study This part of the programme provides students with an in-depth
One Year Full Time (34 Weeks) STYLISTIC STUDY STYLISTIC STUDY
understanding of contemporary musical styles such as rock, funk and pop, both in terms
Styles 3 Styles 4
CLASS SIZE of performance and historical significance. Blues Fusion
Instrumental classes are typically 12 students per class. Live Performance Live Performance
Academic subject class sizes can vary depending upon the
Live Performance These units, where students of all four instruments come together, Live Performance Rehearsals & Workshops Live Performance Rehearsals & Workshops
mode of delivery. Creative Ensemble Pop Performance Project
provide opportunities to develop skills necessary to perform confidently in front of an
Songwriting Songwriting
ENTRY REQUIREMENTS audience, at the same time applying much of what is learned in other classes. Classes take Songwriting 3 (including keyboard skills) Songwriting 4
• Solid technical playing/singing skills with a minimum of the form of weekly Live Performance Rehearsals, Live Performance Workshops, Creative Humanities Humanities
2-3 years experience – Subject to assessment – Minimum 5 Ensemble classes and a Pop Performance Project where learners prepare for their final Music & Society Music & Society
GCSE passes at C or above (including English and Maths) or Music Business Music Business
performances at a prestigious London venue.
equivalent (e.g. Baccalaureate).
• There is a mandatory assessment, interview and a literacy/ In addition, all students will study one prescribed
numeracy evaluation prior to acceptance. Songwriting This year-long module focuses on developing students’ creative Key Skill and have regular tutorial support.
• Applicants who do not have English as a first language potential, as individually and collaboratively, giving them the skills to improve as
will need IELTS 5.5 with a minimum of 5.5 in each element
song-writers.
diploma

diploma
(or an equivalent qualification).

TIMING Humanities These units focus on historical, social, philosophical and cultural issues in
3 x 10-week terms, a minimum of 18 hours per week, 3-4 music, and help to develop highly transferable analytical and critical skills which are highly
days/per week. NB: Additional time may be allocated to transferable. Classes include Music Business, History of Popular Music, and Music & Society.
term 3 to prepare for and deliver the Final Performance.

FEES & COST
Tuition fees currently fully funded for UK-resident 16-18
year olds (but subject to CNWL funding allocation).
Applicants outside of this age-range should contact
Admissions or see website for details of programme fees
and funding. All students pay an additional registration fee.
bass courses
If you love music and performing, this programme will help you develop the instrumental
and musical skills you need to start your career. Unleash your own true creative potential;
find out what you are capable of as a musician.
At the Institute we share your passion for music, so by choosing to continue your
music education with us you will become a valued member of a vibrant musical community.
In addition to timetabled studies, learners are encouraged to participate in a range of
extra-curricular activities designed to enhance and reinforce the learning experience.

bass courses
These include master classes, clinics, recitals, and participation in jam nights, open days,
faculty-led ensembles and external musical events.

The Diploma programme is broken down in to the following key components over three
10-week terms:

42 43
 www.icmp.co.uk the institute of contemporary music performance
course prospectus 2012-13

CERTIFICATE
BASS

QUALIFICATION The Certificate course is designed for those students who cannot commit to a
Institute Certificate
full year of study at one time, and provides the perfect opportunity to maximise
LOCATION
learning in a short period of time.
Institute of Contemporary Music Performance London
Students who complete the Certificate course obtain credits that they can use towards
START DATES the full Higher Diploma award at a later stage.
October, January, April & July (depending on level)
Each level of the Certificate course corresponds exactly to each of three levels of
DURATION the Higher Diploma course. So, for example, studying on Level I Certificate is exactly
10 weeks full time equivalent to studying on Level I of the Higher Diploma. Students play every week in live
band situations with other instrumentalists, studying the different musical styles relevant
ENTRY REQUIREMENTS
to today’s wide- ranging musical arena.
• Students should possess Intermediate skill levels on the
instrument for Level I, with higher abilities for direct entry
Class sizes are generally no more than 12 students, creating a high level of interaction
onto Levels II or III. There is a mandatory assessment prior with both your tutors and your fellow musicians. This ensures that your learning
to acceptance. Students would typically have a minimum opportunities are maximised and the learning environment remains extremely focused.
of 5 GCSEs grade A to C, or similar qualifications.
• Applicants who do not have English as a first language
The Certificate course is broken down into four main areas of study, as follows:
will need IELTS 5.5 with a minimum of 5.5 in each element
(or an equivalent qualification).
Core Curriculum Covers and develops the essential technical skills that you will
TIMING require to develop a career as a musician. For example, harmony and theory, instrumental
16/17 hours/week, 3 days/week
technique, transcribing, arranging and aural skills.
certificate

certificate
FEES & COST
Contact admissions or see website for details Performance Covers all the principle contemporary styles, from blues, rock and soul
of course fees and funding. through to advanced styles such as jazz and fusion. This provides you with performance
experience and skills, as well as a widening song repertoire.

Stylistic Study This part of the course provides you with an in-depth understanding
of all the principle contemporary musical styles, both in terms of performance on your
instrument and their historical importance and perspective.

Musicianship These classes develop the wider skills that all professional musicians
need for sustainable careers as musicians. Subjects include reading music, music business
and personal development, music technology and the creation of music.

For full details of the course content at each Level of the Certificate (I, II or III), please
bass courses

bass courses
see the corresponding Level for the Higher Diploma course.

44 45
DRUM COURSES

48
BMUS (Hons) DEGREE
50
BA (Hons) DEGREE
51
CERT HE
52
HIGHER DIPLOMA
54
DIPLOMA
56
CERTIFICATE

drum courses
47
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

YEAR ONE YEAR TWO YEAR THREE

The first year consists of the following modules: The second year consists of the following modules: The third year consists of the following modules:

MUSIC PRACTICE MUSIC PRACTICE Specialised Performance Skills 3a and 3b (40 credits)
Instrumental Studies Instrumental Studies This module provides the opportunity to regularly
Technique, Styles, Reading Technique, Styles, Reading perform, create, and re-create music at an advanced level.
Music Theory Music Theory There are two components:
Aural & Transcribing, Harmony & Theory, Keyboards Aural & Transcribing, Harmony & Theory, Keyboards

BMus (Hons) “The BMus course really equipped me

Directed Instrumental Skills
MUSIC PERFORMANCE MUSIC PERFORMANCE Working collectively, as part of an ensemble under
Live Performance Workshop Ensemble Skills direction and in a variety of real world scenarios, this

DEGREE with the tools and knowledge I needed Ensemble

Percussion, Backing Vocals
A wide-ranging ensemble class supporting the
increasing development of performance, presentation,
component draws on the many musical performance
skills acquired at levels one and two.

DRUMS to make a career in music” History & Origins of Popular Music and communication skills, awareness of stylistic
indicators and industry-standard performance. Individual Instrumental Skills
MUSIC PRODUCTION Ensemble These classes involve the student playing at a consistently
Rachael Travers BMus 2011 Music Technology Wire Choir/Choir high level in specialised fields requiring virtuoso technique.
Songwriting Live Performance Workshops
QUALIFICATION The Institute degree is the UK’s pre-eminent BMus (Hons) Degree course for Production Project 3b (20 credits)
Bachelor of Music (Hons) in Popular Music Performance
drummers wishing to reach a professional standard of musicianship and build MUSIC PRODUCTION This module develops the skills necessary to plan, create,
Music Business rehearse, and realise a programme of original popular
LOCATION
a sustainable career in the music industry.
Arranging and Composing music, either as a live performance presentation or as a
Institute of Contemporary Music Performance London recorded portfolio of work.
KEY POINTS
UCAS CODE • Conservatoire-style education for the contemporary drummer Event Management 3a (optional 20 credits)
W310 This module will consist of a broad range of relevant,
• Considerably more contact teaching hours than many popular music degrees
practical management techniques, including
START DATES • Unique Licentiate as an option in the third year offering experience of teacher training
communication, negotiation, organisation, co-ordination,
September Annually • Challenges students to achieve professional levels of musicianship and instrumental arbitration, and resource management. Students will
skill through constant playing and regular performance also study venue operations, event culture and tour
DURATION
• Develops transferable and industry skills to prepare graduates for the real world management and acquire a functional understanding
Three Years Full Time of the relevant legal issues, obligations and regulations
• Delivered by the UK’s leading teaching faculty, with unrivalled professional credentials
such as public and personal liability, health and safety,
CLASS SIZE and insurance.
Classes are typically 12 students per class. Academic This dynamic, relevant and challenging programme combines the development of
subject class sizes can vary depending upon the mode professional playing and musicianship skills with the provision of the tools and knowledge Licentiate 3a and 3b (optional 40 credits)
of delivery. This unique option equips the student with skills enabling
required to develop and sustain a career in the modern music industry.
them to design, deploy and evaluate a variety of teaching,
ENTRY REQUIREMENTS The course offers a ‘conservatoire style’ approach for the contemporary drummer
learning and assessment methods. It will also enable the
• 200 UCAS Tariff points and delivers high instrumental standards. student to achieve a recognised teaching qualification.
bmus (hons) degree

bmus (hons) degree

• GCE A/VCE A Level
• BTEC National Diploma (at suitable pass levels)
• ICMP Higher Diploma or Diploma (at suitable pass levels)
• I B 26 points
• Applicants with equivalent qualifications or
professional musical experience may be considered.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• There is a mandatory audition prior to acceptance.
TIMING
Two 15-week semesters (inc. exams) per year,
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
drum courses
It is mainly delivered through sustained playing, practice and performance based
modules (approximately 75% of the activities) and provides a unique practice-theory divide. In year 3 of the BMus, students must take one of the
Dissertation modules;
This enables students to develop skills in music practice, performance and production,
resulting in a high level of competence and literacy with the language of popular music. Dissertation 3a (optional 20 credits) and Dissertation
Students follow a core programme throughout the first two years, developing 3a and 3b (optional 40 credits)
their music skills in performance, theory and practice, technology, stylistic awareness, After an initial introduction to the dissertation module,
there will be a series of lecture seminars in which broad
collaboration, popular music history, songwriting, arranging and composition, percussion
interests are addressed, including identifying and
and backing vocals. This skill development is augmented in the second year by modules
selecting a suitable object of inquiry, reviewing the field/
which examine the business and economic aspects of the music industry. subject discipline, identifying primary and secondary
The third year provides the opportunity to study practical music skills to an advanced sources, resources, referencing, bibliographies, research
level, both in individual and ensemble ‘real world’ performance situations. Project options methodologies and scholarly apparatus, reprise of
conventions of scholarly writing style, citation, framework
within the third year of the programme offer numerous opportunities for the construction
and structure. Thereafter, one-to-one supervision
of individual learning routes so that students can develop more specialist skills in their supports production and writing-up of drafts, revisions
chosen area of music study (e.g. production project, event management). and final submission.
Significantly, students enrolled on this programme receive considerably more contact
teaching hours at every level than similar UK courses. Students also have the opportunity

drum courses
BMus (Hons) in Popular
Music Performance to achieve teacher training experience by opting to take the Licentiate option during the
is validated by the third year of study. This unique and innovative element of the programme means that the
University of East London successful graduate is provided with an immediate pathway into teaching.
Our in-house Industry Liaison and Careers Service co-ordinates a range of
opportunities for students to engage with the industry.

48 49

BA (Hons)
DEGREE
DRUM
QUALIFICATION
Bachelor of Arts (Hons) in Creative Musicianship
LOCATION
Institute of Contemporary Music Performance London
START DATES
September Annually
DURATION
Three Years Full Time
CLASS SIZE
Instrumental classes are typically 12 students per class.
Academic subject class sizes can vary depending upon
the mode of delivery.
ENTRY REQUIREMENTS
• Applicants will typically have GCE/VCE A levels
equivalent to 200 UCAS points, Institute BTEC level 3
Diploma DM profile, Institute Higher Diploma BTEC level
5 pass profile or equivalent qualifications in suitable
subject areas.
ba (hons) degree
• Applicants will usually be expected to possess three
GCSEs with grades A-C, including Maths and English
Language.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• All applicants will be expected to attend an audition
and interview which will assess their abilities in
performance, aural perception, harmony and theory,
instrument skills, sight reading and creativity.
• The Institute also welcomes applications from established
practitioners who are keen to undertake study at the HE
level but may not possess the required qualifications.
Students may be admitted through Accreditation of
Experiential Learning (AEL) or Accreditation of Certificated
Learning (ACL) processes.
TIMING
drum courses
Two 15-week semesters (inc. exams) per year,
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
50
www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13
This exciting and innovative programme aims to develop your unique ‘creative
identity’, combining the development of performance, music technology,
YEAR TWO Continued
CERT HE This exciting and innovative one year programme is
identical to the first year of the BA(Hons) Degree and
DRUM
aims to develop your key performance, technical,
creativity and musicianship skills with the critical business, and entrepreneurial Entrepreneurship creative and business skills. The course has a
skills that will enable you to create a rewarding career in the music industry. This module will help you develop your entrepreneurial significant focus on creativity, especially working
skills. You will study introduction to marketing and look within the band environment, and helps you to
KEY POINTS at various case studies to generate ideas for your own understand and acquire the key skills required when
creative projects. collaborating with others. In addition, the course also
• Focuses on developing and refining your unique creative and musical identity both
aims to equip you with a solid overview of the music
as a performer and as a creator of new musical material The Music Entrepreneur industry and how to exploit your work.
QUALIFICATION
• Develops your music technology skills Here you will further develop your entrepreneurial skills
• Challenges you to develop professional standard performance and instrument skills
• Develops your entrepreneurial skills, helping you to exploit your creative ability
and concepts. You will study innovation in the music
industry and music & media performance management
Certificate of Higher Education in
Creative Musicianship
Key Points
• Focuses on developing your unique creative and musical
• Offers opportunities to gain industry work experience
challenging you to create your own business models to
suit your own unique creative projects.
LOCATION
Institute of Contemporary Music Performance London
identity both as a performer and as a creator of new musical
material
• Delivered in London by the UK’s leading teaching faculty, with unrivalled • Develops your music technology skills
professional credentials • Challenges you to develop your performance and
START DATES
YEAR THREE instrument skills
September Annually
The third year consists of the following modules: • Develops your basic music business and promotion skills
You will be challenged to develop your instrument/voice techniques, both individually
and your understanding of the wider music industry
and in a performance environment. You will also engage in the analysis and synthesis of Final Performance Project
DURATION
• Delivered in London by the UK’s leading teaching faculty,
One Year Full Time (30 Weeks)
music and the wider creative arts, offering you more material to draw from in your own work. In this module you will showcase yourself as a performer, with unrivalled professional credentials
In the business and entrepreneurial modules you will engage in marketing, entrepreneurial synchronising the various strands of learning so far
CLASS SIZE
• Mirrors the challenges, performance opportunities,
undertaken. You will build confidence in working as creative processes, entrepreneurial studies and work
innovation, new business models and social networking as well as developing personal Instrumental classes are typically 12 students per class.
the creative MD for your showcase. experience opportunities of year one of the BA
skills, such as communication and management skills. Using industry standard music Academic subject class sizes can vary depending upon
(Hons) degree.
technology applications, you will produce and workshop a significant personal portfolio the mode of delivery.
Final Creative Project
of work over the duration of the course and will be challenged to work in a wide range of In this module you will showcase yourself and your work This one year programme consists
ENTRY REQUIREMENTS
professional scenarios, learning to interact with other disciplines and media, such as film, as a music creator. You will develop an understanding of of the following modules:
• Applicants will typically have GCE/VCE A levels
where your own work sits within wider creative contexts,
dance, games, fashion etc. equivalent to 120 UCAS points, Institute BTEC level
working on your final media artefact. Developing Performance Skills
Additionally, you will be given opportunities to gain valuable work experience 3 Diploma MP profile, Institute Higher Diploma BTEC
In this module you will be challenged to go in new
level 5 pass profile or equivalent qualifications in
through a range of extra-curricular activities. Dissertation musical and creative directions in the performance
suitable subject areas.
You will undertake an individual study and dissertation workshops. To support this you will study stage craft
• Applicants will usually be expected to possess three
project in an area of your choice. You will study music and rehearsal techniques and engage in workshops
GCSEs with grades A-C, including Maths and English
in wider contexts as well as research methodology. focusing on musical communication, timing, groove
Language.
and improvisation as well as receiving tuition on a
YEAR ONE Live Performance Technology • Applicants who do not have English as a first language
THE BA (HONS) AND CERT HE second harmony instrument every week.
The first year consists of the following modules: In these performance workshops you will engage in the will need IELTS 6.0 with a minimum of 5.5 in each
are validated by the
implementation of a range of industry standard equipment. element (or an equivalent qualification).
University of East London Developing Creative Skills
Developing Performance Skills Separate instrumental classes will focus on the equipment • All applicants will be expected to attend an audition
This module will introduce you to the wider creative arts,
In this module you will be challenged to go in new that apply directly to your instrument. and interview which will assess their abilities in
developing creative skills in composing music for a range of
musical and creative directions in the performance performance, aural perception, harmony and theory,
media e.g. TV, film, dance, computer games, fashion videos
workshops. To support this you will study stage craft and instrument skills, sight reading and creativity.
and radio drama. You will also study music technology in
rehearsal techniques and engage in workshops focusing YEAR TWO • The Institute also welcomes applications from
this module and develop basic scoring and arranging skills.
cert he
on musical communication, timing, groove and The second year consists of the following modules: established practitioners who are keen to undertake
To further support your music creation you will study
improvisation as well as receiving tuition on a second study at the HE level but may not possess the required
keyboards and aural perception.
harmony instrument every week. Applying Performance Skills qualifications. Students may be admitted through
In this module you will engage in substantial performance Accreditation of Experiential Learning (AEL) or
The Music Industry
Developing Creative Skills projects where you will write and arrange the musical Accreditation of Certificated Learning (ACL) processes.
Topics covered will include promotion, marketing, finance,
This module will introduce you to the wider creative arts, material in collaboration with other students. This will be distribution and an introduction to management. You will
developing creative skills in composing music for a range of supported by several different instruments skills classes. TIMING
get support in creating written work and develop your
media e.g. TV, film, dance, computer games, fashion videos In addition there will be specialised workshops focusing Two 15-week semesters (inc. exams) per year,
awareness of your personal preferences for how you study,
and radio drama. You will also study music technology in on musical communication, advanced rehearsal +/- 16 hours/week, 3-4 days/week.
learn and work, making sure you are as efficient as possible
this module and develop basic scoring and arranging skills. techniques, media training, performance programming, both as a student and as a professional musician.
To further support your music creation you will study groove building etc. FEES & COST
keyboards and aural perception. Contact Admissions or see website for details
Live Performance Technology
Applying Creative Skills of course fees and funding.
In these performance workshops you will engage in the
The Music Industry Here you will study songwriting and music for digital media implementation of a range of industry standard equipment.
drum courses
Topics covered will include promotion, marketing, finance, as well as continuing to develop your aural perception and Separate instrumental classes will focus on the equipment
distribution and an introduction to management. You will arranging/scoring techniques. You will also take part of that apply directly to your instrument.
get support in creating written work and develop your a collaborative project where the end product is a media
awareness of your personal preferences for how you study, artefact of your choice.
learn and work, making sure you are as efficient as possible
both as a student and as a professional musician.
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course prospectus 2012-13 course prospectus 2012-13

LEVEL I (TERM 1) LEVEL II (TERM 2) LEVEL III (TERM 3)

CORE CURRICULUM MODULES CORE CURRICULUM MODULES CORE CURRICULUM MODULES

Instrumental Techniques Instrumental Techniques Instrumental Techniques
Removes technical barriers which restrict self expression, Focuses on issues relating to harmonic coordination, linear Focuses on issues such as compound stickings, additional
focusing on basic grips; fulcrum position; wrist/finger coordination, ostinato time functioning, the double stroke orchestration techniques, solo construction and the P.A.S.
development; application of dynamics to simple roll and basic stickings. international drum rudiments.
musical phrases; bass drum technique; simple harmonic Harmony, Theory & Aural 2 Harmony, Theory & Aural 3

HIGHER “If you’re a musician who wants to do

coordination; orchestration techniques. An integrated approach to harmonic, theoretical and An integrated approach to harmonic, theoretical and
Harmony, Theory & Aural 1 aural principles in both a generic and instrument-specific aural principles in both a generic and instrument-specific
An integrated approach to harmonic, theoretical and context. This module is designed to support all other context. This module is designed to support all other

DIPLOMA something beneficial and worthwhile, aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are used
frequently to reinforce learning.
learning on the course. Case studies and examples are
used frequently to reinforce learning.

DRUMS do the Higher Diploma” learning on the course. Case studies and examples are
used frequently to reinforce learning.
Keyboards
Designed to support a greater understanding of harmony
Keyboards
Focuses on modes; accompaniment; and performance
Keyboards and theory and melodic improvisation. of suitable repertoire and melodic improvisation.
Ellen O’Reilly Higher Diploma Scholarship Winner 2012 Provides the student with an introduction to the
keyboard as a 2nd instrument. PERFORMANCE MODULES PERFORMANCE MODULES
QUALIFICATION The foremost intensive Higher Diploma course for drummers wishing to study Live Performance Workshop Live Performance Workshop
Edexcel Level 5 BTEC Diploma in Music Performance
a wide range of contemporary styles, discover their creative potential and fast- PERFORMANCE MODULES This module teaches drummers to function in a real-band Teaches drummers to function in a real-band environment.
Live Performance Workshop environment. Alongside fellow students from the guitar, With students from guitar, bass and vocal faculties, you
LOCATION
track the development of their musicianship, playing and performing skills.
This module teaches drummers to function in a real-band bass and vocal faculties, you will learn/perform a repertoire will learn/perform a repertoire of tunes, covering three
Institute of Contemporary Music Performance London environment. Alongside fellow students from the guitar, of tunes, covering three key styles: pop, rock and world key styles: Rock, Funk and Soul/R & B.
KEY POINTS bass and vocal faculties, you will learn and perform a music. Advanced Performance Workshop
START DATES • Developed by the UK’s leading drum faculty repertoire of tunes, covering three key styles: blues, Rhythm Section Workshop Involves learning and performing a repertoire of more
October & April soul and rock. Further investigates the critical role of the drummer as advanced and esoteric instrumental styles. This module
• Covers a wide range of relevant musical styles
Rhythm Section Workshop part of the rhythm section. More essential styles are broken is where many of the aspects studied over the previous
DURATION • Intense focus on practical instrumental skills and performance, in small group sizes
This module begins to investigate the critical role of down, analysed and examples from each performed in two levels including improvisation are applied in a real
One Year Full Time (30 Weeks) • Develops the highest levels of musicianship both practically and theoretically the drummer as part of the rhythm section, both a band environment. band environment.
analytically and practically. Essential styles are broken Jazz
CLASS SIZE
This one year course is designed to equip aspiring professional musicians with the skills and down and analysed, and examples from each performed STYLISTIC STUDY MODULES Involves both the practical and theoretical study in
Instrumental classes are typically 12 students per class. in a band environment. Funk Drumming small instrument specific groups of how to play jazz and
Academic subject class sizes can vary depending upon the
awareness required by today’s ever-changing music industry. Successful students will gain a
Uses audio, video, transcriptions, published articles, improvise as well as group performance of a repertoire
mode of delivery. recognised qualification which can be used to progress to the Institute’s BMus or BA. STYLISTIC STUDY MODULES practical demonstrations to cover harmonic/linear time of standard tunes.
On the Higher Diploma course you will play every week in live band situations with Rock Drumming functioning, click tracks, advanced time keeping studies
ENTRY REQUIREMENTS other instrumentalists, studying the different musical styles relevant to today’s wide- Covers basic time/pulse, grooves and time functioning, and vocabulary, relating such concepts to players such as STYLISTIC STUDY MODULES
• Students should possess Intermediate skill levels on vocabulary and double bass drumming, relating to players Clyde Stubblefield, John ‘Jabo’ Starks, Zigaboo Modeliste, Latin Percussion
ranging musical arena. Class sizes are generally no more than 12 students, creating a high
their instrument and would typically have a minimum of such as John Bonham, Stewart Copeland, Joey Jordison, Harvey Mason, Dave Garibaldi, Bernard Purdie, Steve Gadd, Brazilian styles of samba, maracatu, baiao and afoxe.
5 GCSE’s grade A to C, or similar qualifications. There is a level of interaction with both your tutors and your fellow musicians.
Chad Smith. and Vinnie Colaiuta. Latin Rhythms for Drumset
mandatory assessment prior to acceptance. Sight reading This ensures that your learning opportunities are maximised and the learning Blues Drumming Programmed Rhythms for Drumset The application of Brazilian, Afro-Cuban, and Afro-
skills are not required. environment remains extremely focused. Covers blues and U.S. roots styles, includes basic time Application of programmed rhythms to the drumset Antillean grooves to drumset.
• Applicants who do not have English as a first language
higher diploma

higher diploma
and pulse, grooves and time functioning, vocabulary. focusing on issues such breakbeats, drum ‘n’ bass,
will need IELTS 5.5 with a minimum of 5.5 in each element Latin Percussion hip-hop, click-tracks and playing with loops. MUSICIANSHIP MODULES
(or an equivalent qualification).
The Higher Diploma course is broken down into four main areas of study, as follows:
Percussion for drumset players, covering basic techniques Latin Percussion Reading Studies
for congas, bongos, timbales, maracas and guiro, applied Music associated with the Afro-Cuban style of rhumba, Issues relating to reading/interpreting musical notation
TIMING Core Curriculum Covers and develops the essential technical skills that you will to authentic contexts and the studio environment. mozambique, conga and songo. including multiple meters, lead sheet interpretation,
3 x 10-week terms, 16/17 hours/week, 3 days/week require throughout your career as a drummer Drumming & Technology transcription, sight reading, harmonic rhythms and the
Specifically for drummers, this module presents a MUSICIANSHIP MODULES execution of drum charts in a variety of essential styles.
FEES & COST functional study of concepts associated with commercial Reading Studies Music In Context
Contact Admissions or see website for details Performance Covers all the principle contemporary styles, from blues, rock and soul,
drum programming and digital sound reinforcement in a Issues relating to reading/interpreting musical notation, This module is an introduction to some critical perspectives
of course fees and funding. through to advanced styles such as jazz and fusion range of contemporary styles. such as time signatures (including simple, compound, on how we engage with music and the contexts in which
duple and triple meters), dynamic devices, basic artificial that engagement takes place. Every week a new topic within
Stylistic Study This part of the course provides you with an in-depth understanding of MUSICIANSHIP MODULES groupings, sight reading, and performance of more the subject area shall be introduced followed by discussion
Reading Studies advanced snare drum etudes. and analysis facilitated by the tutor.
all the principle contemporary musical styles
Reading/interpreting musical notation, including note/rest Improvisation
values, time signatures, binary/ternary figures over one Introduces the key concepts required to become an
Musicianship These classes develop the wider skills that all professional musicians beat, sight reading, execution of simple snare drum etudes. effective and confident improvising drummer.
need for sustainable careers as musicians. Subjects include reading music, music business Professional Musician Live Event Project
and personal development, music technology and event management. Develops the fundamental skills that all musicians need for This module provides students with the opportunity to
drum courses

developing and sustaining a professional career.
drum courses
collaborate and merge music and business skills when
planning, organising and executing a live event.
Music Business
Provides students with a practical, coherent and solid
overview of the main business practices currently used
within the industry, focusing on issues such as revenue
streams and copyright protection.

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course prospectus 2012-13 course prospectus 2012-13

KEY POINTS TERM 1 TERM 2A

• Play and perform every week in live bands and discover your creative potential
CORE SKILLS CORE SKILLS
• Experience the Institute’s unique and inspirational teaching Instrumental Techniques Instrumental Techniques
• The Diploma programme is for bassists wishing to develop their performance and Reading Skills Reading Skills
collaborative musicianship skills, improve their general musicianship and musical Harmony & Theory Harmony & Theory
knowledge, and explore their creative potential. Aural & Transcribing (including keyboard skills) Aural & Transcribing (including keyboard skills)

• Gain a nationally recognised qualification

DIPLOMA
STYLISTIC STUDY STYLISTIC STUDY
• Tuition fees are fully funded for UK-resident 16-18 year olds Styles 1 Styles 2
Rock Funk

DRUMS The focus of this programme is very much on playing in bands, with lots of performance
opportunities each week and throughout the programme. Students form bands, choose,
Live Performance
Live Performance Rehearsals and Workshops
Live Performance
Live Performance Rehearsals & Workshops
Creative Ensemble Creative Ensemble
create and rehearse repertoire and deliver the results where it counts – on stage. You Songwriting Songwriting
will learn about a range of contemporary styles, study the techniques and theory of your Songwriting 1 Songwriting (including music technology)
instrument, and develop your creativity and songwriting skills. Additionally, all students Humanities Humanities
study keyboard skills, gain an understanding of the music business, and explore various History of Popular Music History of Popular Music
QUALIFICATION Music Business Music Business
Edexcel Level 3 Diploma in Music (worth up to 240 UCAS social and historical issues surrounding contemporary music.
points), equivalent on QCF to two GCE A levels
The Diploma is broken down into five main areas of study: TERM 2B TERM 3
LOCATION
Institute of Contemporary Music Performance, London CORE SKILLS CORE CURRICULUM MODULES
Core Skills These classes develop the fundamental skills that musicians require to
Instrumental Techniques Instrumental Techniques
START DATES progress on their instruments, such as Instrumental Techniques, Reading Skills, Harmony Reading Skills Reading Skills
September annually & Theory and Aural & Transcribing. Harmony & Theory Harmony & Theory
Aural & Transcribing Aural & Transcribing
DURATION
Stylistic Study This part of the programme provides students with an in-depth
One Year Full Time (34 Weeks) STYLISTIC STUDY STYLISTIC STUDY
understanding of contemporary musical styles such as rock, funk and pop, both in terms
Styles 3 Styles 4
CLASS SIZE of performance and historical significance. Blues Fusion
Instrumental classes are typically 12 students per class. Live Performance Live Performance
Academic subject class sizes can vary depending upon the
Live Performance These units, where students of all four instruments come together, Live Performance Rehearsals & Workshops Live Performance Rehearsals & Workshops
mode of delivery. Creative Ensemble Pop Performance Project
provide opportunities to develop skills necessary to perform confidently in front of an
Songwriting Songwriting
ENTRY REQUIREMENTS audience, at the same time applying much of what is learned in other classes. Classes take Songwriting 3 (including keyboard skills) Songwriting 4
• Solid technical playing/singing skills with a minimum of the form of weekly Live Performance Rehearsals, Live Performance Workshops, Creative Humanities Humanities
2-3 years experience – Subject to assessment – Minimum 5 Ensemble classes and a Pop Performance Project where learners prepare for their final Music & Society Music & Society
GCSE passes at C or above (including English and Maths) or Music Business Music Business
performances at a prestigious London venue.
equivalent (e.g. Baccalaureate).
• There is a mandatory assessment, interview and a literacy/ In addition, all students will study one prescribed Key Skill
numeracy evaluation prior to acceptance. Songwriting This year-long module focuses on developing students’ creative and have regular tutorial support
• Applicants who do not have English as a first language potential, as individually and collaboratively, giving them the skills to improve as
will need IELTS 5.5 with a minimum of 5.5 in each element
song-writers.
diploma

diploma
(or an equivalent qualification).

TIMING Humanities These units focus on historical, social, philosophical and cultural issues in
3 x 10-week terms, a minimum of 18 hours per week, 3-4 music, and help to develop highly transferable analytical and critical skills which are highly
days/per week. NB: Additional time may be allocated to transferable. Classes include Music Business, History of Popular Music, and Music & Society.
term 3 to prepare for and deliver the Final Performance.

FEES & COST
Tuition fees currently fully funded for UK-resident 16-18
year olds (but subject to CNWL funding allocation).
Applicants outside of this age-range should contact
Admissions or see website for details of programme fees
and funding. All students pay an additional registration fee.
drum courses
If you love music and performing, this programme will help you develop the instrumental
and musical skills you need to start your career. Unleash your own true creative potential;
find out what you are capable of as a musician.
At the Institute we share your passion for music, so by choosing to continue your
music education with us you will become a valued member of a vibrant musical community.
In addition to timetabled studies, learners are encouraged to participate in a range of
extra-curricular activities designed to enhance and reinforce the learning experience.

drum courses
These include master classes, clinics, recitals, and participation in jam nights, open days,
faculty-led ensembles and external musical events.

The Diploma programme is broken down in to the following key components over
three 10-week terms:

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course prospectus 2012-13

CERTIFICATE
DRUMS

QUALIFICATION The Certificate course is designed for those students who cannot commit to a
Institute Certificate
full year of study at one time, and provides the perfect opportunity to maximise
LOCATION
learning in a short period of time.
Institute of Contemporary Music Performance London
Students who complete the Certificate course obtain credits that they can use towards
START DATES the full Higher Diploma award at a later stage.
October, January, April & July (depending on level)
Each level of the Certificate course corresponds exactly to each of three levels of
DURATION the Higher Diploma course. So, for example, studying on Level I Certificate is exactly
10 weeks full time equivalent to studying on Level I of the Higher Diploma. Students play every week in live
band situations with other instrumentalists, studying the different musical styles relevant
ENTRY REQUIREMENTS
to today’s wide- ranging musical arena.
• Students should possess Intermediate skill levels on the
instrument for Level I, with higher abilities for direct entry
Class sizes are generally no more than 12 students, creating a high level of interaction
onto Levels II or III. There is a mandatory assessment prior with both your tutors and your fellow musicians. This ensures that your learning
to acceptance. Students would typically have a minimum opportunities are maximised and the learning environment remains extremely focused.
of 5 GCSE’s grade A to C, or similar qualifications.
• Applicants who do not have English as a first language
The Certificate course is broken down into four main areas of study, as follows:
will need IELTS 5.5 with a minimum of 5.5 in each element
(or an equivalent qualification).
Core Curriculum Covers and develops the essential technical skills that you will
TIMING require to develop a career as a musician. For example, harmony and theory, instrumental
16/17 hours/week, 3 days/week
technique, transcribing, arranging and aural skills.
certificate

certificate
FEES & COST
Contact admissions or see website for details Performance Covers all the principle contemporary styles, from blues, rock and soul
of course fees and funding. through to advanced styles such as jazz and fusion. This provides you with performance
experience and skills, as well as a widening song repertoire.

Stylistic Study This part of the course provides you with an in-depth understanding
of all the principle contemporary musical styles, both in terms of performance on your
instrument and their historical importance and perspective.

Musicianship These classes develop the wider skills that all professional musicians
need for sustainable careers as musicians. Subjects include reading music, music business
and personal development, music technology and the creation of music.

For full details of the course content at each Level of the Certificate (I, II or III), please
drum courses

drum courses
see the corresponding Level for the Higher Diploma course.

56 57
VOCAL COURSES

60
BMUS (Hons) DEGREE
62
BA (Hons) DEGREE
63
CERT HE
64
HIGHER DIPLOMA
66
DIPLOMA
68
CERTIFICATE

vocal courses
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course prospectus 2012-13 course prospectus 2012-13

YEAR ONE YEAR TWO YEAR THREE

The first year consists of the following modules: The second year consists of the following modules: The third year consists of the following modules:

MUSIC PRACTICE MUSIC PRACTICE Specialised Performance Skills 3a and 3b (40 credits)
Instrumental Studies Instrumental Studies This module provides the opportunity to regularly
Technique, Styles, Reading Technique, Styles, Reading perform, create, and re-create music at an advanced level.
Music Theory Music Theory There are two components:
Aural & Transcribing, Harmony & Theory, Keyboards Aural & Transcribing, Harmony & Theory, Keyboards

BMus (Hons) “The BMus course really equipped me

Directed Instrumental Skills
MUSIC PERFORMANCE MUSIC PERFORMANCE Working collectively, as part of an ensemble under
Live Performance Workshop Ensemble Skills direction and in a variety of real world scenarios, this

DEGREE with the tools and knowledge I needed Ensemble

Percussion, Backing Vocals
A wide-ranging ensemble class supporting the
increasing development of performance, presentation,
component draws on the many musical performance
skills acquired at levels one and two.

VOCALS to make a career in music” History & Origins of Popular Music and communication skills, awareness of stylistic
indicators and industry-standard performance. Individual Instrumental Skills
MUSIC PRODUCTION Ensemble These classes involve the student playing at a consistently
Rachael Travers BMus 2011 Music Technology Wire Choir/Choir high level in specialised fields requiring virtuoso technique.
Songwriting Live Performance Workshops
QUALIFICATION The Institute degree is the UK’s pre-eminent BMus (Hons) Degree course for Production Project 3b (20 credits)
Bachelor of Music (Hons) in Popular Music Performance
vocalists wishing to reach a professional standard of musicianship and build MUSIC PRODUCTION This module develops the skills necessary to plan, create,
Music Business rehearse, and realise a programme of original popular
LOCATION
a sustainable career in the music industry.
Arranging and Composing music, either as a live performance presentation or as a
Institute of Contemporary Music Performance London recorded portfolio of work.
KEY POINTS
UCAS CODE • Conservatoire-style education for the contemporary vocalist Event Management 3a (optional 20 credits)
W310 This module will consist of a broad range of relevant,
• Considerably more contact teaching hours than many popular music degrees
practical management techniques, including
START DATES • Unique Licentiate as an option in the third year offering experience of teacher training
communication, negotiation, organisation, co-ordination,
September Annually • Challenges students to achieve professional levels of musicianship and instrumental arbitration, and resource management. Students will
skill through constant singing and regular performance also study venue operations, event culture and tour
DURATION
• Develops transferable and industry skills to prepare graduates for the real world management and acquire a functional understanding
Three Years Full Time of the relevant legal issues, obligations and regulations
• Delivered by the UK’s leading teaching faculty, with unrivalled professional credentials
such as public and personal liability, health and safety,
CLASS SIZE and insurance.
Classes are typically 12 students per class. Academic This dynamic, relevant and challenging programme combines the development of
subject class sizes can vary depending upon the mode professional playing and musicianship skills with the provision of the tools and knowledge Licentiate 3a and 3b (optional 40 credits)
of delivery. This unique option equips the student with skills enabling
required to develop and sustain a career in the modern music industry.
them to design, deploy and evaluate a variety of teaching,
ENTRY REQUIREMENTS The course offers a ‘conservatoire style’ approach for the contemporary vocalist
learning and assessment methods. It will also enable the
• 200 UCAS Tariff points and delivers high instrumental standards. student to achieve a recognised teaching qualification.
bmus (hons) degree

bmus (hons) degree

• GCE A/VCE A Level
• BTEC National Diploma (at suitable pass levels)
• ICMP Higher Diploma or Diploma (at suitable pass levels)
• I B 26 points
• Applicants with equivalent qualifications or
professional musical experience may be considered.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• There is a mandatory audition prior to acceptance.
TIMING
Two 15-week semesters (inc. exams) per year,
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
voacl courses
It is mainly delivered through sustained vocally focused practice and performance
based modules (approximately 75% of the activities) and provides a unique practice- In year 3 of the BMus, students must take one of the
Dissertation modules;
theory divide. This enables students to develop skills in music practice, performance
and production, resulting in a high level of competence and literacy with the language of Dissertation 3a (optional 20 credits) and Dissertation
popular music. 3a and 3b (optional 40 credits)
Students follow a core programme throughout the first two years, developing After an initial introduction to the dissertation module,
there will be a series of lecture seminars in which broad
their music skills in performance, theory and practice, technology, stylistic awareness,
interests are addressed, including identifying and
collaboration, popular music history, songwriting, arranging and composition, percussion
selecting a suitable object of inquiry, reviewing the field/
and backing vocals. This skill development is augmented in the second year by modules subject discipline, identifying primary and secondary
which examine the business and economic aspects of the music industry. sources, resources, referencing, bibliographies, research
The third year provides the opportunity to study practical music skills to an advanced methodologies and scholarly apparatus, reprise of
conventions of scholarly writing style, citation, framework
level, both in individual and ensemble ‘real world’ performance situations. Project options
and structure. Thereafter, one-to-one supervision
within the third year of the programme offer numerous opportunities for the construction supports production and writing-up of drafts, revisions
of individual learning routes so that students can develop more specialist skills in their and final submission.
chosen area of music study (e.g. production project, event management).
Significantly, students enrolled on this programme receive considerably more contact

voacl courses
BMus (Hons) in Popular
Music Performance teaching hours at every level than similar UK courses. Students also have the opportunity
is validated by the to achieve teacher training experience by opting to take the Licentiate option during the
University of East London third year of study. This unique and innovative element of the programme means that the
successful graduate is provided with an immediate pathway into teaching.
Our in-house Industry Liaison and Careers Service co-ordinates a range
of opportunities for students to engage with the industry.
60 61

BA (Hons)
DEGREE
VOCALS
QUALIFICATION
Bachelor of Arts (Hons) in Creative Musicianship
LOCATION
Institute of Contemporary Music Performance London
START DATES
September Annually
DURATION
Three Years Full Time
CLASS SIZE
Instrumental classes are typically 12 students per class.
Academic subject class sizes can vary depending upon
the mode of delivery.
ENTRY REQUIREMENTS
• Applicants will typically have GCE/VCE A levels
equivalent to 200 UCAS points, Institute BTEC level 3
Diploma DM profile, Institute Higher Diploma BTEC level
5 pass profile or equivalent qualifications in suitable
subject areas.
ba (hons) degree
• Applicants will usually be expected to possess three
GCSEs with grades A-C, including Maths and English
Language.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• All applicants will be expected to attend an audition
and interview which will assess their abilities in
performance, aural perception, harmony and theory,
instrument skills, sight reading and creativity.
• The Institute also welcomes applications from established
practitioners who are keen to undertake study at the HE
level but may not possess the required qualifications.
Students may be admitted through Accreditation of
Experiential Learning (AEL) or Accreditation of Certificated
Learning (ACL) processes.
TIMING
vocal courses
Two 15-week semesters (inc. exams) per year,
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
62
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course prospectus 2012-13 course prospectus 2012-13
This exciting and innovative programme aims to develop your unique ‘creative
identity’, combining the development of performance, music technology,
YEAR TWO Continued
CERT HE This exciting and innovative one year programme is
identical to the first year of the BA(Hons) Degree and
VOCALS
aims to develop your key performance, technical,
creativity and musicianship skills with the critical business, and entrepreneurial Entrepreneurship creative and business skills. The course has a
skills that will enable you to create a rewarding career in the music industry. This module will help you develop your entrepreneurial significant focus on creativity, especially working
skills. You will study introduction to marketing and look at within the band environment, and helps you to
KEY POINTS various case studies to generate ideas for your own creative understand and acquire the key skills required when
projects. collaborating with others. In addition, the course also
• Focuses on developing and refining your unique creative and musical identity both
aims to equip you with a solid overview of the music
as a performer and as a creator of new musical material The Music Entrepreneur industry and how to exploit your work.
QUALIFICATION
• Develops your music technology skills Here you will further develop your entrepreneurial skills
• Challenges you to develop professional standard performance and instrument skills
• Develops your entrepreneurial skills, helping you to exploit your creative ability
and concepts. You will study innovation in the music
industry and music & media performance management
Certificate of Higher Education in
Creative Musicianship
Key Points
• Focuses on developing your unique creative and musical
• Offers opportunities to gain industry work experience
challenging you to create your own business models to
suit your own unique creative projects.
LOCATION
Institute of Contemporary Music Performance London
identity both as a performer and as a creator of new musical
material
• Delivered in London by the UK’s leading teaching faculty, with unrivalled • Develops your music technology skills
professional credentials • Challenges you to develop your performance and
START DATES
YEAR THREE instrument skills
September Annually
The third year consists of the following modules: • Develops your basic music business and promotion skills
You will be challenged to develop your instrument/voice techniques, both individually and
and your understanding of the wider music industry
in a performance environment. You will also engage in the analysis and synthesis of music Final Performance Project
DURATION
• Delivered in London by the UK’s leading teaching faculty,
One Year Full Time (30 Weeks)
and the wider creative arts, offering you more material to draw from in your own work. In In this module you will showcase yourself as a performer, with unrivalled professional credentials
the business and entrepreneurial modules you will engage in marketing, entrepreneurial synchronising the various strands of learning so far
CLASS SIZE
• Mirrors the challenges, performance opportunities,
undertaken. You will build confidence in working as the creative processes, entrepreneurial studies and work
innovation, new business models and social networking as well as developing personal Instrumental classes are typically 12 students per class.
creative MD for your showcase. experience opportunities of year one of the BA
skills, such as communication and management skills. Using industry standard music Academic subject class sizes can vary depending upon
(Hons) degree.
technology applications, you will produce and workshop a significant personal portfolio the mode of delivery.
Final Creative Project
of work over the duration of the course and will be challenged to work in a wide range of In this module you will showcase yourself and your work This one year programme consists
ENTRY REQUIREMENTS
professional scenarios, learning to interact with other disciplines and media, such as film, as a music creator. You will develop an understanding of of the following modules:
• Applicants will typically have GCE/VCE A levels
where your own work sits within wider creative contexts,
dance, games, fashion etc. Additionally, you will be given opportunities to gain valuable equivalent to 120 UCAS points, Institute BTEC level
working on your final media artefact. Developing Performance Skills
work experience through a range of extra-curricular activities. 3 Diploma MP profile, Institute Higher Diploma BTEC
In this module you will be challenged to go in new musical
level 5 pass profile or equivalent qualifications in
Dissertation and creative directions in the performance workshops.
suitable subject areas.
You will undertake an individual study and dissertation To support this you will study stage craft and rehearsal
• Applicants will usually be expected to possess three
project in an area of your choice. You will study music techniques and engage in workshops focusing on musical
GCSEs with grades A-C, including Maths and English
in wider contexts as well as research methodology. communication, timing, groove and improvisation as
Language.
well as receiving tuition on a second harmony instrument
YEAR ONE Live Performance Technology • Applicants who do not have English as a first language
THE BA (HONS) AND CERT HE every week.
The first year consists of the following modules: In these performance workshops you will engage in the will need IELTS 6.0 with a minimum of 5.5 in each
are validated by the
implementation of a range of industry standard equipment. element (or an equivalent qualification).
University of East London Developing Creative Skills
Developing Performance Skills Separate instrumental classes will focus on the equipment • All applicants will be expected to attend an audition
This module will introduce you to the wider creative arts,
In this module you will be challenged to go in new musical that apply directly to your instrument. and interview which will assess their abilities in
developing creative skills in composing music for a range of
and creative directions in the performance workshops. performance, aural perception, harmony and theory,
media e.g. TV, film, dance, computer games, fashion videos
To support this you will study stage craft and rehearsal instrument skills, sight reading and creativity.
and radio drama. You will also study music technology in
techniques and engage in workshops focusing on musical YEAR TWO • The Institute also welcomes applications from
this module and develop basic scoring and arranging skills.
cert he
communication, timing, groove and improvisation as The second year consists of the following modules: established practitioners who are keen to undertake
To further support your music creation you will study
well as receiving tuition on a second harmony instrument study at the HE level but may not possess the required
keyboards and aural perception.
every week. Applying Performance Skills qualifications. Students may be admitted through
In this module you will engage in substantial performance Accreditation of Experiential Learning (AEL) or
The Music Industry
Developing Creative Skills projects where you will write and arrange the musical Accreditation of Certificated Learning (ACL) processes.
Topics covered will include promotion, marketing, finance,
This module will introduce you to the wider creative arts, material in collaboration with other students. This will be distribution and an introduction to management. You will
developing creative skills in composing music for a range of supported by several different instruments skills classes. TIMING
get support in creating written work and develop your
media e.g. TV, film, dance, computer games, fashion videos In addition there will be specialised workshops focusing Two 15-week semesters (inc. exams) per year,
awareness of your personal preferences for how you study,
and radio drama. You will also study music technology in on musical communication, advanced rehearsal +/- 16 hours/week, 3-4 days/week.
learn and work, making sure you are as efficient as possible
this module and develop basic scoring and arranging skills. techniques, media training, performance programming, both as a student and as a professional musician.
To further support your music creation you will study groove building etc. FEES & COST
keyboards and aural perception. Contact Admissions or see website for details
Live Performance Technology
Applying Creative Skills of course fees and funding.
In these performance workshops you will engage in the
The Music Industry Here you will study songwriting and music for digital media implementation of a range of industry standard equipment.
vocal courses
Topics covered will include promotion, marketing, finance, as well as continuing to develop your aural perception and Separate instrumental classes will focus on the equipment
distribution and an introduction to management. You will arranging/scoring techniques. You will also take part of that apply directly to your instrument.
get support in creating written work and develop your a collaborative project where the end product is a media
awareness of your personal preferences for how you study, artefact of your choice.
learn and work, making sure you are as efficient as possible
both as a student and as a professional musician.
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course prospectus 2012-13 course prospectus 2012-13

LEVEL I (TERM 1) LEVEL II (TERM 2) LEVEL III (TERM 3)

CORE CURRICULUM MODULES CORE CURRICULUM MODULES CORE CURRICULUM MODULES

Harmony, Theory & Aural 1
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are
Harmony, Theory & Aural 2
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are
Harmony, Theory & Aural 3
An integrated approach to harmonic, theoretical and
aural principles in both a generic and instrument-specific
context. This module is designed to support all other
learning on the course. Case studies and examples are

HIGHER “If you’re a musician who wants to do

used frequently to reinforce learning. used frequently to reinforce learning. used frequently to reinforce learning.
Voice Techniques Voice Techniques Voice Techniques
Underpins the most important elements required Based on fundamentals of classical coaching with Taken from the fundamentals of classical coaching and

DIPLOMA something beneficial and worthwhile, for a healthy, flexible and individual voice.
Keyboards
contemporary vocals in mind, this module further builds
a solid technical base for the vocalist.
developed with the contemporary vocalist in mind this
module builds a solid technical base for the vocalist.

VOCALS do the Higher Diploma” Provides the student with an introduction to the
keyboard as a 2nd instrument.
Keyboards
Designed to support a greater understanding of harmony
Keyboards
Focuses on modes, accompaniment and melodic
and theory. improvisation.
Ellen O’Reilly Higher Diploma Scholarship Winner 2012 PERFORMANCE MODULES
Live Performance Workshop PERFORMANCE MODULES PERFORMANCE MODULES
QUALIFICATION The foremost intensive Higher Diploma course for vocalists wishing to study a wide This module teaches vocalists to function in a real-band Live Performance Workshop Live Performance Workshop
Edexcel Level 5 BTEC Diploma in Music Performance
range of contemporary styles, fast-track the development of their musicianship, environment. Alongside fellow students from the guitar, eaches vocalists to function in a real-band environment. eaches vocalists to function in a real-band environment.
bass and drum faculties, you will learn and perform a Alongside fellow students from the guitar, bass and drum Alongside students from the guitar, bass and drum
LOCATION
singing and performing skills, and to discover their creative potential.
repertoire of tunes, covering three key styles: blues, faculties, you will learn and perform a repertoire of tunes, faculties, you will learn and perform a repertoire of tunes,
Institute of Contemporary Music Performance London soul and rock. covering three key styles: pop, rock and world music. covering three key styles: Rock Funk, R ‘n’ B.
KEY POINTS Ensemble Ensemble Jazz
START DATES • Developed by the UK’s leading contemporary vocal faculty The most basic element of ensemble is that of the backing In this module modern choral singing is taught, preparing Involves both the practical and theoretical study of how to
October & April vocalist, and for most vocalists this is the most immediately the student for the needs of producers, composers, and sing jazz and improvise, both in small classes and as part of
• Covers a wide range of relevant musical styles
challenging discipline. In this class you will learn to perform any number of session styles. an ensemble performing a repertoire of standard tunes.
DURATION • Intense focus on practical instrumental skills and performance, in small group sizes
by ear and follow musical notation. Ensemble
One Year Full Time (30 Weeks) • Develops the highest levels of musicianship both practically and theoretically STYLISTIC STUDY MODULES Prepares the student for the needs of producers,
• Part of a highly motivated and like-minded student environment STYLISTIC STUDY MODULES Pop composers, and any number of session styles. You will
CLASS SIZE Blues Covers the most current material, focusing on the vocal learn to perform by ear and follow music notation, as well
Instrumental classes are typically 12 students per class. Provides a clear understanding of classic 60’s blues techniques involved in each track, with the vocal effects as writing and directing your own arrangements.
Academic subject class sizes can vary depending upon the
This one year course is designed to equip aspiring professional singers with the skills and
vocals, covering well known vocalists, standard tunes and vocal licks of each chosen artist analyzed and studied.
mode of delivery. awareness required by today’s ever-changing music industry. Successful students will gain from the blues repertoire, classic blues ‘licks’ and Rock STYLISTIC STUDY MODULES
a recognised qualification which can be used to progress to the Institute’s BMus or BA. essential historical information. Focusing on various rock vocalists, an introduction to Funk
ENTRY REQUIREMENTS On the Higher Diploma course you will play every week in live band situations Soul/R&B classic and modern rock tracks, discussing the history, Starting with 60’s funk, focuses on the various styles of
• Students should possess Intermediate skill levels on Covers a variety of soul/R&B classics and the history and the artists, and the style features of each tune. singing employed in this idiom, moving through each era
with other instrumentalists, studying the different musical styles relevant to today’s
their instrument and would typically have a minimum of style of the artists studied; attention is paid to rhythm Stage & Studio Craft of funk, disco, pop and fusion.
5 GCSE’s grade A to C, or similar qualifications. There is a wide-ranging musical arena. Class sizes are generally no more than 12 students,
backings on classic songs to appreciate how the vocal Explores the nuances required to demonstrate emotive,
mandatory assessment prior to acceptance. Sight reading creating a high level of interaction with both your tutors and your fellow musicians. fits in to the overall track. dynamic performances. MUSICIANSHIP MODULES
skills are not required. This ensures that your learning opportunities are maximised and the learning Stage & Studio Craft Reading Studies
• Applicants who do not have English as a first language
higher diploma

higher diploma
environment remains extremely focused. Starts to prepare the student for the most important MUSICIANSHIP MODULES As most musicians still use written notation in studios and
will need IELTS 5.5 with a minimum of 5.5 in each element situations they find themselves in - delivering a live, Reading Studies rehearsals for gigs, a thorough grounding in sight-singing
(or an equivalent qualification). professional performance. This class further develops sight-singing skills and applies is essential.
The Higher Diploma course is broken down into four main areas of study, as follows: this knowledge to simple vocal charts. Improvisation
TIMING MUSICIANSHIP MODULES Improvisation Strong improvisation and intelligent ad-lib skills are
3 x 10-week terms, 16/17 hours/week, 3 days/week Core Curriculum Covers and develops the essential technical skills that you will Reading Studies The skills needed for strong improvisation and intelligent further explored, giving the student a greater knowledge
require throughout your career as a vocalist. A thorough grounding in sight-singing is essential. This ad-libs are explored and studied to benefit performance. and control.
FEES & COST class introduces the student to the study of note values, Live Event Project Music In Context
Contact Admissions or see website for details rest values and pitch. This module provides students with the opportunity to This module is an introduction to some critical perspectives
of course fees and funding. Performance Covers all the principle contemporary styles, from blues, rock and soul, Music Technology collaborate and merge music and business skills when on how we engage with music and the contexts in which
through to advanced styles such as jazz and fusion. Use of music technology, covering programming skills planning, organising and executing a live event. that engagement takes place. Every week a new topic within
to realise your own works. Music Business the subject area shall be introduced followed by discussion
Professional Musician Provides students with a practical, coherent and solid and analysis facilitated by the tutor.
Stylistic Study This part of the course provides you with an in-depth understanding
Develops the fundamental skills that all musicians need overview of the main business practices currently used
of all the principle contemporary musical styles. for developing and sustaining a professional career. within the industry, focusing on issues such as revenue
streams and copyright protection.
Musicianship These classes develop the wider skills that all professional musicians
need for sustainable careers as musicians. Subjects include reading music, music business
vocal courses

vocal courses
and personal development, music technology and event management.

64 65
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course prospectus 2012-13 course prospectus 2012-13

KEY POINTS
• Play and perform every week in live bands and discover your creative potential
• Experience the Institute’s unique and inspirational teaching
• The Diploma programme is for vocalists wishing to develop their performance and
collaborative musicianship skills, improve their general musicianship and musical
knowledge, and explore their creative potential.
• Gain a nationally recognised qualification
DIPLOMA • Tuition fees are fully funded for UK-resident 16-18 year olds

VOCALS The focus of this programme is very much on playing in bands, with lots of performance
opportunities each week and throughout the programme. Students form bands, choose,
create and rehearse repertoire and deliver the results where it counts – on stage! You
will learn about a range of contemporary styles, study the techniques and theory of your
instrument, and develop your creativity and songwriting skills. Additionally, all students
study keyboard skills, gain an understanding of the music business, and explore various
QUALIFICATION
Edexcel Level 3 Diploma in Music (worth up to 240 UCAS social and historical issues surrounding contemporary music.
points), equivalent on QCF to two GCE A levels
TERM 1 TERM 2A
The Diploma is broken down into five main areas of study:
LOCATION
CORE SKILLS CORE SKILLS
Institute of Contemporary Music Performance London
Core Skills These classes develop the fundamental skills that musicians require to Instrumental Techniques Instrumental Techniques
Reading Skills Reading Skills
START DATES progress on their instruments, such as Instrumental Techniques, Reading Skills, Harmony
Harmony & Theory Harmony & Theory
September annually & Theory and Aural & Transcribing. Aural & Transcribing (including keyboard skills) Aural & Transcribing (including keyboard skills)

DURATION
Stylistic Study This part of the programme provides students with an in-depth STYLISTIC STUDY STYLISTIC STUDY
One Year Full Time (34 Weeks)
understanding of contemporary musical styles such as rock, funk and pop, both in terms Styles 1 Styles 2
Rock Funk
CLASS SIZE of performance and historical significance.
Live Performance Live Performance
Instrumental classes are typically 12 students per class.
Live Performance Rehearsals and Workshops Live Performance Rehearsals & Workshops
Academic subject class sizes can vary depending upon the
Live Performance These units, where students of all four instruments come together, Creative Ensemble Creative Ensemble
mode of delivery.
provide opportunities to develop skills necessary to perform confidently in front of an Songwriting Songwriting
Songwriting 1 Songwriting (including music technology)
ENTRY REQUIREMENTS audience, at the same time applying much of what is learned in other classes. Classes take
Humanities Humanities
• Solid technical playing/singing skills with a minimum of the form of weekly Live Performance Rehearsals, Live Performance Workshops, Creative History of Popular Music History of Popular Music
2-3 years experience – Subject to assessment – Minimum Ensemble classes and a Pop Performance Project where learners prepare for their final Music Business Music Business
5 GCSE passes at C or above (including English and Maths)
performances at a prestigious London venue.
or equivalent (e.g. Baccalaureate).
• There is a mandatory assessment, interview and a literacy/
TERM 2B TERM 3
numeracy evaluation prior to acceptance. Songwriting This year-long module focuses on developing students’ creative
• Applicants who do not have English as a first language potential, as individually and collaboratively, giving them the skills to improve as CORE SKILLS CORE SKILLS
will need IELTS 5.5 with a minimum of 5.5 in each element
song-writers.
diploma

diploma
Instrumental Techniques Instrumental Techniques
(or an equivalent qualification).
Reading Skills Reading Skills
Harmony & Theory Harmony & Theory
TIMING Humanities These units focus on historical, social, philosophical and cultural issues in
Aural & Transcribing Aural & Transcribing
3 x 10-week terms, a minimum of 18 hours per week, 3-4 music, and help to develop highly transferable analytical and critical skills which are highly
days/per week. NB: Additional time may be allocated to transferable. Classes include Music Business, History of Popular Music, and Music & Society. STYLISTIC STUDY STYLISTIC STUDY
term 3 to prepare for and deliver the Final Performance.
Styles 3 Styles 4
If you love music and performing, this programme will help you develop the instrumental Blues Fusion
FEES & COST
Live Performance Live Performance
Tuition fees currently fully funded for UK-resident 16-18 and musical skills you need to start your career. Unleash your own true creative potential;
Live Performance Rehearsals & Workshops Live Performance Rehearsals & Workshops
year olds (but subject to CNWL funding allocation). find out what you are capable of as a musician. Creative Ensemble Pop Performance Project
Applicants outside of this age-range should contact
At the Institute we share your passion for music, so by choosing to continue your Songwriting Songwriting
Admissions or see website for details of programme fees
and funding. All students pay an additional registration fee.
music education with us you will become a valued member of a vibrant musical community. Songwriting 3 (including keyboard skills) Songwriting 4
Humanities Humanities
In addition to timetabled studies, learners are encouraged to participate in a range of
Music & Society Music & Society
vocal courses

vocal courses
extra-curricular activities designed to enhance and reinforce the learning experience. Music Business Music Business
These include master classes, clinics, recitals, and participation in jam nights, open days,
faculty-led ensembles and external musical events. In addition, all students will study one prescribed Key Skill
and have regular tutorial support

The Diploma programme is broken down in to the following key components over
three 10-week terms:

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course prospectus 2012-13

CERTIFICATE The Certificate course is designed for those students who cannot commit to a
full year of study at one time, and provides the perfect opportunity to maximise

VOCALS learning in a short period of time.

Students who complete the Certificate course obtain credits that they can use towards
the full Higher Diploma award at a later stage.
Each level of the Certificate course corresponds exactly to each of three levels of
the Higher Diploma course. So, for example, studying on Level I Certificate is exactly
QUALIFICATION
equivalent to studying on Level I of the Higher Diploma. Students play every week in live
Institute Certificate
band situations with other instrumentalists, studying the different musical styles relevant
LOCATION to today’s wide- ranging musical arena.
Institute of Contemporary Music Performance London Class sizes are generally no more than 12 students, creating a high level of interaction
with both your tutors and your fellow musicians. This ensures that your learning
START DATES
opportunities are maximised and the learning environment remains extremely focused.
October, January, April & July (depending on level)

DURATION The Certificate course is broken down into four main areas of study, as follows:
10 weeks full time

Core Curriculum Covers and develops the essential technical skills that you will
ENTRY REQUIREMENTS
• Students should possess Intermediate skill levels on the
require to develop a career as a singer and a musician. For example, harmony and theory,
instrument for Level I, with higher abilities for direct entry vocal technique, songwriting, arranging and aural skills.
onto Levels II or III. There is a mandatory assessment prior
to acceptance. Students would typically have a minimum Performance Covers all the principle contemporary styles, from blues, rock and soul
of 5 GCSEs grade A to C, or similar qualifications.
through to advanced styles such as jazz. This provides you with performance experience and
• Applicants who do not have English as a first language
will need IELTS 5.5 with a minimum of 5.5 in each element skills, as well as a widening song repertoire.
(or an equivalent qualification).
Stylistic Study This part of the course provides you with an in-depth understanding
TIMING
of all the principle contemporary musical styles, both in terms of vocal performance and
16/17 hours/week, 3 days/week
their historical importance and perspective.
certificate

certificate
FEES & COST
Contact admissions or see website for details Musicianship These classes develop the wider skills that all professional musicians
of course fees and funding. need for sustainable careers as musicians. Subjects include reading music, music business
and personal development, music technology and the creation of music.

For full details of the course content at each Level of the Certificate (I, II or III), please
see the corresponding Level for the Higher Diploma course.
vocal courses

vocal courses
68 69
SONGWRITING COURSES

72
BA (Hons) DEGREE
73
CERT HE

songwriting courses
71

BA (Hons)
DEGREE
songwriting
QUALIFICATION
Bachelor of Arts (Hons) in Songwriting
LOCATION
Institute of Contemporary Music Performance London
START DATES
September Annually
DURATION
Three Years Full Time
CLASS SIZE
Instrumental classes are typically 12 students per class.
Writing classes are typically 10 students per class.
Academic subject class sizes can vary depending upon
the mode of delivery.
ENTRY REQUIREMENTS
• Applicants will typically have GCE/VCE A levels
equivalent to 200 UCAS points, Institute BTEC level 3
Diploma DM profile, Institute Higher Diploma BTEC level
5 pass profile or equivalent qualifications in suitable
ba (hons) degree
subject areas.
• Applicants will usually be expected to possess three
GCSEs with grades A-C, including Maths and English
Language.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• All applicants will be expected to attend an audition
and interview which will assess their abilities in
performance, aural perception, harmony and theory,
instrument skills, sight reading and creativity.
• The Institute also welcomes applications from established
practitioners who are keen to undertake study at the HE
level but may not possess the required qualifications.
Students may be admitted through Accreditation of
songwriting courses
Experiential Learning (AEL) or Accreditation of Certificated
Learning (ACL) processes.
TIMING
Two 15-week semesters (inc. exams) per year,
+/- 16 hours/week, 3-4 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
72
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course prospectus 2012-13 course prospectus 2012-13
The aims of the programme are to develop the songwriter’s creative style as well
as technical abilities and equip them with the entrepreneurial and business skills CERT HE The UK’s premier one year specialist course
specifically designed for aspiring songwriters,
SONGWRITING
this course provides the perfect learning and
required to capitalise on their creative songwriting abilities. Year 1 focuses on development experience for students looking to
naturally developing skills as a singer-songwriter, progressing through Year 2 develop a songwriting career in the music industry.
into industry focused writing and an increased emphasis on production technique. Combining fundamental musical skills with
Year 3 sees each student create their own industry ready original music project writing and composition training, supported by
unparalleled artist development, production skills,
which can have a recorded or live focus.
live performance and networking opportunities, this
course is the launch pad for the next generation
QUALIFICATION
KEY POINTS of talent.
• Focuses on developing songwriting skill and creativity
• Develops your entrepreneurship and business skills, helping you to exploit
Certificate of Higher Education in Songwriting
Key Points
your creative ability LOCATION
Institute of Contemporary Music Performance London
• Focuses on developing key songwriting skills
and creativity
• Develops transferable skills that prepare students for the real world, including • Develops business skills, helping graduates understand
self-management, career planning and interpersonal skills how to exploit their creative ability
START DATES
• Offers opportunities to undertake industry work experience • Develops transferable skills that prepare students
September Annually
for the real world
• Delivered in London by the UK’s leading teaching faculty, with unrivalled
• Develops the student’s ability to work on
professional credentials DURATION
collaborative projects
One Year Full Time (30 Weeks)
Students will be challenged to develop their skills as writers, both in their own right and in CLASS SIZE
Students have the opportunity to play and perform their
material on some of London’s leading live stages as well
the profession arena working to brief. They will be engaged in the analysis of both the wider Instrumental classes are typically 12 students per class.
as have their songs and demos reviewed by key industry
creative process and more specifically the craft of songwriting. Writing classes are typically 10 students per class.
players. They are taught by an expert faculty of producers,
Additionally, students will have opportunities to engage in work experience/internships Academic subject class sizes can vary depending upon
songwriters, composers, arrangers, marketeers, executives
the mode of delivery.
and will study promotion, marketing, social networking and finance, as well as develop and studio engineers in all the key aspects of both the
creative and business side of this fascinating sector.
personal skills, such as communication, self- management and motivation. They will ENTRY REQUIREMENTS
produce and workshop a significant personal portfolio of work over the duration of the • Applicants will typically have GCE /VCE A levels
This course is designed to lead directly into Level 5 of the
course and will be challenged to interact and work in a wide range of professional scenarios. equivalent to 120 UCAS points, the Institute BTEC
BA in Songwriting giving students a clear pathway should
level 3 Diploma MP profile or equivalent qualifications
Students will graduate with an industry standard demo show reel and/or a well-developed they decide to continue into further study.
in suitable subject areas.
artist project demonstrated by live showcase. • Applicants will usually be expected to possess three
GCSEs with grades A-C, including Maths and English
YEAR ONE
Language.
Study is arranged over 4 x 20 credit modules and 1 x 40
YEAR ONE YEAR TWO YEAR THREE • Applicants who do not have English as a first language
credit module which extend across two semesters from
Study is arranged over 4 x 20 credit modules and 1 x 40 Study is arranged over 4 x 20 credit modules and 1 x 40 Study is arranged over 3 x 40 credit modules which extend will need IELTS 6.0 with a minimum of 5.5 in each
September to May.
credit module which extend across two semesters from credit module which extend across two semesters from across two semesters from September to May. element (or an equivalent qualification).
September to May. September to May. • The Institute also welcomes applications from
Creative Songwriting
Creative Identity & Repertoire established practitioners who are keen to undertake
Lyric Writing, Solo Writing, Co-writing, Structure
Creative Songwriting Commercial Songwriting Unique Repertoire, Expanding Creative Skills, Creative study at the HE level but may not possess the required
Style & Content
Lyric Writing, Solo Writing, Co-writing, Industry Co-Writing, Artist Writing Project, Product Development qualifications. These students may be given credit for
Structure Style & Content The Writer Producer their prior study or experience.
Technical Skills For Songwriters
cert he
Individual A&R Project • All applicants will be expected to attend an
Digital Audio Recording, Demo Production, Keys,
Technical Skills For Songwriters Live Demonstration Showcase Workshop, Professional Production, Faculty audition and interview. This will assess their abilities
Acoustic Guitar
Digital Audio Recording, Demo Production, Showcase Workshop, Live Presentation Skills, Tutorial, Industry Mentorship Scheme and technical skills in generating new ideas, song
Keys, Acoustic Guitar Chart Writing Prep, Live Technology demonstration (at least one must be a live performance
The Performing Songwriter
Dissertation using live or recorded accompaniment), aural and
Showcase Workshop, Live Presentation Skills, Voice
The Performing Songwriter Entrepreneurship All students will attend lectures and supervision meetings music theory and the analysis of existing repertoire.
Showcase Workshop, Live Presentation Skills, Voice Marketing, Product Management to complete a dissertation project on a songwriting subject • Applicants must demonstrate an appropriate level
Introduction To Music Theory
that may or may not support their artist project. of original ideas and engagement with the subject
Music Theory, Aural Skills, Arrangement & Musical Analysis,
Introduction To Music Theory Recorded Demonstration matter in order to be eligible for entry onto the
Chart Writing, Rhythm Studies
Music Theory, Aural Skills, Arrangement & Musical Analysis, Studio Production, Voice Performance & Recording THE BA (HONS) AND CERT HE programme. See website for more details.
Chart Writing, Rhythm Studies Skills, Mixing are validated by the The Music Industry
songwriting courses
University of East London TIMING
Personal Management, Principles Of Music Business
The Music Industry Music Composition For Songwriters Two 15-week semesters (inc. exams),
Personal Management, Principles Of Music Business Writing Melodies, Composition & Instrumentation, +/- 16 hours/ week, 3-4 days/week.
Applied Keys , Creative Harmonic Construction (Keys),
Harmonic Construction on Guitar FEES & COST
Contact Admissions or see website for details
of course fees and funding.
73
MUSIC BUSINESS
COURSES

76
BA (Hons) DEGREE
77
CERT HE

music business courses

75

BA (Hons)
DEGREE
MUSIC BUSINESS
QUALIFICATION
Bachelor of Arts (Hons) in Music Business *
LOCATION
Institute of Contemporary Music Performance London
START DATES
September Annually
DURATION
Three Years Full Time
CLASS SIZE
Academic subject class sizes can vary depending
upon subject, content and the most effective mode
of delivery.
ENTRY REQUIREMENTS
• Applicants will typically have GCE/VCE A levels
equivalent to 200 UCAS points, Institute BTEC level 3
Diploma DM profile, Institute Higher Diploma BTEC level
5 pass profile or equivalent qualifications in suitable
subject areas.
ba (hons) degree
• Applicants will usually be expected to possess three
GCSEs with grades A-C, including Maths and English
Language.
• Applicants who do not have English as a first language
will need IELTS 6.0 with a minimum of 5.5 in each element
(or an equivalent qualification).
• All applicants will be expected to attend an audition
and interview which will assess their abilities in
performance, aural perception, harmony and theory,
instrument skills, sight reading and creativity.
• The Institute also welcomes applications from established
practitioners who are keen to undertake study at the HE
level but may not possess the required qualifications.
Students may be admitted through Accreditation of
music business courses
Experiential Learning (AEL) or Accreditation of Certificated
Learning (ACL) processes.
TIMING
Two 15-week semesters (inc. exams) per year,
+/- 12 hours/week, 3 days/week.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
*Subject To Validation
76
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course prospectus 2012-13 course prospectus 2012-13
Students who complete this programme will have acquired the skills and expertise
CERT HE
YEAR TWO Continued; This one year programme aims to provide the student
with the key skills and understanding of the complex
necessary to manage the complex legal, financial, and ethical issues that face any
MUSIC
legal, financial, and ethical issues that face any
individual seeking to capitalise on the creative work and output of artists in today’s social networking and operating in the digital domain are individual seeking to capitalise on the creative work
rapidly evolving music industry. explored deploying case studies and reviews of current and output of artists in today’s rapidly evolving music
Consequently, it would suit students who, whilst they may not necessarily be
working practises and their evolution.
BUSINESS industry. Consequently, it would suit students who,
whilst they may not necessarily be instrumentalists
Music Contracts and the Law themselves, demonstrate a passion for music and are
instrumentalists themselves, demonstrate a passion for music and are committed
Students will develop a comprehensive understanding of committed to developing a sustainable career as a
to developing a sustainable career as a music business professional. contracts as they pertain to music recording, publishing, music business professional.
QUALIFICATION
agency and management. The module will study the
KEY POINTS
• Designed and delivered by leading music industry professionals
development and history of music contracts across these
related fields, referring to landmark cases and precedent
Certificate of Higher Education in Music Business*
Key Points
• Broad based course provides a core understanding and
• offers a unique opportunity to learn and apply management principles and business The Future of Intellectual Property
LOCATION
Institute of Contemporary Music Performance London
overview of all key aspects of the of the music industry,
including finance, marketing, promotion and legal.
skills through working alongside talented artists and composers. Provides students with This module will examine in depth the complex legal • Provides students with broad based business skills
broad based business and entrepreneurial skills allowing them to either enter industry contractual and moral issues surrounding copyright and allowing them to either enter industry directly, establish
START DATES
directly, establish their own businesses or proceed to further study. ownership of IP, both within the traditional and the new their own businesses or proceed to further study
September Annually
business models. The module will also explore the many • Develops transferable skills that prepare students
• Develops transferable skills that prepare students for the real world, including
ways that IP is currently being exploited in the digital for the real world
self-management, career planning and interpersonal skills environment, for example through synchronisation and
DURATION
• Delivered in London by the UK’s leading teaching faculty,
One Year Full Time (30 Weeks)
• Offers opportunities to undertake industry work experience. licensing, and more importantly discuss the many new with unrivalled professional credentials
opportunities for the commercialisation of artistic work
CLASS SIZE
that will become available in the future
Students will study in detail, the concepts and principles that relate to all aspects of Academic subject class sizes can vary depending
YEAR ONE
branding, financial management, marketing, PR and communications, contract law and upon the mode of delivery.
The first period of study is arranged over six
strategic planning within the music business. As an integral part of the programme, students YEAR THREE 20 credit modules that extend across two semesters.
ENTRY REQUIREMENTS
will also gain valuable practical experience within the industry giving them the opportunity The third period of study is arranged over two 40 These modules are:
• Applicants will typically have GCE /VCE A levels
to and apply their knowledge and contextualise their learning. credit and two 20 credit modules that extend across
equivalent to 120 UCAS points, Institute BTEC level
two semesters. These modules are: SEMESTER 1
3 Diploma MP profile, Institute Higher Diploma BTEC
Introduction to the Music Industry
Throughout the course, students will be required to produce a significant portfolio Management in the Creative Sector
level 5 pass profile or equivalent qualifications in
Students will develop an awareness of the various facets of
suitable subject areas.
of work and will be challenged to function across a wide range of professional scenarios. Students will be introduced to the universal principles the music industry and their inter relationship providing a
• Applicants will usually be expected to possess three
of sound management and study how they pertain to the thorough grounding in the frameworks of recorded and live
GCSEs with grades A-C, including Maths and English
wider creative and music sector. music and publishing
YEAR ONE Artist Development and Branding Language.
The first period of study is arranged over six Students will build on their knowledge of the AD process • Applicants who do not have English as a first language
Strategic Business Management Principles of Artist Development
20 credit modules that extend across two semesters. to develop an understanding of how the principles of will need IELTS 6.0 with a minimum of 5.5 in each
in the Entertainment Industry Students will discover the fundamental principles of how
These modules are: branding can be effectively implemented in order to element (or an equivalent qualification).
Students will develop the expertise and discipline to design the music artist can be developed; exploring the artist/
position the artist as a brand • All applicants will be expected to submit a formal
and implement sound and effective strategies for the manager relationship and the A&R process from creation
SEMESTER 1 case study (1000 words) and to attend an interview
realisation of business goals in the entertainment industry. through to realisation
Introduction to the Music Industry Principles of Music Promotion and Marketing that will assess their suitability of their abilities for
Students will develop an awareness of the various facets Students will learn how to undertake effective market study on the programme.
Entrepreneurship and the New Principles of Music Business and Finance
of the music industry and their inter relationship providing analysis and deploy valuable marketing and promotional • The Institute also welcomes applications from
Routes to Market After learning some basic economic and management
a thorough grounding in the frameworks of recorded and established practitioners who are keen to undertake
Students will discover what it means to be an principles, students will discover how they pertain to
cert he
live music and publishing study at the HE level but may not possess the required
entrepreneur in today’s music industry. Starting with financial planning and diligent business planning within
YEAR TWO qualifications. These students may be given credit for
the role of the entrepreneur, subjects such as setting the music and entertainment sector
Principles of Artist Development The second period of study is arranged over one 40 their prior study or experience.
up new ventures, identifying sources of funding and
Students will discover the fundamental principles of credit and four 20 credit modules that extend across resourcing are all presented. SEMESTER 2
how the music artist can be developed; exploring the two semesters. These modules are: TIMING
The Evolving Music Industry
artist/manager relationship and the A&R process from Two 15-week semesters (inc. exams),
Dissertation Students will develop an understanding of today’s rapidly
creation through to realisation The Modern Live Industry +/- 12 hours/week, 3 days/week.
Here, a substantial piece of written work will be evolving music industry; new business models and changes
This module introduces the principles and practices of produced, based on independent research and the in practise which have been brought about by the impact
Principles of Music Business and Finance live music including festivals and tours as well as other key FEES & COST
synthesis of original ideas. Specific subject matter will of the internet and new technologies
After learning some basic economic and management areas such as merchandising and sponsorship. Contact Admissions or see website for details
be developed with, and approved by, an assigned
of course fees and funding.
music business courses
principles, students will discover how they pertain to supervisor who will then liaise with the student Artist Development and Branding
financial planning and diligent business planning within Creative Event Management *Subject To Validation
throughout the research and writing process. Students will build on their knowledge of the AD process
the music and entertainment sector An opportunity to explore the expanding and diverse range to develop an understanding of how the principles of
of music based events in the current and future markets, branding can be effectively implemented in order to
SEMESTER 2 including the impact of technology on marketing and position the artist as a brand   
The Evolving Music Industry promotion.
Students will develop an understanding of today’s rapidly Principles of Music Promotion and Marketing
evolving music industry; new business models and changes Digital Media in the Creative Industries Students will learn how to undertake effective market
in practise which have been brought about by the impact of The impact of technology on the music industry has been analysis and deploy valuable marketing and promotional
the internet and new technologies profound and in this module, concepts such as e commerce, strategies based on sound principles, detailed planning
and case studies
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 the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13

MASTERS
POPULAR MUSIC
PERFORMANCE
Designed and built using the wealth of experience that, over the last QUALIFICATION
Master of Music in Popular Music Performance (MMus)
25 years, has ensured the Institute has been consistently recognised as
the leading provider of contemporary music education in the UK, LOCATION
the MMus combines three key areas of study: Institute of Contemporary Music Performance London

Performance Studies Students are challenged to develop the highest levels
of individual and ensemble musicianship on their instrument or voice. One-to-one
instrumental or vocal tuition is provided to all students with one or more expert performer/
teachers from among the Institute’s faculty or beyond; tutors are selected by students,
in consultation with the Programme Leader. Students are expected to rehearse and
perform in various ensembles to exacting standards in a range of environments.
Academic & Research Skills Students each undertake a significant,
supervised research project in combination with preparing for and delivering a substantial
end-of-year recital. This Performance Research Project comprises one third of the
programme of study, and provides an opportunity for students to explore an area of music
in depth, making a personal statement in performance and research. Students are
encouraged to adopt innovative methodological paradigms in arts research, as well
as using more traditional approaches.
Leadership Students are encouraged and expected to develop skills of leadership
as they direct ensembles and work with peers to realise collaborative performance
masters
START DATES
September Annually
DURATION
One Year Full Time or Two Years Part Time
ENTRY REQUIREMENTS
• A good honours degree in music and/or relevant
professional experience.
• Application is a two-stage process. Interested parties
initially submit a portfolio of written and/or recorded work
with their application form; candidates who are successful
at this stage are then invited to an audition and interview.
• The Institute welcomes applications from established
practitioners who are keen to undertake study at
postgraduate level but do not possess an undergraduate
qualification; due consideration will be given to prior study
and/or experience.
• Applicants who do not have English as a first language
will need IELTS 6.5 with a minimum of 6.0 in each element
(or an equivalent qualification).

and recording projects.
The MMus is a taught postgraduate degree. On-site learning activities take place in the
Institute’s state-of-the-art facility under the guidance of our world-class faculty. The
MMus programme’s design reflects the Institute’s commitment to educating musicians
of the highest standard, and is an ideal programme for students who share that that vision.
masters
TIMING
• Classes, rehearsals and tutorials are organised into one
day per week, or the equivalent number of hours over two
or three days.
• Considerable effort is expected of students working in
their own time on all aspects of the programme, including
instrumental practice, reading, sourcing literature, and

popular music performance

conducting original research.

FEES & COST

Contact Admissions or see website for details
of course fees and funding.
masters courses

MASTERS in Popular
Music Performance
is validated by the
University of East London

78 79
 PART-TIME & SPECIALIST
COURSES

82
ELECTRIC GUITAR
82
ACOUSTIC GUITAR
83
FURTHER ADVENTURES
IN METAL GUITAR
METAL RHYTHMS
84
BASS
84
DRUMS
85
VOCALS
86
MUSIC BUSINESS
86
SONGWRITING
87
FURTHER ADVENTURES
IN SONGWRITING
88
SUMMER SCHOOLS
GUITAR, BASS, DRUM & VOCAL
88
SONGWRITING

part-time & specialist courses

89
GUITARTECH & BASSTECH
90
LIVE PERFORMANCE WORKSHOPS
90
MUSIC PRODUCTION
91
TEACHER TRAINING

80 81
 www.icmp.co.uk
ELECTRIC GUITAR
LEVELS I-IV
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required although you must possess the skills that enable
you to benefit from study within a group environment. Following discussion with staff
students are allocated to one of four levels of class.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
Let’s face it - playing electric guitar is not only cool, but also
a creative, rewarding and relaxing way to spend some spare
time. And while learning may seem a daunting task, our
electric guitar | acoustic guitar
structured yet informal classes will soon have you up and
running. We have been teaching guitarists for twenty five
years so we do know what we are talking about!
On an Institute course, even if you are an absolute beginner, before
you know it you’ll be jamming with fellow classmates and playing
with confidence. Class sizes are generally quite small so you can
be assured of lots of attention, and of course you will be learning
with like-minded people who share the same goals as you. If you
are already an experienced player, then choosing a more advanced
course will help you brush up those chops and move your playing
to the next level.
The electric guitar part-time pathway (Levels I to IV) is a fun,
engaging and relaxing way to learn to play guitar and build your
confidence whilst experiencing the Institute’s great teaching and
part-time & specialist courses
facilities. These structured courses only take a couple of hours per
week, and so long as you put in a little of your own practice, you
will be amazed at the progress you can make in a short time.
Each level contains a perfect balance between technique,
theory and the building of practical skills, all delivered in a
supportive and encouraging environment. Simply put, this is the
most enjoyable way either to learn from scratch or to take your
playing to the next level.
82
the institute of contemporary music performance
course prospectus 2012-13
ACOUSTIC GUITAR
LEVELS I-IV
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required although you must possess the skills that enable
you to benefit from study within a group environment. Following discussion with staff
students are allocated to one of four levels of class.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
Just bought an acoustic and need some help on what
to do next, or have you hit a wall on the instrument and
want to get out of that rut?
Each level of our acoustic guitar course is fun, engaging and
musically rewarding, and taught by our experienced tutors who
understand the skills and knowledge required for mastering the
acoustic guitar.
The courses are organized into 4 levels, for beginner to more
advanced players, only take a couple of hours per week and are
designed to progress and build from one level to the next, so that
skills and repertoire can be built over a longer period of time.
If you are an absolute beginner, these courses will take you
on a journey through the many facets of acoustic guitar playing,
from learning to strum simple pop songs, through gentle folk and
onto more complex contemporary finger style. If you’re a more
advanced player, why not take a Level III or Level IV course to learn
new styles, consolidate your skill on the instrument and develop
repertoire?
Whatever your level or goals, these courses offer a great way
into the wonderful world of acoustic guitar.
the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13
FURTHER ADVENTURES
IN METAL GUITAR
METAL RHYTHMS
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required although it is recommended that students
are at Institute part time Level II or above on guitar.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
This is a course for those who want to play METAL. Join fellow
metal lovers on a journey to the dark side in the first of our
further adventures in metal guitar
‘Further Adventures’ series, where we take you deeper into
the genres you love, this time with your
trusted axe by your side.
This course will take you through the various different stages in
the development of the Metal genre, starting where it all began,
with the British birth of CLASSIC METAL in the early 70s. You will
be studying the seismic riffs and intricate techniques used by metal
gods such as Black Sabbath, Judas Priest and Iron Maiden.
You will then take a trip to the west coast of America and the
THRASH and SPEED METAL of metal monoliths such as Metallica,
Slayer and Megadeth before diving into the NU METAL sub-genres
made popular in the 1990s, including legendary acts such as Faith
No More and Rage Against The Machine. You will also look at
MODERN METAL, featuring material from current acts such as
Killswitch Engage and Bullet for My Valentine. You will also study
part-time & specialist courses
many other examples of this far reaching genre.
Course Outline
• Techniques: Legato techniques e.g. Hammer ons/pull offs, dynamics e.g.
palm muting, volume control, rhythmic techniques e.g. gallop/reverse gallop/tremolo
picking, various tunings e.g. Drop D, D standard etc.
• Song Structure: Components of a song, classic forms
• Harmony & Theory: Pentatonic minor scales, blues, natural/ harmonic minor,
melodic minor, chromatic, diminished.
• Stylistic Awareness: History of the genre and development of tones and technical
and harmonic approaches used.
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 www.icmp.co.uk
BASS
LEVELS I-IV
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required although you must possess the skills that enable
you to benefit from study within a group environment. Following discussion with staff
students are allocated to one of four levels of class.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
Playing bass guitar is a creative and rewarding way to spend
your spare time. While learning may seem a daunting task,
our structured yet informal classes will soon have you up
and running. We have been teaching bassists for twenty five
years so we do know what we are talking about!
On an Institute course, even if you are an absolute beginner,
before you know it you’ll be jamming with fellow classmates and
playing with confidence. Class sizes are generally quite small so
you can be assured of lots of attention, and of course you will be
bass | drums
learning with like-minded people who share the same goals as you.
And if you are already an experienced player, then choosing a more
advanced course will help you brush up those chops and move your
playing to the next level.
The bass guitar part-time pathway (Levels I to IV) is a fun,
engaging and relaxing way to learn to play bass and build your
confidence whilst experiencing the Institute’s great teaching and
facilities. These structured courses only take a couple of hours per
part-time & specialist courses
week, and so long as you put in a little of your own practice, you will
be amazed at the progress you can make in a short time.
Each level contains a perfect balance between technique,
theory and the building of practical skills, all delivered in a
supportive and encouraging environment. Simply put, this is the
most enjoyable way either to learn from scratch or to take your
playing to the next level.
84
the institute of contemporary music performance
course prospectus 2012-13
DRUMS
LEVELS I-IV
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required although you must possess the skills that enable
you to benefit from study within a group environment. Following discussion with staff
students are allocated to one of four levels of class.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
On the part-time Institute drum course, even if you are
an absolute beginner, before you know it you’ll be jamming
with fellow classmates and playing with confidence. Class
sizes are generally quite small so you can be assured of lots
of attention, and of course you will be learning with like-
minded people who share the same goals as you.
While learning may seem a daunting task, our structured yet
informal classes will soon have you up and running. We have been
teaching drummers for twenty five years so we do know what we
are talking about! If you are already an experienced player, then
choosing a more advanced course will help you brush up those
chops and move your drumming to the next level.
The drums part-time pathway (Levels I to IV) is a fun, engaging
and relaxing way to learn to play drums and build your confidence
whilst experiencing the Institute’s great teaching and facilities.
These structured courses only take a couple of hours per week,
and so long as you put in a little of your own practice, you will be
amazed at the progress you can make in a short time.
Each level contains a perfect balance between technique,
theory and the building of practical skills, all delivered in a
supportive and encouraging environment. Simply put, this is the
most enjoyable way either to learn from scratch or to take your
drumming to the next level.
the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13
VOCALS
LEVELS I-IV
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required although you must possess the skills that enable
you to benefit from study within a group environment. Following discussion with staff
students are allocated to one of four levels of class.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
Learning to sing is a creative, rewarding and relaxing
way to spend some spare time. And while it may sometimes
seem like a daunting task, our structured yet informal
classes will soon have you singing confidently and in-tune.
Our professional teaching faculty has been teaching
singers and vocalists for twenty five years so we do
know what we are talking about!
On an Institute course, even if you are an absolute beginner,
before you know it you’ll be singing confidently in a range of styles.
Class sizes are generally quite small so you can be assured of lots
of attention, and of course you will be learning with like-minded
vocals
people who share the same goals as you. And if you are already
an experienced singer and performer, then choosing a more
advanced course will help you brush up those vocal skills and
develop your repertoire.
The vocal part-time pathway (levels I to IV) is a fun, engaging
and relaxing way to learn to sing and perform on stage and build
part-time & specialist courses
your confidence whilst experiencing the Institute’s great teaching
and facilities. These structured courses only take a couple of hours
per week, and so long as you put in a little of your own practice,
you will be amazed at the progress you can make in a short time.
Each level contains a perfect balance between technique,
theory and the building of practical skills, all delivered in a
supportive and encouraging environment. Simply put, this is the
most enjoyable way either to learn from scratch or to take your
singing to the next level.
85
 www.icmp.co.uk
MUSIC BUSINESS
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required although you must possess the skills that enable
you to benefit from study within a group environment.
FEES & COST
Contact Admissions or see website for details
of course fees and funding.
The music industry is a constantly changing landscape with
the continual development of new media technologies
and delivery mechanisms. It is more vital than ever that
musicians understand the business that they are entering,
music business | Songwriting
and this course is aimed specifically at equipping aspiring
professionals with the skills they need to survive.
On the Institute’s Music Business course, you will learn about all
of the key areas of the industry, who the key players are and how
they interrelate. You will be given advice on how to make a quality
demo, and how to make sure it gets heard, and examine the role
of the manager. You will study how to record, promote and publish
your own music, as well as receive vital information on how major
and indie record companies operate and the kinds of deals they
are looking to make.
You will understand how to set up your own record label
and put out your own releases; how the live industry operates;
how to protect your work through copyright and the use of
part-time & specialist courses
collection societies. You will explore music publishing and how
to make money promoting your music on the road. And if all that
fails, you’ll even be given advice of how to get a job in the industry.
Learning to play your instrument is just the beginning, and this
course can help you create a long and successful career.
86
the institute of contemporary music performance
course prospectus 2012-13
SONGWRITING
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required but you should broadly be of intermediate standard.
You must possess the skills that enable you to benefit from study within a group
environment. This course is taught from a general musical standpoint, but you must
be able to play either guitar or piano to realise the concepts under discussion.
FEES & COST
Contact Admissions or see website for details of course fees and funding.
On the part-time Institute drum course, even if you are an
absolute beginner, before you know it you’ll be jamming
with fellow classmates and playing with confidence. Class
sizes are generally quite small so you can be assured of lots
of attention, and of course you will be learning with like-
minded people who share the same goals as you.
If you have always wanted to become involved in the creative
process, but not known where to start, then this is the course
for you. Designed for both songwriters and singer/songwriters,
the course starts from first principles, introducing topics such as
lyric writing, song form and structure, and harmony and theory.
Subjects are always discussed and illuminated using common
popular music examples, which stops class becoming a dry study
of theory, rather a real set of skills the songwriter can employ.
This very hands-on aspect of the course is further reinforced
through weekly set assignments where you will learn to apply
these techniques to your own work. This will not only ensure the
skills are practically applied in your work, but that as the course
progresses you will begin to build up a repertoire of original songs.
Course Outline
• Fundamental harmony and theory
• Simple chord patterns, relative minor, three chord trick
• Lyrics: Basic rhyming schemes, narrative voice, telling a story
• Writing a melody
• Song Structure: Components of a song, classic forms
• Stylistic awareness
the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13
FURTHER ADVENTURES
IN SONGWRITING
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
2 hours/week, weekday evening
ENTRY REQUIREMENTS
No assessment/audition is required but you should broadly be of intermediate standard.
You must possess the skills that enable you to benefit from study within a group
environment. This course is taught from a general musical standpoint, but you must
be able to play either guitar or piano to realise the concepts under discussion.
FEES & COST
Contact Admissions or see website for details of course fees and funding.
Contemporary popular music is inextricably linked with
songwriting and this course further expands the skills of
further adventures in songwriting
the songwriter.
Building upon the foundation of skills taught in the Songwriting
course this course studies in depth many of the advanced
elements of songwriting, such as lyrics and content, song form
and collaborative partnerships.
The subject areas are illustrated using many examples of
classic and contemporary songs by a variety of songwriters,
and the tutor encourages group discussion and exploration of
the topics. This very hands-on aspect of the course is further
reinforced through weekly set assignments where you will learn
to apply these techniques to your own work. The first five weeks
of the course are based on co-writing assignments where you will
work with another group member.This will not only ensure the
skills are practically applied in your work, but that through the
course you will build up a repertoire of original songs.
part-time & specialist courses
In week 10 the group will perform material from the course
at an informal gig either within the college or out at an open mic
event. You can invite your friends to this and/or use it as an informal
showcase for your work. The tutor will support you through every
step of this process and can also accompany you if necessary.
Course Outline
• Harmony & Theory; Complex chord sequences, melodic development
• Lyrics: Narrative voice, story telling and content
• Song Structure: Exploring popular forms, how and when to try new structures
• Stylistic Awareness; Perfect pop, 60’s pop, singer songwriter
87
 www.icmp.co.uk the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13

SUMMER SCHOOLS SUMMER SCHOOLS GUITARTECH

GUITAR, BASS, SONGWRITING & BASSTECH
DRUM & VOCAL
LOCATION LOCATION LOCATION
Institute of Contemporary Music Performance London Institute of Contemporary Music Performance London Institute of Contemporary Music Performance London

START DATES START DATES START DATES

August August October, January, April & July

DURATION DURATION DURATION

One week One week One day

Class Time Class Time Class Time

30 hours of class tuition and mentored jam sessions 30 hours of class tuition and mentored jam sessions 3 hours

ENTRY REQUIREMENTS ENTRY REQUIREMENTS ENTRY REQUIREMENTS

No assessment/audition is required but you should broadly be of improver/ No assessment/audition is required but you should broadly be of improver/ There are no entry requirements.
intermediate standard and you must possess the skills that enable you to benefit intermediate standard and you must possess the skills that enable you to benefit
summer schools: guitar, bass, drum, vocal & songwriting

from study within a group environment. from study within a group environment. FEES & COST
Contact Admissions or see website for details
FEES & COST FEES & COST of course fees and funding.
Contact Admissions or see website for details Contact Admissions or see website for details
of course fees and funding. of course fees and funding.

The summer schools for guitar, bass, drum and vocalists
are an ideal way to kick your playing and performing to a
new level. For five days forget about everything else except
developing your instrumental or vocal skills and immersing
yourself in making music.
The course covers the key technical and stylistic areas for
The summer songwriting course is the ideal opportunity
for students to immerse themselves in the art of creative
songwriting while developing their own creative voice
and perfecting the arrangement and performance of
their material.
The course covers all key aspects of the writing process, including
Having saved your hard earned cash to buy your dream
instrument it is vital that you also learn how to keep it in top
condition and prevent any major problems from developing.
Both of these instrumentally specific tech sessions, one for guitar
and one for bass, will help guitarists and bassists understand the
need to keep instruments clean, well set-up and ready for action,

guitartech & basstech

development, encouraging students to widen their skills and
understanding. You will also discuss the new opportunities
presented by the changing music business and how best to
promote and market your own work. In addition, the live
performance workshops and daily jamming sessions give you
plenty of opportunity to put all of the theory into practice
before the week culminates with a gig.
Course Outline
• Technical development and skills
• Stylistic study and awareness
• Music business and marketing
part-time & specialist courses
song structure, form, content, and examines writing within avoid some of the more common problems and, more importantly,
different musical genres. Through a series of focused workshops, spot the more serious issues early and how then to remedy them.
delivered, discussed and critiqued by the Institute’s expert faculty All the secrets of the top techs!
of leading UK songwriters and producers, your new ideas will be
drawn into specific writing briefs. You will also discuss the new Course Outline
opportunities presented by the changing music business and • String changing and cleaning (hard tail, standard and locking trem)
• How to treat the common problems
how best to promote and market your own work.
• Routine maintenance to prevent problems
In addition, every day you will rehearse with an Institute • Adjusting intonation, action and neck relief
house band, honing your songs and stage presentation skills • Basic electrical maintenance
for a performance on the Friday. • What to do for more serious problems

part-time & specialist courses

• Assorted masterclasses Course Outline
• Live performance workshops and jam sessions, culminating in a gig • Solo writing
• Writing songs to a brief
• Vocal technique
• Understanding song style, structure and content
• An introduction to music business and marketing
• Band workshops
• Final performance

88 89
 www.icmp.co.uk
LIVE PERFORMANCE
WORKSHOPS
LOCATION
Institute of Contemporary Music Performance London
START DATES
October, January, April & July
DURATION
10 weeks, part-time
Class Time
3 hours/week (2 hour LPW plus 1 hour prep.), Saturday 12pm – 3pm
ENTRY REQUIREMENTS
No assessment/audition is required although you must possess the skills that enable
you to benefit from study within a group environment. Following discussion with staff
students are allocated to one of four levels of class.
FEES & COST
Contact Admissions or see website for details
live performance workshops | music production
of course fees and funding.
Whilst it’s great fun to practice at home, one of the main
reasons for learning to play or sing is so you can get in a band
and perform in public. These live performance classes, for
guitarists, bassists, drummers and vocalists, are designed
to help you get on stage and interact with other musicians
with confidence.
The objective of these live workshops is to help the student
develop the skills required for live performance and to encourage
communication and understanding between band members. This
will include appropriate use of dynamics, articulation and timbre,
as well as correct pitch, rhythm, timing and groove. The tutors
provide verbal feedback during the class to enable students to
continuously develop and improve their performance skills.
Songs are chosen with each instrument in mind and reflect
the key artists, grooves and tempos. Whether you are a guitarist,
bassist, drummer or vocalist, each song to be performed will
contain both a musical challenge as well as becoming a valuable
part-time & specialist courses
addition to your repertoire. Each week you will perform a different
tune within a real band, putting all of that hard work into practice.
In addition to the two hour workshop, a one hour ‘prep class’ will
prepare you to perform the following week’s tune, giving you
plenty of time to work on it. Each 10-week pathway is stylistically
based enabling you to study, over a prolonged period, a range of
musical styles, including blues, classic rock and funk.
The tunes you will perform are all of intermediate standard
and by vintage and contemporary artists alike. The thing they
all have in common is that they are great fun to play and sing, in
addition to being great vehicles for learning.
90
the institute of contemporary music performance the institute of contemporary music performance www.icmp.co.uk
course prospectus 2012-13 course prospectus 2012-13
Music Production TEACHER TRAINING
LOCATION Course Name Many musicians and practitioners
Institute of Contemporary Music Performance London Institute PTLLS
wish to be actively engaged with
START DATES Qualification
teaching music, for vocational reasons
October, January, April & July Level 4 Award in Preparing to Teach in the as well as in order to enhance earnings.
Lifelong Learning Sector However, the teaching of music is
DURATION becoming increasingly professionalised
10 weeks, part-time Start Dates
in the UK and it is now a government
July, January
Class Time requirement that teachers, tutors and
2 hours/week, weekday evening DURATION trainers are suitable qualified in the
10 weeks, part-time lifelong learning sector.
ENTRY REQUIREMENTS
No assessment/audition is required but please be aware that the course assumes CLASS TIME The Institute PTLLS programme is the first step towards
an intermediate level of general computer skills. 3 hours per week, one evening per week gaining QTLS, is ideal for those who do not currently hold
a teaching qualification and has been specially designed
FEES & COST ENTRY REQUIREMENTS for the contemporary music education sector. This unique
Contact Admissions or see website for details • All entrants must have the personal and intellectual pathway has embedded the learning outcomes of the
of course fees and funding. qualities to acquire the knowledge, understanding and PTLLS qualification within the context of contemporary
skills needed to gain this award. They should be able music education. Learners will gain knowledge and
to communicate clearly and accurately in spoken and understanding of the teacher’s role and approaches to
written standard English. teaching and learning, plan learning sessions, deliver
Ever wondered how to get your original songs and music • All entrants will have to complete a short interview/ ensemble classes and manage learning within this
recorded and uploaded onto the web, without spending IAG process and would normally be required to hold specialist environment.
relevant vocational and/or academic qualifications at The Institute is an approved EDI centre and the course
a fortune on software, hardware, studio time or experts?
least one level above those of their learners is delivered over in ten 3-hour evening classes, delivered
weekly, and culminating in micro-teaching sessions and
The Institute’s Music Production course is aimed at ‘bedroom’ FEES & COST seminars.
producers, singer/ songwriters and composers who are looking Contact Admissions or see website for details The achievement of the Level 4 Award in Preparing
of course fees and funding.
to learn the basics of recording their material. Expert tutors are to Teach in the Lifelong Learning Sector will confirm that
learners have shown that they have a good understanding
ready to demystify the technical side of recording and producing,
of the essential aspects of the teacher/trainer role, can
using the Institute’s state of the art facilities and equipment to
teacher training
organise and manage effective learning and have developed
demonstrate how easy and cheap it can be to produce high quality professionally through on-going reflection and evaluation.
recordings.
The course is built around creating a new song or musical Course Outline
On completion of four units, learners will have
piece from scratch and getting it ready to burn on a CD or upload
demonstrated that they are able to:
to the web by the end of the course. Each class will focus on one
key building block of the song or musical material, for example, • Understand teachers roles, responsibilities
creating a basic drum and key pattern, then recording vocals and and relationships in lifelong learning
• Understand inclusive learning and teaching
other instruments on top of these patterns. Additionally, the
in lifelong learning
classes will contain ‘show and tell’ tutorials on how to do each • Use inclusive learning and teaching and teaching
part-time & specialist courses
section in Logic followed by class practice. approaches in lifelong learning
NB: This course is taught using Apple Mac computers. • Understand principles of assessment
in lifelong learning
Course Outline
• Buying advice What software, hardware and associated gear will you need?
• How to build and arrange a song
• How to program, using MIDI and samples in Logic Studio
• How to record vocals and guitar/bass in a non-studio environment (home recording)
• The art and practice of mixing
• What formats are needed and how to upload to Soundcloud.com and other
internet channels
91
TEACHING FACULTY

94
GUITAR
96
BASS
97
DRUM
98
VOCAL
100
SONGWRITING
101
SPECIALIST
103
MUSIC BUSINESS
105
VISITING

teaching faculty
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 GUITAR
FACULTY
Steve Smyth
A veteran of the metal music scene, a recognized,
accomplished teacher and former columnist for Guitar
World Magazine, Steve achieved legendary status through
long term touring, songwriting, and recorded work with
acts including Testament, Nevermore, Dragonlord, and
Vicious Rumors; perhaps most notably as co-author of
several songs from the critically acclaimed Nevermore
album This Godless Endeavor.
guitar
Lee Hodgson
teaching faculty
Lee has toured with No.1 chart act Odyssey and has
jammed with Stevie Wonder’s Wonderlove. He has played
thousands of gigs and festivals at prime UK venues such as
Wembley Arena and the Royal Albert Hall. Lee is a writer
and interviewer for iGuitar, and is an erstwhile transcriber
and columnist for Guitar Techniques and Guitarist
Magazine. He has authored a book, Hot Country, and
written chapters in various modern titles, plus grade
pieces validated by Trinity College of Music.
94
Dario Cortese
Dario has over 18 years experience as a guitarist;
teaching in highly prestigious establishments, recording
TV ads, demos & album tracks and performing live
alongside world-class artists on TV & Radio shows. He
has worked with Pete Vettese (Annie Lennox, Bee Gees,
Jeff Beck) and Ruce Bouton (George Strait, Garth Brooks).
Dario writes for Guitar Techniques and Steve Trovato’s
Chameleon Music and is a proud endorser of Ernie Ball
MusicMan and Timberline.
Charlie Griffiths
Since graduating from the Institute, Charlie has worked
in a variety of professional situations including radio,
television, numerous sessions and hundreds of gigs.
Charlie’s CV includes performing with a diversity of acts
ranging from Gareth Gates to Mattias Eklundh to members
of Slayer. Charlie is also a contributor for Total Guitar and
Guitar Techniques magazines, interviewing the world’s
most renowned rock players including: Yngwie Malmsteen,
John Petrucci, Joe Satriani, Steve Vai and Bumblefoot.
Barry Langton
Barry has played guitar for over twenty five years. A
seasoned professional, he has worked with numerous
recording artists around the world and is experienced in
many aspects of music performance, from TV, through
to theatre, studio and onto the stage. Barry specialises
in teaching jazz improvisation, sight reading and has
developed the harmony and theory curriculum.
Iain Scott Head of Guitar
A professional guitarist & teacher for over 25 years,
Iain played with chart topping artists in the 70’s before
relocating to L.A. to teach at the Guitar Institute of
Technology before returning to London to join the
Institute’s teaching staff. Iain has worked with Brian Wilson
and L.A. based band Afterburner with Frank Gambale.
Iain has been a regular contributor to many guitar
magazines, and wrote ‘Electric Blues Guitar’.
Martin Goulding
Since graduating from G.I.T. Martin has become a busy
player and teacher specialising in the post-Van Halen
era. He has worked on numerous sessions and has over
a decade’s worth of playing UK and European tours.
He teaches a range of subjects and techniques at the
Institute including Rock Performance Workshops. One of
London’s busiest private teachers, Martin has written for
international best seller ‘Guitar: A Complete Guide For The
Player’ and writes and produces for his band, Linear Sphere.
Andy Saphir
Andy has been gigging & teaching as a professional
guitarist for 14 years. One of the UK country scene’s top
players, he has experience from small club gigs to major
festivals. Andy has backed US singers, Michael Twitty and
Alexa Hamilton, toured with US fiddle player/singer John
Permenter (Clint Black) and has worked with bass player,
Dave Swift (Jools Holland).
Dave Birnie
David, a graduate of the Institute, has been playing guitar
for many years. As a member of the Counterfeit Stones
he has toured throughout the world and played on many
TV and radio shows. His guitar playing was featured in the
recent film ‘Stoned’ and has been heard on various TV
documentaries. David has a busy private teaching practice
and is a popular tutor amongst the students.
Max Milligan
Max started teaching at the Guitar Institute in 1991. He
has worked with Jerry Donahue (The Hellecasters), Big
Jim Sullivan, Clive Carroll, John Goldie and Gordon
Giltrap at the London College of Music. Max is always busy
composing incidental music for television and film and is a
prolific songwriter. He currently tours with acoustic Blues
artist Cherry Lee Mewis. Max holds the Licentiate of the
London College of Music Teachers Diploma and is also one
of the Registry of Guitar Tutors Senior Examiners.
Jay Stapley
Jay has worked with a variety of artists & producers
on projects ranging from films (‘Withnail and I’), to
international tours (Roger Waters, Mike Oldfield) and
albums (Suede, Scott Walker). Jay’s live work with Julian
Dawson took him to Germany, where he began working
with German superstar Westernhagen, with whom Jay has
toured & recorded ever since, becoming co-producer and
musical director. Jay is a demonstrator for Roland UK
and Roland International.
Chris Newland
Hailing from Massachusetts USA, Chris has over 20
years of experience. After attending Berkeley, he
immediately became a busy touring and recording player.
He has worked with Caribbean Soca/Calypso artist Arrow,
featuring on his massive hit ‘Hot Hot Hot’, as well as Sister
Sledge, Odyssey, Mick Ronson and Felix Pappalardi. More
recently he’s recorded several albums and performed
with songwriter Jeb Loy Nichols.
David Holmes
David has performed live and/or recorded with the
following artists: Shirley Bassey, Lady Gaga, The Bee Gees,
Pete Townshend, Jon Bon Jovi, Seal, Katherine Jenkins,
Ronan Keating, Annie Lennox, Vanessa Mae, Brian May,
Roger Taylor, Lionel Richie, Bonnie Tyler, Matt Willis,
Will Young, The Magic Numbers, Chaka Khan, Lemar,
Jamelia and Lemar. TV performances include: Prince’s
Trust Concert 2006, an Audience with Lionel Richie, Royal
Variety 2007/2009 and Electric Prom 2010.
Alessandro Puddu
As a guitarist Alessandro has more than 25 years experience
in many different styles including pop, rock, jazz and fusion
and as teacher has taught for several public and private
schools, often writing the guitar program. Alessandro has
played in international festivals and clubs with numerous
well known Italian artists such as Fiordaliso, Grazia di
Michele, Pino Martini, Massimo Ferra, Umberto Fiorentino.
Alessandro has studied with MickGodrick, Jim Kelly, Bucky
Pizzarelli, Bob Mintzer, Jeff Stout and Larry Monroe.
Ben Barritt
Ben is a busy London musician working as a guitarist,
singer, songwriter and arranger. Since graduating from
the Guildhall Ben has made a living performing and
teaching in a wide range of musical situations from soul
and rock to choral music, ballet and New Orleans jazz.
Ben has performed alongside Bobby McFerrin, Cleo Laine
and David McAlmont amongst others, and has featured
regularly on BBC Radio.
Phil Capone
Phil’s musical career spans over 25 years and includes
guitar teaching and session work for Arista Records, Phil
has worked with artists including Maggie Bell, Beverly
Martin, Jason Bonham, Wilko Johnson and Jim Mullen.
He’s also written seven top selling tuition books (including
the critically acclaimed Exploring Jazz Guitar) and is a
regular contributor to Total Guitar and Guitar Techniques
magazines. Phil is a regular performer on the London
music scene.
guitar
Tolis Zavalaris
teaching faculty
Tolis has worked with Pete Lockett, Laurence Cottle,
Neil Angilley, Benny D, John Robertson and David Crefield.
He has developed a unique style incorporating jazz, rock
and ethnic elements. In 2004 Tolis won the ‘London Guitar
Hero’ competition. He works with world famous violinist
Vanessa Mae and is a contributor for Guitar Techniques and
All Out Guitar Magazines. His has two solo albums ‘Sounds
from the Past’ (2007) and ‘II’ (2009).
95
 BASS
FACULTY
Phil Mann
Phil is a graduate from Jeff Berlin’s ‘Players School of
Music’ in Florida. Endorsed by Spector, he has appeared on
Dancing In the Street, Jesus Christ Superstar, Little Shop Of
Horrors, Anything Goes, Jack The Ripper, Grease and Fame.
Credits include; Alison Limerick, Andy Abraham and Lois
Winstone (daughter of British actor Ray). Phil is currently
performing with Tolis Zavaliaris whilst working on his bass
publication ‘Chord Tone Concepts’.
bass
Alan Mian
teaching faculty
Alan is one of the most in demand bassists on bass guitar
and double bass. He has played with Jocelyn Brown,
Alexander O’Neal, The Drifters, Wynton Marsalis, Barry
Harris, Ian Carr, Julian Joseph and Jim Mullen. He has
played in The Blues Brothers, The Rocky Horror Show, 42nd
Street and The Counterfeit Stones. Alan is currently playing
with the Amit Chatterjee Alliance, the Allstars Collective
and is musical director for Me’sha Bryan.
96
Terry Gregory
Programme Leader (HE) & Head of Bass
Terry’s talents as a bassist are evident by the company he
keeps. Much of the last ten years has been spent playing
with some of the country’s finest guitarists including jazz
supremo Martin Taylor and his award winning group Spirit
of D’jango, and also ex-Genesis member Steve Hackett. All
this of course means performing worldwide at the highest
level, on tour and in the studio.
Matt Martin
Matt is a freelance bassist working worldwide on arena
and theatre tours and entertaining troops in Iraq and
Afghanistan. Credits include; Westlife, Holly Valance
and Darren Hayes in venues such as the Royal Albert Hall,
Shepherd’s Bush Empire and supporting Shania Twain in
Hyde Park. TV appearances include TOTP, CD:UK, and T4.
Matt has worked on the ‘Blue Man Group’, ‘We Will Rock
You’ and ‘Joseph and the Amazing Technicolor Dreamcoat’.
John Currie
John has been playing bass for over thirty years and is
one of the most versatile and experienced freelance
bassists on the London music scene today. Over this
time he has worked with everyone from Alvin Stardust to
Guns’n’Roses guitarist Slash. He was a regular contributor
to Bassist magazine and has been writing Guitarist magazine
for twelve years. John specialises in advanced funk
and rock styles.
Paul Scott
Paul Scott has played bass guitar and double bass
professionally for over twenty years and has worked with
artists as diverse as Burt Bacharach, Jimmy Witherspoon
and Brian Johnson (AC/DC). Recently he has been touring
with the Glenn Miller UK Orchestra. Current sessions
include jazz, big band and gospel recordings as well as
soundtracks for the BBC He has also played in several
West End shows.
Nathan Williams
Nathan is an in demand multi-instrumentalist and
artist based in London. Having worked with the likes of
Gruff Rhys, Joss Stone, Huw Warren and Herbie Flowers,
Nathan is comfortable working in all contemporary genres
and performance situations on bass, drums, keys, guitar
and voice. He is an accomplished composer and arranger
of both commissioned work and original repertoire.
His unique approach to bass playing has earned him
endorsements with Cort and Ampeg.
Ben Jones
Ben Jones has been a gigging professional musician
for the last 4 years, specialising in pop/funk styles he has
appeared at many of London’s top venues including Matter
at the O2, Jazz Café in Camden, The Sheraton Hotel and in
front of over 30,000 people in London’s Trafalgar Square.
Ben has also appeared live on Sky TV with pop-ska band
‘Just For Kicks’ who were managed by Deluxxe
Management (Scouting For Girls).
DRUM
FACULTY
Toby Goodman
Toby is a drummer/percussionist who has established
a significant career in pop, theatre and the studio. His
percussion live credits include Robin Gibb, Paul Carrack,
Beverly Knight and The Faces, as well as Bill Wyman’s
all-star band ‘The Rhythm Kings’. Toby has also toured with
Kid Creole and the Coconuts. His recording credits include
the critically acclaimed Yeah You’s début, ‘Looking Through
You’, Xenomania and Yamit Mamo.
Mark Roberts
Mark is a highly respected drummer and educator, known
for seamlessly merging technical ability with musicality.
Credits include: Christophe Willem, D-Ream, Peter
Bruntnell, Babar Luck, DJ RAP, The Godfathers, Neneh
Cherry and Massive Attack, along with numerous shows,
sessions, tours and projects. Mark has over 25 years
teaching experience and has taught many of the UK’s
current most prominent drummers, placing emphasis
on technique, individual musicality and playing style.
Darren Ashford
Darren has been playing drums professionally since 1991.
Darren has performed with The Drifters (also as musical
director), Mama Mia/Joseph (West End musicals), The
Backstreet Boys, Westlife, Will Young, Sean Paul, Will
Smith, Joss Stone, Lucie Silvas, Lionel Richie, Chaka Khan,
Shola Ama, Black Eyed Peas, Beverley Knight, Angie
Stone, Roachford, Kele LeRoc, Omar, Maxi Priest, Carleen
Anderson, Larry Carlton, D:REAM and Dub Pistols. Darren
is a regular contributor to Drummer magazine.
Gareth Dylan Smith Programme Leader (MMus & FE)
Gareth is a busy drummer working in theatres around
London and playing with blues, folk and rock artists
including Gillian Glover, Eruptors, Stephen Wheel, Mark
Ruebery, and Titus Hjelm. He has taught and presented
research at universities and conferences around the world
including Cairo, Beijing, Bologna, Columbia University,
University of Michigan, and University of Southern
California. After a number of published articles Gareth
is now finalising his first book.
Neil Martin
Having taught professionally for over 25 years, Neil has
studied with teachers such as Dom Famularo, Jim Chapin,
Andy Leask and Bob Armstrong. As a performer, he has
toured & recorded with artists such as Del Shannon, Percy
Sledge, Peter Cox (Go West) & Steve Norman (Spandau
Ballet). He toured the world as a member of the Jimmy
Barnes Band, playing to audiences of up to 110,000 and can
be heard on the albums ‘Psyclone’ and ‘The Best of
Jimmy Barnes’.
Justin Scott Head of Drums
An alumnus of Berklee College of Music, Justin
subsequently attained a Master’s Degree in Music
Performance from the London College of Music and Media.
During his twenty years as a professional drummer he has
performed all over the world. Justin writes a monthly
educational article for Rhythm Magazine and has written
a successful drum tuition book. Justin endorses Mapex
drums, Paiste cymbals and Aquarian drumheads.
Fergus Gerrand
Fergus has performed all over the world with artists
such as Take That, Spice Girls, Daniel Bedingfield, Duran
Duran, East 17, Jamelia, Donna Summer, Bond, Vasko
Vassilev,Human League, Vanessa Mae, Annie Lennox, Bryan
Adams, All Saints, Hank Marvin, Sting, Robert Plant and
Mike Oldfield. His recording credits include Take That/Gary
Barlow, Mike Oldfield, Spice Girls, Vanessa Mae,
Madonna, Peter Gabriel and Katie Melua.
drum
Richard Patterson
teaching faculty
Richard has been a member of the Institute Drum Faculty
since 2008. Away from teaching at the school, Richard
performs around the city with various artists and bands
as a freelance session musician. He has recorded and
performed in some of London’s top studios and venues
and also recently completed a series of articles for Rhythm
Magazine examining ergonomics in drumming. Richard
currently contributes to iDrum online magazine.
97
 Mike Sturgis Programme Leader (HE)
Mike Sturgis is one of the UK’s most diverse and
experienced drummers and music educators. He has
performed live or recorded with such major names as David
Bowie, Elton John, A-ha, Asia, Jack Bruce, Steve Winwood,
Tom Jones, Wishbone Ash, Bob James, Randy Brecker and
Bob Mintzer. He currently performs with jazz-funk group
Redtenbacher’s Funkestra. Mike was Head of Drums
at ACM in Guildford for 13 years.
Chuck Sabo
Best known for his long-standing association with pop
starlet Natalie Imbruglia, Chuck has a reputation in the
wider music industry as a top-notch session drummer,
Musical Director, songwriter and producer. Though
his recording credits include an impressive list of
heavyweights, and his playing has driven dozens of Top
10 singles in the UK, he’s kept largely out of the limelight,
focusing instead on making connections, building his
resume and, always, playing for the song.
drum & vocal
Matt Whittington
teaching faculty
Matt regularly performs at the English National Opera on
both drums and percussion, premièring avante garde works
as well as playing better known operas. He has also worked
with the Royal Philharmonic Orchestra both live and in the
studio, and has recorded at Abbey Road with The Academy
of St Martin In The Fields. Matt has also worked with Josh
Groban, Idina Menzel, Hurts, Rumer, John Barrowman, Alfie
Boe, The Nolans, Jimmy Osmond, Marti Pellow, Michael
Ball and Russell Watson.
98
VOCAL
FACULTY
Vic Bynoe
Vic is a very experienced and dynamic singer with a
voice ranging from old school R&B to pop. He has been a
professional singer for over 20 years, has toured worldwide
and worked with musical greats such as James Brown,
Eric Clapton, Sir Bob Geldolf, Alexander O’Neal and The
Drifters to name a few. Vic has just completed a DVD titled
‘How To Sing’ in conjunction with WOW Stuff Productions
for Britain’s Got Talent.
Simone Niles
Simone Niles is a singer, vocal coach and performance
coach with16 years’ experience. Originally hailing from
the Caribbean, her musical background and influences
include reggae, soul and jazz. Simone has sung with
Eddie Grant and Third World and has performed at many
prestigious venues including the Royal Albert Hall and
Barbican (London) as well as the famous ‘House of Blues’
(Sunset Strip, Los Angeles).
Lucy Bernstein
Lucy began performing at a young age and was a student
of prominent session vocalist Stevie Lange. Since achieving
her degree in popular music performance and qualifying as
a teacher, she has been teaching privately along with setting
up and running school choirs. As well as teaching, Lucy
accompanies herself on the piano, performing at functions
nationwide. She also devotes much of her time
to songwriting in her studio and is currently collaborating
with producers on a number of demos.
Liz Swain
Since graduating from the Guildhall School of Music
and Drama, Liz has toured all over Europe and the UK. She
has worked on productions at the Royal Opera House, at
the Vortex and the Royal Albert Hall. She has worked with
contemporary jazz ensemble The Heritage Orchestra, who
have collaborated with Radio 1 DJ Gilles Peterson, Zero 7
and Brian Eno, performed at Hackney Empire, LSO St Luke’s,
the Barbican, BBC Radio 1 and both the Montreux and
London Jazz Festivals.
Barbara Amoakohene
Barbara is a talented singer/songwriter, and vocal
and performance coach who holds a BMus Honours Degree
in Popular Music Performance. As a professional session
singer Barbara has worked top producers and songwriters
including Kevin Bacon and Jonathan Quarmby (Sugababes,
Finley Quaye, David Garrett) and regularly performs with
Sense of Sound Choir backing artists including Paloma Faith
and musical comedian Rich Hall. Barbara is currently
the voice of Solar Radio.
Heather Parker
Heather received her Bachelor Degree in Vocal
Performance from the New England Conservatory in
Boston. She studied with world renowned teacher Vera
Rosza and completed ‘the Knack’ ENO Baylis program.
Soloist with Opera Integra, Abbey Opera, Opera East
and Opera Now, Heather has also performed with the
ENO Baylis Program. Heather is a featured soloist on the
soundtrack of the Universal Pictures film “The Life
of David Gale”.
Fini Bearman
With a BMus in singing and a MMus in performance and
composition (Jazz Institute Berlin), singer and composer
Fini is already being recognised on the London scene and in
2010 she was nominated for Jazz Singer of the year. She has
performed at various venues and Festivals across Europe,
including London’s Ronnie Scotts, the London Jazz Festival,
and Berlin’s famous A-Trane Jazz club. Fini teaches a wide
range of contemporary styles, specialising in jazz, soul,
songwriting and composition.
David Combes
David has built a strong reputation on the London session
singing circuit performing with Beyoncé Knowles, Westlife,
Elton John, Annie Lennox, Kylie and Lemar as well as on
numerous prime time TV shows including several series
of ‘The X Factor’ and ‘Britain’s Got Talent’. Recently David
has worked with Lionel Richie, Chaka Khan, The Feeling
and Lulu and joined Joy Division at their ‘Vintage’ festival
appearance. He has recently appeared as a soloist with both
the Halle and Bournemouth Symphony orchestras.
Jenny Howe
Jenny joined the National Youth Jazz Orchestra in 1994
and is featured on the compilation album ‘Nite at Ronnies’
as well as having sang at the Cannes Film Festival. Jenny
has appeared in a number of films including The Brylcreem
Boys & Pukoon. TV credits include BBC Hall of Fame,
CH4 comedy series ‘Barking’. Voice-overs include BBC’s
Ballykissangel and National Geographic. Jenny also
appears in tracks featured on ITV and BBC. Jenny recently
appeared at the Queen Elizabeth hall in “Rhapsody in Blue”.
Tabitha Christophersen
Tabitha studied as a singer, songwriter/composer and
vocal coach at The Royal Academy of Music in Denmark.
She works closely with artists and producers in both the
UK and US, mainly as a top-line writer, but also arranging,
composing and producing. Tabitha is also involved in
writing for film and TV and recently had a song released
on Café Del Mar Chillout Compilation Vol. 17. Tabitha is
also currently working on her solo project, which is being
recorded and produced in Kensal Town Studios.
Becky Jones
Becky Jones performs and writes under the name of Saint
Saviour. As the last frontwoman of Groove Armada she co-
wrote several songs on their Grammy nominated album,
‘Black Light’ and toured the world to critical acclaim. Now
concentrating on a solo career and her own record label,
Becky is focused on touring and has released her debut solo
album, entitled ‘Union’.
Tommy NG
Tommy is a talented singer, performance coach and vocal
coach who holds a BMus Honours Degree in Popular Music
Performance. His versatility has led him to be involved in
various music projects including ‘Channel 4’s Comedy Gala
2’ at the O2 Arena London and has also been involved in
Damon Albarn’s Opera - ‘MONKEY: Journey to the West’.
Tommy made a number of TV and radio appearances in
Malaysia, including winning Astro Talent Quest (equivalent
to X Factor).
Donna Canale
Renowned jazz, big band and pop singer Donna Canale
has worked in the UK and toured around the world since
completing the Guildhall School of Music Jazz course in
1988. She is the voice behind hit singles “Mucho Mambo
(Sway)” and “Mambo Italiano” for dance act Shaft and in
2002, released her own album “Thinking of You” on
Jazz 33 Records.
vocal
Me’sha Bryan
teaching faculty
Me’sha began singing professionally at 16 and has
performed at historic events including Live 8 and Concert
for Diana at Wembley Stadium. Her live performance and
recording credits include Bryan Ferry, Beverley Knight,
Donovan, La Roux, Russell Watson, Heaven 17, Roxy
Music, Groove Armada and Chicane. As an accomplished
songwriter, Me’sha supported Bryan Ferry on his
“Dylanesque” world tour and her music receives regular
airplay on the BBC as well as internationally.
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 Xan Blacq SONGWRITING
FACULTY
What do Amy Winehouse, Nigel Kennedy, Jessie J,
Mark Ronson, Candi Staton, Dionne Bromfield and
Russell Watson have in common? They have all have
relied on Xantoné Blacqʼs (pron. Zan-Toe-Nay) vocal
ability, alongside his keyboard and percussion
playing in their bands.
Liza Keast
Liza has worked as an actress and singer in film and
theatre, most recently at the Leicester Square Theatre.
For the last twelve years, she has worked for the London
Drama School where she is Head of Music. She is the
featured expert on the ‘Britain’s Got Talent’ Stage
Presence DVD released in 2010.
vocal & songwriting
Tony Moore
teaching faculty
Now the face of famous venue The Bedford, Tony has had
an eclectic career, including being one of the founding
members of Iron Maiden and keyboard player for Cutting
Crew. Tony was responsible for creating and building the
Kashmir Klub, a unique venue in London that almost single-
handedly led the singer/songwriter acoustic revolution in
the UK, with debut performances from the likes of Damien
Rice, KT Tunstall, Imogen Heap, as well as secret sets from
the likes of Sheryl Crow and Mick Fleetwood.
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Sophie Daniels Programme Leader
Sophie has worked at the heart of the record business for
Sony UK and S Records (now SYCO) with Simon Cowell,
Westlife, Kelly Clarkson, The Beautiful South, Pop Idol
contestants including Gareth Gates, Darius Danesh and
Michelle MacManus, and product managed records for Neil
Diamond, Barbara Streisand, Barry Manilow and the UK
2002 Eurovision Entry with Jessica Garlick. Sophie works
mainly on Country, Pop, and Singer/Songwriter projects.
Paul Stanborough
Paul studied Creative Music Technology at Bath Spa
University. After graduating, he worked as sole engineer,
programmer and in-house producer for songwriter/
producer Guy Chambers for eight years. Paul has
programmed and engineered sessions for Kelis, Kylie
Minogue, Mika, Cathy Dennis, Jamie Cullum, and Julian
Lennon to name a few. His guitar and bass playing can
be heard on records by Tina Turner, Beverly Knight, Kylie
Minogue, Natasha Beddingfield, Aqualung and Ian Brown.
Amy Studt
At age 14 Amy was discovered and signed to pop music
svengali Simon Fuller’s (Annie Lennox, The Spice Girls, Amy
Winehouse) management, 19 Entertainment. She went
on to sign a seven album deal with Polydor/Universal. Her
first album got to number 18 in the pop charts, going gold
and selling over 250,000 copies. The album ‘False Smiles’
contained 4 singles, the most successful being ‘Misfit’
which went to number 6 in the UK charts in 2003.
Pete Cunnah
Pete is best known as the lead singer and songwriter with
1990’s dance-pop duo D_Ream. As an artist/producer
he’s sold in excess of 3 million records including 12 top
40 singles, two top 5 albums. He wrote, performed and
produced all of D:Ream’s catalogue including the multi-
platinum number 1 single ‘Things Can Only Get Better’,
which was also chosen by New Labour as their
1997 election campaign song.
Richard Strange
Since his proto-punk band The Doctors of Madness
first hit the headlines in 1975, the musician, actor, writer
and adventurer Richard Strange has worked in every
field of the performing arts. His friends and colleagues
include Damien Hirst, Malcolm McLaren and most of the
leading players who defined punk, new wave and New
Romantic music, as well as the leading players in the
British contemporary art scene.
Jonathan Whiskerd
Jonathan has been writing and performing for over ten
years, both as a solo artist and with pop and rock band
projects. He has studied songwriting formally and has
a range of experience in songwriting coaching. As well
as writing and recording demos for major label pitches,
Jonathan is focused on his own career as a pop singer-
songwriter. Following the independent release of his
acoustic EP ‘The Stranger’ in early 2011, a full album
release will follow in 2012.
Ian Ramage SPECIALIST
FACULTY
Ian’s CV reads like a who’s who of the music industry. Ian
has worked at Polydor as senior product manager, he was
head of marketing at Warners and Polydor. Subsequently
he moved to EMI as director of marketing, where Ian stayed
for 2 years before joining BMG as director of A&R. After 11
years at the helm, he left for pastures new as head of A&R
at Sony/ATV Publishing. Currently Ian is managing new acts,
consulting at the BPI and teaching music business practice.
Bruno D’Ambra Keyboards
Bruno is a busy pianist and session keyboard player who
has recorded at Abbey Road, Metropolis and Air Studios
for various international artists, as well as appearing on
national TV. In 2011 he was privileged to play for President
songwriting & specialist
Obama and Her Majesty Queen Elizabeth II. He is also
a producer and arranger working with up and coming
songwriters and has composed music for documentaries
and theatre. Bruno performs regularly around London.
Steve Turner
teaching faculty
With a passion for synths and electronic music, Steve
Turner’s career has led him from writing and producing
in the early years of House music where, with producers
Aston Harvey and Gareth Cooke under the banner Uno Clio
he remixed singles for many major artists including Luther
Vandross, Michael Jackson and Mary J Blige. Steve has
played and programmed on live tours with a host of UK pop
bands and artists including Sugababes, All Saints, Anastacia,
and four world tours with Kylie Minogue.
101
 Ross Bicknell Humanities & Guitar
Ross joined the Institute in 2008 while still holding a
position as lecturer in media at College of North West
London, specialising in audio production. From 2000 to
2007, Ross was guitarist and songwriter for the group S.
Rock Levinson, with whom he had the opportunity to
perform at the legendary SXSW, as well as tour with artists
such as Maximo Park and The Rakes.
Audrey Riley Composing & Arranging
Audrey is a cellist & arranger who has contributed to three
Grammy award wining singles including ‘The Pretender’ by
Foo Fighters, ‘In My Place’ by Coldplay and ‘Gravedigger’
by Dave Matthews. Audrey created string arrangements
for Coldplay on their albums ‘A Rush of Blood to the Head’
and ‘X&Y’, the Foo Fighters on ‘Echoes, Silence, Patience
& Grace’, Muse on‘ The Resistance’, Amy MacDonald on ‘A
Curious Thing’, Fightstar on ‘Be Human’ and Spandau Ballet
on ‘Once More’.
specialist
Holger Skepeneit Keyboards
teaching faculty
Holger began playing classical piano at eight and turned
to jazz and blues at fourteen. He came to England to study
piano, jazz piano and composition at the London College
of Music, graduating with a first class honours degree plus
a MMus in Jazz piano. He has performed and recorded
alongside artists like the Counterfeit Stones, Taka Boom,
Tina May, Jeff Clyne and many others. Holger also wrote
two songs on Jacky Cheung’s Number one album
“Private Corner”.
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Misha Nikolic Guitar & Music Technology
Misha has a wealth of experience in all areas of
performance, composition, music technology and world
music. As well as being an accomplished and versatile
guitarist, Misha is also a notable arranger, composer
and music producer. Misha holds a Masters Degree in
Composing for Film and TV. He runs a busy recording
studio and his own publishing/recording company
Mischo Music Ltd.
Atar Shafighian Programme Leader (HE)
Since releasing ‘Funkadrome’ in 2005 with D Records/
Universal, Atar has released ‘Chapter One’ independently
with his project Royal Showdown and is set to release
his first solo concept album ‘The Rise and Fall of Danny
Chevron’ in 2012. Atar is a fully qualified teacher and
trained at London’s City University and The Guildhall
School of Music and Drama. He is currently completing a
second Masters in Leadership and Management.
Maurizio Malagnini Composing & Arranging
Maurizio is a composer whose work spans animation,
documentaries, period dramas and thrillers. His music
has been broadcast on BBC One, BBC Two, ITV and MTV.
Maurizio has produced scores for the Hollywood Studio
Symphony Orchestra, the BBC Philharmonic Orchestra,
L’Ensemble dell’Opera di Roma and his own ensemble,
Cinema Paradiso. In 2009, Maurizio was one of 12 emerging
composers from around the world to be selected for the
prestigious ASCAP Filmscoring Workshop in Hollywood.
David Cash Keyboards
David’s performing credits include playing for The
Drifters, Michael Ball, Jane McDonald, The Pasadenas, The
Brotherhood of Man, Bob Monkhouse and The Counterfeit
Stones. He’s performed all over the globe and spent 3
months at the Sporting Club, Monte Carlo supporting
Elton John, Rod Stewart, Supertramp & Bonnie Tyler.
Michael Martin Keyboards
Michael started studying music at the age of 8 and by 17 was
touring with bands around the UK and Europe, with Reggae
giants like Ziggy Marley, Aswad and Maxi Priest. He went on
to tour with The Spice Girls, S Club 7 and Will Young. He
recently became the musical director for Jamelia and has
written and produced tracks for Dutch artist, Tashas World.
Jane Gregory Alexander Technique
Jane is our resident teacher of Alexander Technique.
With a special interest in working with musicians she has
developed a unique, highly practical style to help relieve
tension, improve posture and deal with playing-related
issues such as RSI and other arm, neck and back pain. She
has established herself as a music specialist and has written
articles for Rhythm Magazine and Bass Guitar Magazine.
MUSIC
BUSINESS
FACULTY
Ken Foreman Music Business
Ken has worked in the music industry since 1981, when
he signed his first record contract with Pinnacle Records.
As founding member and singer of Thrashing Doves, he
signed a deal with A&M Records, releasing three albums
and touring extensively in the USA and Europe. Ken later
embarked on a career as a record producer, making records
for Chrysalis, Sony, and Toshiba/EMI. Ken currently works
as a consultant music business advisor and is director of
his own music publishing company.
Andy Inglis
With twenty one years’ experience in the music industry,
Andy has co-owned and managed The Luminaire venue
with bands such as Utah Saints, Wet Wet Wet, and
Travis. Andy is experienced in record labels, magazines,
promotion and tour management. He has also worked as
a DJ, journalist, booking agent and consulted for overseas
companies. Andy lectures in live music at universities and
music development agencies and is Regional Editor
for The Fly magazine.
Becky Jones
Becky Jones performs and writes under the name of Saint
Saviour. As the last frontwoman of Groove Armada she co-
wrote several songs on their Grammy Nominated album,
‘Black Light’ and toured the world to critical acclaim. Now
concentrating on a solo career and her own record label,
Becky is focused promoting her debut solo album ‘Union’
on her own label, with the support of AEG live.
Ben Allen (BAM)
Ben is a digital marketing specialist who spent nearly
four years at A Star PR before becoming Director. Ben
established the online department which quickly grew into
a market leader. Ben devised and implemented successful
marketing and PR campaigns for the likes of The Mighty
Boosh Festival, Hop Farm Festival, Cornbury Festival,
Benicassim Festival (Spain), Reeperbahn Festival (Hamburg),
and artists such as Deadmau5, Unicorn Kid and Louie Vega.
Christian Ulf-Hansen
Christian started his international career at the Performing
Right Society (PRS). In 1992, Christian was headhunted by
BMI. During eight years he helped break Gabrielle alongside
some of the biggest new songwriters of the 90’s. In 2002
Christian ventured into management. He signed Teitur to a
major worldwide record deal with Universal Records in the
US. At the same time Christian helped Corinne Bailey Rae’s
career working with her on her 4 million selling
debut album.
David Stark
David Stark is an editor and publisher and the founder of
Songlink International. Before this, David worked in the
music business for over thirty years, for companies such as
Dick James Music, Decca Records, MAM Records, Billboard
/ Music & Media, Music Industry Research Organization and
various other music industry and pro-audio magazines. He
also acts as an official research consultant to the UK’s Ivor
Novello Awards; the annual World Music Awards and is a
music business
member of the voting academy of the UK’s Brit Awards.
Graham Ball
teaching faculty
Graham’s career has spanned over 23 years and began at
Virgin Records where he worked as Marketing Manager until
1992 when he became International Marketing Director.
Graham has worked in senior marketing roles for Sony
Music at both Columbia and INCredible Records. Graham
works as a consultant for Music Bookings, dealing with
artists including Cheryl Cole, Athlete, Trevor Nelson and
The Young Knives. Graham is Senior Lecturer in Music and
Event Management at Buckinghamshire New University.
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music business
Jason Guy
teaching faculty
Jason has been Marketing Director of A&M, Chrysalis,
Polydor, Island and Sony UK. During this time, he has fine-
tuned and developed innovative marketing techniques
that have led to numerous UK treble platinum successes,
including; Sting, Sinead O’Connor, The Lighthouse Family,
Jamiroquai, The Coral and Toploader, as well as stateside
acts Suzanne Vega, Janet Jackson and Bryan Adams. He has
also helped set up music labels including The Echo Label
for Chrysalis and Deltasonic for Sony.
104
Martin Tibbetts
Martin has been in the business of music marketing for
over 25 years. In 1995, Martin became Head of Regional
Promotion at Revolution which was at that time the largest
promotion company in the country where he managed
radio, press and student promotions in the regional sector.
Martin is currently the director of 1917 Corp Promotions
and its current clients include Walt Disney Pictures, EMI,
Paramount Pictures, Virgin Records, Island Records,
Mercury Records and Columbia Records.
Korda Marshall
Korda became A&R Director at RCA in 1988 and counted
Ash, Garbage, Muse and Take That among his signings. He
launched Infectious Records in 1993 and was acquired
by Warner Music in 2003. As part of this acquisition
Korda became Managing Director of the company’s
Atlantic Records label where he signed The Darkness and
James Blunt before taking over at Warner Music in 2004
overseeing the careers of Madonna, Green Day and
The Red Hot Chili Peppers.
Peter Felstead
Peter formed management company CEC Management
in 1981 having success both sides of the Atlantic with artists
such as Boo Radleys, Deacon Blue, Dina Carroll, Friendly
Fires, Grandaddy, Inspiral Carpets and Lush. In the early 90’s
Peter co-launched Nude Records which became one of
the most respected indie labels of that period signing the
hugely successful Suede. In 1995 he formed 9PR. Clients
currently include Abbey Road Studios and All
Tomorrow’s Parties.
Polly Birkbeck
Polly Birkbeck has been in PR for over 18 years starting
out at Food Records. In the 1990s Polly was a publicist at
Savage and Best PR during which she managed the press for
many of the stars of Brit Pop. Polly subsequently became
the Head of Press at V2 Records and worked acts as diverse
as Grandaddy, The Black Crowes, Madness, Liberty X,
The Datsuns, and Carla Bruni before leaving the major
label environment and setting up her own press agency
Complete Control PR.
Nicolas Rizzi
Nicolas currently works as the Sales and distribution label
manager for Roadrunner Records, Relapse, Earache, Rise,
New West, Basick, and Favored Nations, amongst others.
He has previously worked as label manager for (amongst
others), Wind-Up, Rock Ridge, Volcom, 7Bros, Hopeless,
Fearless, Metropolis and Metal God Entertainment.
He is a music aficionado with 20 years’ experience playing
guitar and drums and a diverse international background
having lived in Latin America, Europe.
Simon Greenway
At age 18 Simon signed to EMI Music Publishing as a
songwriter whilst establishing himself as an in-demand
session keyboard player working with the likes of Bryan
Adams, Gary Barlow and The Lemonheads. Simon
produced the Mann/Weil songs for the Muppets ‘Treasure
Island’ movie and worked with David Arnold on the Bond
movie ‘Tomorrow Never Dies’. Simon is Director of Film
and TV for UK/Europe at ASCAP (American Society of
Composers, Authors and Publishers).
Steve Ager VISITING
FACULTY
Steve has been a top radio plugger for over two decades.
He spent 11 years working as a Radio Promotions Manager
for Island, MCA/Geffen and Arista, successfully plugging
acts such as Nirvana, Guns N Roses, U2, Whitney Houston,
Cher, Aretha Franklin, The Cult, House Of Pain, The
Charlatans, and Spinal Tap. In 1997, he produced a single
for Trickbaby and signed them to a 5 album deal with BMG.
Three albums later, they have now sold over 3 million units.
Ed Freitas Drums
With an admirable portfolio, Ed is a highly creative
performer and in demand session player known for touring
relentlessly with his extraordinary Cyba-X project and
a long list of international artists across all genres. He
is regularly billed with drummers such as Zoro (Lenny
Kravitz), Tommy Aldridge (Whitesnake, Ozzy), Jerry Brown
(Girls Aloud), Raul D’Oliveira (Elton, Wham) and many
others globally. Ed also holds a Guinness World Record for
the longest drum roll in a group.
Shola Ama Songwriting
Shola Ama is one of Britain’s most successful R&B artists.
Her debut album ‘Much Love’ went on to sell over 1
million copies and achieved top 5 single success with ‘You
Might Need Somebody’ and ‘You’re The One I Love’. The
culmination of her critical and commercial success resulted
in 4 MOBO nominations with Shola going on to collect 2
(Best Newcomer, Best R&B). She has also been nominated
for two Brit Awards, picking up the award for ‘Best
British Female’.
Thomas Lang Drums
Thomas was educated at the legendary Vienna
Conservatory of Music where he was the youngest student
enrolled. He has worked with artists including Falco, John
Wetton & Bonnie Tyler and in 1995, Lang’s solo release,
‘Mediator’ topped the charts, garnering rave reviews for
its innovative sound. His DVD ‘Creative Control’ is one of
the biggest selling DVDs of all time. Thomas plays Sonor
drums, Meinl cymbals, Vic Firth sticks, Remo drum heads,
Roland electronics and Gibraltar hardware.
Michael League Composer/Bassist
Michael is a bassist, guitarist, composer, arranger and
producer based in Brooklyn, New York. Educated at The
University of North Texas he has performed worked with an
array of artists including Grammy winner Roy Hargrove, Kirk
music business & visiting
Franklin, Beyonce, Patti Austin and Chris Potter. Michael
runs the instrumental ensemble Snarky Puppy and holds an
artist-in-residence position at Roanoke, Virginia’s Jefferson
Centre for the Arts.
Pat Petrillo Drums
teaching faculty
Pat Petrillo is at the forefront of the drumming community
as a dynamic drummer and world class clinician. His
stylistic versatility and technical ability have lead him to
gigs with a variety of artists, from Gloria Gaynor and Patti
LaBelle, to his latest Nu Jazz project ‘Groovallegiance’
featuring bassist Gary Grainger, & Guitarist Chieli Minucci.
Pat has also played numerous Broadway shows, including
‘A Chorus Line’, ‘Grease’ and ‘Footloose’, as well as
completing a national tour of ‘Dreamgirls’
105
 Dom Famularo Drums
Dom’s skills earned him the reputation of being the
world’s leading motivational drum set artist/educator.
Dom combines techniques of the past with parameter-
pushing concepts of the 90’s. Dom has performed with B.B.
King, Lionel Hampton & Chuck Leavell (Rolling Stones) and
has shared the stage with Dave Weckl, Steve Gadd, Vinnie
Colaiuta, Billy Cobham, Will Calhoun, Chad Smith, Mark
Schulman and Jim Chapin. Dom also serves as Education
Director for Sabian, Vic Firth and Mapex.
Ryan Farley Songwriting
Ryan is A&R at Warner/Chappell Publishing who work
with songwriters and artists including Muse & Radiohead.
In 2006 Ryan set up his own management company to
develop songwriters and artists, also working as tour
manager for various signed acts. In 2009 he was taken on
as scout at Warner/Chappell and his first signing was the
producer/writer behind Kylie Minogue, Cheryl Cole, Katy
Perry and Ellie Goulding’s No.1 album, Starsmith.
visiting
Hugh Burns Guitar
teaching faculty
Hugh is an accomplished musician, arranger and composer.
Hugh started out as self taught and became a fluent sight
reader, writer and transcriber of music and embarked on a
serious study of music both in practice and in theory that
continues to this day. Projects Hugh has worked on include
film scores for ‘Die Another Day’, ‘The Full Monty’ and
‘Moulin Rouge’, as well as recordings for George Michael,
Paul McCartney and The Pet Shop Boys.
106
Justin Sandercoe Guitar
Justin’s experience as a guitar teacher stretches over
20 years across diverse genres with celebrity students
including Katie Melua. Justin has been exploring music as
a singer-songwriter, a producer and as a performer. Justin
has over 1000 gigs with The Counterfeit Stones, many live
TV and radio shows, teaching for the International Guitar
Foundation, writing for Guitar Techniques and Total Guitar,
publishing his own teaching manual, writing with Katie
Melua and running a guitar tuition site.
Dino Ostacchini Songwriting
Dino began his career at MCA records, moving to Virgin
records where he became responsible for international
promotional campaigns for artists that included Genesis,
Peter Gabriel and The Cult. He later moved to The Echo
label where he was responsible for implementing both
international and UK campaigns for artists including
Moloko, Feeder, Morcheeba as well as Ray Lamontagne
and Bat For Lashes, both of which were successfully
upstreamed to EMI and 14th floor.
Gianluca Corona Guitar
Gianluca graduated from GIT in Los Angeles, where he
studied with Scott Henderson, Joe Diorio, Norman Brown
and Brett Garsed. Upon graduation he became focused
on developing his jazz and fusion playing, participating in
masterclasses by Pat Metheny, Ralph Towner and John
Scofield. Gianluca played guitar for many top Italian artists,
including singer Andrea Parodi, Israeli singer Noa and world
famous guitarist Al Di Meola, before coming to London
to join the Institute.
Laurence Cottle Bass
Laurence has played bass with many of the world’s
great musicians such as Sting, Cher, Seal, Brian Eno and
Jaco Pastorius and has recorded for films including ‘Lethal
Weapon’, ‘Mr. Holland’s Opus’ and Britney Spears’ movie
‘Crossroads’. His playing is featured on ‘Headless Cross’
by Black Sabbath and he has played and recorded with Eric
Clapton, the Bee Gees, Procul Harum and Mike Oldfield.
When left to his own devices Laurence ventures into
the world of jazz.
Richard Smith Guitar
Richard Smith is a Professor at the renowned Thornton
School of Music at the University of Southern California
in Los Angeles. His students are working with artists from
Broadway and Los Angeles Philharmonic, to Oliver Stone,
Mark Anthony, Snoop Dogg, Blink 182, Beck, the Backstreet
Boys, Josh Grobin, Michael Buble, Elton John, Christina
Aguilera, Miley Cyrus and Madonna. His 10 solo recordings
have established him as a veteran of the contemporary
and smooth jazz world in the United States.
Anjali Perin Vocal
Anjali Perin is a singer, pianist, violinist and composer/
arranger. She is signed to Jazzizit Records, released her
debut jazz album ‘First Reflection’ to great reviews in 2007
and is busy gigging across the UK, appearing at venues
including Ronnie Scott’s jazz club, the 606 and jazz festivals
throughout Europe. Anjali features as backing vocalist on
Alabama 3’s latest album. In July 2010 she also performed
in front of Quincy Jones at the famous Montreux Jazz
Festival in Switzerland.
Susan Blair Vocal
Susan is a vocalist, vocal coach and songwriter. She has
acted as musical director and vocal coach on the hit
musicals ‘The Lion King’ and ‘The Sound of Music’ as well as
the national premiere of ‘American Pie 2’ in Australia. Susan
was also head of vocals at the largest music institute in
Rotterdam. Her clients include artists signed to Chrysalis,
Universal and Sony BMG. Susan has performed with the
Jamiroquai band, sung at live BBC broadcasts and is
working with producers from Universal.
Janek Gwizdala Bass
London-born US resident Janek Gwizdala has spent the
past 12 years on the road and in the studio with some of the
most respected names in the music industry. These include
Randy Brecker, Pat Metheny, Mike Stern, Wayne Krantz,
Peter Erskine, Bob James, Delta Goodrem, VV Brown,
Arturo Sandoval, Eric Johnson, and Hiram Bullock amongst
many others. A solo artist and band leader in his own right,
Janek’s latest release features Mike Stern, Jojo Mayer,
and Jamie Cullum.
Amit Chatterjee Guitar
Amit joined The Zawinul Syndicate, the band of legendary
keyboard player Joe Zawinul and during his tenure
recorded several albums (Stories of the Danube, My People,
Faces and Places) as well as the live DVD, ‘Midnight Jam’.
He has worked with artists such as stellar saxophonist
David Liebman and guitarist Eric Johnson and has recorded
numerous soundtracks and jingles (Sex & the City,
Homicide). While releasing three albums as a leader/solo
artist he has also lectured at New York’s New School.
Paul Simm Songwriting
Paul is a songwriter, musician and music producer and
together with co-writers Jonathan Lipsey, Felix Howard
and Cameron McVey, he has written and produced several
hits for the Sugababes including ‘Overload’ and ‘Run for
Cover’. He is currently signed with Trevor Horn’s publishing
company, Perfect Songs. In 2008 Paul was involved with
Ivyrise, a pop band from London. He produced the first
single ‘Tips’ which charted at number 5, as well as producing
the remainder of the album.
Emer McParland Vocals
Emer’s versatility has led her to work in a wide range of
situations, from singing on movie soundtracks (Sleepy
Hollow, Gangs of New York) to recording with big name
artists (Peter Gabriel, Bjork, Jarvis Cocker, Spiritualized)
and singing in the West End (Starlight Express). Emer has
appeared as a soloist with the BBC Concert Orchestra and
The Royal Philharmonic Orchestra. Her credits also include
solo appearances with the BBC and RTE Radio Big Bands
and the National Youth Jazz Orchestra.
Dave Marks Bass
Dave Marks is a busy freelance bassist whose playing and
recording credits include Larry Carlton, Albert Lee, Carl
Palmer, D:Ream, Paul Carrack and many others. At the
minute, his time is spread between the Rick Parfitt Jr. band,
playing for Ola Onabule and depping for Thriller Live on
the West End. Aside from his full playing, teaching and
‘Rhythm Matters’ masterclass schedule, Dave maintains
a heavy web presence, blogging on his own site and
consistently posting fresh content on Youtube.
Manuel Ahlqvist
Manuel is a versatile as he is stunning guitarist. After having
graduated from Malmo Academy of Music with a BA in
music and a MFA in music education, Manuel has worked as
session guitarist behind many Swedish and Danish artists for
live gigs, television shows and recordings and as a teacher
and programme leader for various colleges and universities
including the Guitar Institute and LCM.
Geoff Dunn Drums
The outstanding reputation Geoff has earned for
professionalism and musical integrity, as a dynamic and
truly adaptable musical player is well known throughout
the industry. In the early 90’s he joined Van Morrison,
stepping in at a day’s notice, before going on to record four
albums. During recent years he has played extensively in
the field of TV, music & commercials, working with Hamish
Stuart, Natalie Imbruglia, Roger Chapman, Pete Cox, Donna
Summer, Lulu and Grammy nominated Acoustic Alchemy.
visiting
Pierpaolo Frailis
teaching faculty
Pierpaolo Frailis is a highly experienced session drummer
with over 14 years’ experience both live and in studio,
having performed with some of the finest Italian and
international artists such as Papa Winnie, Grazia Di Michele,
Sciapli, Corona, Dan Harrow as well as many others. He
has performed in some of the largest and most prestigious
jazz festivals in the world and is a qualified drum teacher
who has been hired by several private schools for the
past seven years.
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 www.icmp.co.uk
SCHOLARSHIPS
At the Institute, we pride ourselves on the close relationships
that we have built with leading partners in the music industry and
we constantly see opportunities to support talented and deserving
students. The support we receive from our partners in this regard
is second to none, as highlighted by the array of scholarships and
awards we are able to offer potential students.
This is a short summary of some of the scholarships and awards
that you can apply for at the Institute every year. See our website
or contact our Admissions Team directly for full details on how
to apply:
Higher Diploma Scholarships
Supported by some of our closest partners, the Institute offers
free or subsidised places worth over £36,000 each year for the
one year Higher Diploma course.
GUITAR Supported by Yamaha Guitar and Total Guitar Magazine
scholarships
BASS Supported by Musicman Bass and Bass Guitar Magazine
DRUM Supported by Mapex/Paiste and Drummer Magazine
contact the institute
VOCAL Supported by Shure
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the institute of contemporary music performance
course prospectus 2012-13
Shure Songwriting Award
Supported by Shure and a selection of high profile artists,
the Institute offers an annual prize for talented singer/songwriters
who have the chance to win a free place on our one year
Professional Diploma in Songwriting programme, which is
sponsored by Columbia Records. Previous judges for this
competition have included Amy MacDonald, K.T. Tunstall, Paloma
Faith, Everything Everything and most recently Anna Calvi.
See www.shuresongwritingaward.com for full details.
Steve Vai Scholarship
The Steve Vai Scholarship presented in association with the
Guitar Institute, provides two students the opportunity to study
on the Guitar Higher Diploma for a year in London, the music
capital of the world.
This exclusive scholarship has been developed to support
deserving students in pursuing a career in music and developing
their craft, something the Institute and Steve Vai are passionate
about. The award is for one fully funded place (worth over
scholarships
£5,000) and one partially funded place (worth over £2,500) on
the renowned one year full-time Higher Diploma Guitar course
commencing in autumn each year.
ATC Music Business Scholarship
The Music Business scholarship is delivered in partnership with
ATC, the artist management company behind Faithless, Kate Nash,
Kyla La Grange and Nick Cave. The scholarship winner receives a
fully funded place on the one-year course, equivalent to the value
of £4,950. Music Business at the Institute is designed and delivered
by leading music industry professionals and offers a unique
contact the institute
opportunity to learn and apply management principles and business
skills through working alongside talented artists and composers.
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 www.icmp.co.uk
RESEARCH
The Institute is committed to
championing research in music
and music education.
In 2011 the Institute’s Research Committee
was established as a hub for channelling
research activities from within the Institute
and beyond. The Committee organises the
Institute’s successful biennial international
conference, which in 2010 considered
‘The Place and Purpose of Popular Music
in Education’. In 2012 the conference was
entitled ‘Rock and Roles: Philosophy and
Sociology of Popular Music Education’. The
Institute’s conferences attract speakers,
scholars, educators, musicians and industry
research
specialists of international renown,
including in 2010 Roger Brown, President of
Berklee College of Music, Boston, and Ruth
Wright and Pam Burnard in 2012.
The research team at the Institute
is growing under the leadership of Dr
Gareth Dylan Smith. Staff including Atar
Shafighian have in the last year presented
their work at international conferences
on music and music education in London
contact the institute
and Manchester. Institute staff members
are on the editorial boards of the British
Journal of Music Education and Malaysian
Music Journal. Several members of the
teaching faculty are engaged in practice-
as-research, including Simone Niles who
recently published her book Coaching for
Performance Excellence. Gareth Dylan
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the institute of contemporary music performance
course prospectus 2012-13
Smith has a book in press at Ashgate
Publishing – I Drum, Therefore I Am: Being
and Becoming a Drummer, due out in
2012. Gareth’s research interests include
cultural psychology of music and music
education, Identity Realisation, drummers,
gender, ethnicity, and philosophy of
music education, especially in relation to
creativity. He has had papers published
in several international, peer-reviewed
journals, and is involved in collaborative
research with colleagues at the Universities
research
of Oxford, York, Edinburgh, Surrey,
Southern California and South Florida. He
has given guest lectures and workshops at
the University of Cambridge, University of
London, Columbia University, University
of Michigan, New York University and the
University of Southern California.
As the research function at the
Institute grows, it contributes significantly
to the student experience; faculty
contact the institute
share understandings gained from their
own innovative studies with students
at all levels, especially in relation
to undergraduate and postgraduate
dissertations. Research continues to inform
the development of innovative, relevant
modules and programmes of study for
all Institute students.
111
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course prospectus 2012-13 course prospectus 2012-13

WHAT TO HOW TO ONLINE

DO NEXT FIND US
If you want to discuss the best course The Institute of Contemporary the student website www.icmpstudent.com
option for you or wish to book an Music Performance The Institute student portal provides an essential support tool
assessment or audition, then please Foundation House for all students and alumni. As well as containing a wealth of
contact one of our Admissions Advisors. 1A Dyne Road information on course content, it also serves as a message board to
Anyone applying for a full-time course of London NW6 7XG offer job and work opportunities specifically listed for our students.
study at the Institute will need to undergo Class timetables, special offers, accommodation listings and help/
an assessment as part of the application Telephone +44 (0) 207 328 0222 advice are just some of the other fantastic functions of our student
process. An assessment is a very relaxed Facsimile +44 (0) 207 372 4603 website. Once students enrol at the school, they are provided with a
and informal meeting with one of our tutors Email enquiries@icmp.co.uk username and password to access the site and utilise its potential.
and is completely free of charge to all www.icmp.co.uk
potential students.
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musicianship and is therefore not a straight 4 minute walk Come like our page and get updates on news, student gigs,
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Alternatively, you can attend one Av e Why not follow us on Twitter? Check out what we are up to at the
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+44 [0] 20 7328 0222 Rd THE INSTITUTE
of Contemporary Music
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112 113
 FREQUENTLY
ASKED
QUESTIONS
How do I enrol on a course?
In order to enrol on full-time courses, you must first
undergo an assessment (to enrol on the Degree courses
you will additionally need an audition). Assessments and
auditions are free of charge. You will then be offered a
course suited to your level and needs. To accept your offer
you are required to fill in an acceptance form and may
be required to pay a registration fee. To keep your place
secured you must pay full course fees at least one month
before the course commences. Late enrolments are up to
the discretion of Admissions and students that have not
paid their course fees may not begin their course. For part-
time courses, following a discussion with an Admissions
Adviser you will simply need to complete an enrolment
form and pay your fees.
What’s an assessment/audition?
frequently asked questions
An assessment is the Institute’s way to check what level
your playing/singing is at and what course would best suit
your talent and personal objectives. These assessments are
free of charge and generally last no longer than 30 minutes.
An audition for the Degree course is more rigorous and can
take around 3 hours in total. Assessments and auditions
take place at the Institute’s facilities in London with a
member of our teaching faculty. Video assessments can be
arranged in certain cases, e.g. for foreign students.
I have heard that degree courses have become
very expensive since 2012, how will I afford the
tuition fees?
As an independent provider, the Institute is able to pass
on cost savings generated from an extremely efficient
form of delivery to our students. Our degree courses,
which include 17 hours per week in contact teaching time
in small groups offer amazing value as students are able to
access education and training of the highest quality at a fee
level significantly below almost every other UK university.
contact the institute
Students can also borrow fees from the Student Loan
Company (SLC) like all other students.
So how much do courses cost at the Institute?
This depends on the course or class you are taking. Contact
our Admissions team on 020 7328 0222 or check www.
icmp.co.uk for details of course costs, payment terms,
funding options and special offers.
114
Will I be good enough to apply for a place at the
Institute? Is the standard very high?
There is nothing to worry about. While we hold auditions
and assessments for many of our students, this is to ensure
that they are allocated to the correct level to optimise their
learning pathway. The Institute is a very friendly place, and
staff and fellow students are all extremely supportive. We
understand that everyone has to begin somewhere; our
staff are trained for this purpose, and we exist to help you
become a better player, singer or songwriter. While our
courses aim to challenge you, you will not be placed on any
course that is beyond your potential and abilities.
How many hours/weeks will I be studying?
This varies from course to course, and the details are
listed in our prospectus and on our website. However, we
take your education extremely seriously and generally we
offer more contact teaching and/or guided learning hours
than any other school. If you are applying elsewhere, check
how many contact teaching hours you are going to get for
your money.
How many students are there per class?
Here at the Institute we generally aim for no more than
12-13 students per tutor for most classes. For some modes
of delivery and where the student learning experience is
not affected (lectures, for example) class numbers may
be higher.
Where will I be taught?
All classes take place at the Institute’s facilities in north-
west London. Where we work in collaboration with other
academic partners, students are often enrolled at those
institutions as well and therefore may be able to access
their facilities and support. Contact Admissions for
more details.
I am an international student. Does this affect my
enrolment?
International students are welcome at the Institute and are
generally subject to the same assessment, audition and
enrolment process as domestic students. Any students
from outside the EU who require a student visa to study in
the UK are required to supply all necessary documentation
and pay full course fees before the Institute will act as a
sponsor for a visa application. The Institute has a ‘highly
trusted sponsor’ license number and is registered with the
UK Borders Agency. Students must ensure they have a valid
visa for study, and will be required to provide a copy of this
visa upon arrival at the Institute. Should a student from
outside the EU not arrive for the start of their course, or
should their attendance fall below the threshold set out by
the UKBA, the Institute will inform the UKBA and pass on
any relevant student details.
Is financial aid available?
There are options available to students for financial
support depending upon the choice of course and the
student’s own circumstances. Students should contact
the Institute’s Admissions Team directly to discuss
their options.
Where will I live?
Since the Institute is an independent college, there is no
directly available housing for students. However there is
plenty of affordable housing in the area and our students
never have a problem finding flats or house shares locally.
Our accommodation guide is regularly updated with useful
contacts, tips and guidance on finding accommodation and
it’s available to everyone. Once a student has accepted
their place on a course they will also have access to the
Institute student website, where they can both read and
post notices to other students
How do I book a private lesson?
The Institute offers private lessons for all instruments and
levels. If you are interested in taking advantage of some
excellent private tuition, please contact reception directly
on 020 7625 0095 between 9.00am and 5.00pm Monday
to Friday.
Can I attend masterclasses?
All student activities, including masterclasses, are free
of charge for Institute students (There is the odd exception,
however this is extremely rare). If you are not a current
student and want to attend please contact us for further
information.
Can the Institute help me find work after the course?
The Institute has an ever-growing network of contacts,
partners and associates in the music industry. Although
we can’t directly secure you a job - that’s always between
a candidate and the potential employer - we try to
present our students with as many opportunities as we
can. With the support, guidance, advice and training we
provide via The Hub, together we can put you in the most
advantageous, preferential position to start building your
career in music.
Am I too old to take a course at the Institute?
You are never too old to study music. Our students range in
age from 15 years and in some cases up to 60 and beyond.