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Introduction
Late applications may be accepted, please contact hello@rcs.ac.uk for more information
The String Department offers outstanding opportunities to explore your musical passions. With a high staff-student ratio, we have a friendly and supportive learning environment that responds to individual needs and promotes initiatives.
The majority of our teaching staff are professional musicians working in Scotland and beyond. Being surrounded by four professional orchestras in Glasgow alone and the only Conservatoire in Scotland, the Department is integrated into the professional musical life of Glasgow and our students are in regular contact with it through personal contact as well as apprenticeship schemes. Students search for identity through creativity and artistic experimentation, and develop a clear overview of what it is to live and work as musicians today.
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Programme structure
MMus/MA Programme Structure
The MMus/MA programme is divided into Stage 1 and Stage 2. Stage 1 is common to both degrees, and may also lead to the exit award of PGDip. In Stage 2, MMus and MA students follow different pathways leading to their respective degrees.
Stage 1: PGDip
Principal Study 1 — 80 SCQF credits
Supporting Studies 1 — 30, 20 or 10 SCQF credits
Practice Research — 10 SCQF credits
Options — 0, 10 or 20 SCQF credits
Stage 2: MMus
Principal Study 2 — 90 SCQF credits
Supporting Studies 2 — 30, 20 or 10 SCQF credits
Options — 0, 10 or 20 SCQF credits
Stage 2: MA
Negotiated Study (or HIPP dissertation) — 60 SCQF credits
Principal Study
The primary focus of your learning will be the Principal Study. This core activity — and in particular, the individual lesson — will refine the skills essential to meeting the artistic and technical expectations of the programme. It will equip you with many of the skills needed to exercise independent learning and develop the autonomy necessary for a professional career. In the case of the degrees in Performance, and Historically Informed Performance Practice, the Principal Study is your instrumental or vocal discipline; for the degrees in Opera, Conducting, Repetiteurship, Piano for Dance, and Accompaniment, it refers to the full range of skills associated with those roles, including high-level performance skills. For the MMus Composition, Principal Study is the practice of composition, within which you may specialise in acoustic or electroacoustic composition. For the MMus Chamber Music, the Principal Study will comprise the ensemble work of the group. Within the credit assigned for Principal Study, the contact hours are flexibly assigned to suit your particular needs as a student.
Supporting Studies
Supporting Studies incorporates many of the distinctive features of conservatoire study, and contributes towards the creation of a near-professional learning environment. In this module, you will have the opportunity to take part in a range of negotiated activities in support both of your Principal Study and your development as an emerging professional. The emphasis is on working with your peers, whether through the presentation of performance classes or collaborative activities such as chamber music, orchestra or ensemble work. The module also incorporates a series of cohort-wide graduate seminars, addressing such areas as research skills, critical thinking, professional development, reflective practice, health and wellbeing, and equality and diversity.
Practice Research
This module challenges you to examine critically an aspect of your arts practice by means of an individually-negotiated portfolio of research, reflection and/or documentation. Over the course of your studies, with the support of a supervisor, you will assemble a portfolio of documentation and reflective writing that interrogates a self-chosen research focus and communicates your findings.
Options
Options give space within the curriculum for you to engage in studies which enhance your professional versatility, by pursuing areas of interest either close to or far away from your core discipline. The range of modules available is very wide, including otions drawn from the undergraduate programmes in both the School of Music and the School of Drama, Dance, Production and Film. The design of the programme puts no restrictions on the level of the options/s chosen. There is a significant range of choice available in the amount of credit taken in this way, with students free to choose pathways which place greater weight on Supporting Studies.
MMus or MA?
The MA and MMus programmes share many similarities, with the first three terms of the programme being common to both. The chief differences are in the length and volume of study, and in the pattern of delivery in relation to the four terms that make up the academic calendar. There are also some differences in the programme aims and learning outcomes, and in the proportional number of hours available for principal study lessons.
The MA degree is designed for students who wish to achieve a Masters level qualification in one year, with 180 SCQF credits at level 11 (90 ECTS credits). The programme runs full-time for four terms, 43 weeks in total, with the fourth term being dedicated to a largely independent project. 31 weeks of 90 minutes principal study lessons are offered, to a total of 46.5 hours. (Nine extra hours may be allocated to additional study of a related instrument, where appropriate).
The MMus degree is intended for students who are seeking an extended and thorough professional grounding at Masters level in their chosen area of specialism. This is a two-year, full-time programme, leading to 240 SCQF credits at level 11 (120 ECTS credits). The majority of the teaching and learning takes place in terms one, two and three of both years, to a total of 81 hours across the two years. (Nine extra hours may be allocated to additional study of a related instrument, where appropriate).
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Why choose us?
The Royal Conservatoire of Scotland is in the World Top 10 for performing arts education 2016, 2017, 2018, 2020, 2021 and 2022 (QS World Rankings)- 90-minute individual lesson per week on your principal study
- An international teaching team, with many years of education and performing experience — many hold positions in the national
artistic companies - Masterclasses are key to widening our students’ experiences.
- Recent masterclasses have featured guests such as Nicola Benedetti, the Brodsky Quartet, Paul Coletti, Professor David Dolan, Decoda, James Ehnes, David Geringas, Lutsia and Alina Ibragimova, Rinat Ibragimov, Ralph Kirshbaum, Henning Kraggerud, Graham Mitchel, Johannes Moser, Trio Apaches, Maxim Rysanov, Janet Sung and Raphael Wallfisch
- Meaningful connections with world-class professional ensembles, including regular proto-professional collaborations with Scottish
Ensemble, Red Note Ensemble, the Royal Scottish National Orchestra, Scottish Opera and the BBC Scottish Symphony Orchestra - Side-by-side chamber music opportunities with ensembles including Hebrides Ensemble and the Brodsky Quartet
- Our teaching focusses on integrating technique and creativity, musicality and theory — it’s about ‘head’ and ‘heart’
Read student Sagnick Mukherjee’s experience of studying MMus Strings at the Royal Conservatoire of Scotland on The Strad website.
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Teaching staff
The String Department is staffed by artists who enjoy professional careers alongside their work at the Royal Conservatoire of Scotland. The intimate size of the department means that students receive excellent contact hours and attention from the team, whilst benefiting from each staff member’s considerable professional experience and external contacts.
Head of Strings
Associate Head of Strrings
Visiting Professor
Violin
Bernard Docherty
Donald Grant
Gongbo Jiang
Viola
Tom Dunn
Sophie Renshaw
Violoncello
Double Bass
Ana Cordova
Graham Mitchell (Visiting Teacher)
Baroque Violin
Dorian Bandy
Baroque Viola
Baroque Cello
Alison McGillivray– Principal, English Concert/ Concerto Caledonia
Accompanists
Chamber Music
Jane Atkins
Dorian Bandy
Greg Lawson
Sophie Renshaw
David Watkin
Joseph Swensen
Masterclasses
All students have an opportunity during their time at the Royal Conservatoire of Scotland to take part in workshops and masterclasses with some of the world’s most renowned performers, including:
- Pedro de Alcantara
- Nicola Benedetti
- Simon Fischer
- Ilya Gringolts
- Rinat Ibragimov
- Alina Ibragimova
- Lutsia Ibragimova
- Ralph Kirshbaum
- Lawrence Power
- Joel Quarrington
- Rachel Roberts
- Jacqueline Shave
- Joseph Swensen
- Raphael Wallfisch
- Pieter Wispelwey
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Facilities
Strings students use three public performing venues, the Athenaeum Theatre, Stevenson Hall and Ledger Recital Room for rehearsal and performing, on a weekly basis.
The RCS possesses, for student use, a wide-ranging and extensive collection of specialist ancillary instruments for both modern and period performance.
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Graduate destinations
- David Bamaung Assistant Principal Viola, Welsh National Opera
- Javier Fernandez Diaz Profesor de Violin at Conservatorio Profesional Garcia Matos de Plasencia
- Clara Hernandez Profesora de Violin at Conservatorio Profesional de Musica Esteban Sanchez de Merida
- Ji?í Kabát Director of Music School at Pardubice Conservatoire and was a member of Pavel Haas Quartet
- Katrina Lee Principal 2nd Violin, Scottish Ballet
- Maxwell Quartet Selected as Tunnell Trust and Park Lane Group Young Artists; Winners of the 9th Trondheim International Chamber Music Competition
- Wouter Raubenheimer Principal Viola, Stavanger Chamber Orchestra and Principal Viola, Chamber Orchestra of Europe
- Duncan Strachan Artistic Director of the Loch Shiel Festival
- Erik Vardanyan Suzhou Symphony Orchestra
- Veronika Vardpatrikyan Assistant Principal Viola, Yerevan Symphony Orchestra, Armenia
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Fees and scholarships
Tuition fees for academic year 2022-23
MMus – Scottish Students
£9,927 (full-time)
£4,965 (part-time)
MMus – UK Students
£9,927 (full-time)
£4,965 (part-time)
MMus – International Students (Including EU)
£19,635 (full-time)
£9,819 (part-time)
MA – Scottish Students
£13,464
MA – UK Students
£13,464
MA – International Students (Including EU)
£23,601
From the next academic year (21/22) all EU students commencing study in Scotland will pay fees at the International rate.
Scottish
New Scottish domiciled students may be eligible for a Postgraduate Tuition Fee Loan. All eligible students will be able to apply directly to Student Awards Agency for Scotland (SAAS) for a non-means-tested loan of up to £3,400. See the SAAS website for further details of the PSAS scheme.
Scottish domiciled postgraduate students on eligible courses can also apply for a Postgraduate Living Cost Loan up to £4,500 towards living expenses. This is in addition to the existing loan available towards the cost of their tuition fees.
English
Postgraduate students from England can benefit from a postgraduate loan of up to £11,222 (in 2020/2021) to be used towards tuition fees and/or living costs.
Northern Irish
Students from Northern Ireland may be eligible to apply for a Postgraduate Tuition Fee Loan of up to £5,500 to help with the cost of their course fees. Please see the Student Finance NI website for more details.
Welsh
From 1 August 2019, students ordinarily resident in Wales (and those from the EU studying at a Welsh institution) may be entitled to a combination of loan and grant as a contribution to costs while studying a postgraduate Master’s degree course. The total amount of support available is non-means-tested and is paid directly to the student. The total support available to an eligible student is £17,000. A grant of up to £6,885 is available, depending upon household income. The balance of support is a loan.
Support comprises of the following elements:
- A non-means-tested contribution to costs base grant of £1,000 is available to all eligible students. ï‚·
- An additional means-tested contribution to costs grant of £5,885 is available to eligible students with a household income of up to £18,370 per annum. For every £6.937 of household income per annum above this threshold, the amount of additional means-tested grant will be reduced by £1.
- A non-means-tested contribution to costs loan is available to all eligible students. The amount of loan available will be equal to the level of total support (£17,000 in 2019/20) less the total grant (base grant plus additional grant) a student is eligible for.
For part-time study, support is allocated over the number of years the course is studied. Support is capped in each academic year; for example, £17,000 for a one year course, £8,500 per year for a course lasting two years and £4,250 per year for a course lasting four years. Full-time courses between one and two years are eligible for support. Part-time courses of up to four years are eligible for support.
EU Students
The Royal Conservatoire is resolutely international in outlook and we celebrate and are enriched by the diversity of our community of students and staff. Students from across the globe are -welcome and valued members of the RCS community and we continue to welcome applicants from across the EU and throughout the world.
Q: What is the fee situation for EU students?
A: On July 9 2020 Scotland’s Minister for Further Education, Higher Education and Science, Richard Lochhead announced changes to the fee regime for EU students studying in Scotland. From next academic year (21/22) all EU students commencing study in Scotland will pay fees at the International rate.
Q: I’m an EU student looking to start my studies in 2021-22. How does this impact me?
A: From the next academic year (21/22) all EU students commencing study in Scotland will pay fees at the International rate.
Only EU nationals who are ‘settled’ or ‘pre-settled’ in the UK will remain eligible to apply for home tuition fees providing they meet the residency conditions.
Other EU nationals and associated groups, starting a course of study in academic year 2021-22 or later, are not eligible to apply to SAAS for tuition fee support.
Because of a long-standing agreement between the UK and Republic of Ireland, new students from the Republic of Ireland starting their studies in 2021-22 will be eligible to pay the UK fee.
Scholarships
Any potential student who auditions for a place at the Royal Conservatoire will automatically be considered for a scholarship. They are awarded on a combination of talent, potential and financial need. More information about Scholarships is available on our Fees and Funding page.
Sources of external funding
For more information about alternative funding sources, including external scholarships and bursaries, please visit our Fees and Funding page.
The Conservatoire’s International and Student Experience team are available to advise and assist applicants and current students in respect of queries about funding your studies at the Conservatoire. Please email or telephone +44 (0)141 270 8281/ +44 (0)141 270 8223 for further information.
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Entry requirements
Our admissions processes are designed to be fair, transparent and efficient. The audition/interview approach serves the dual nature of allowing the panel to assess first-hand an applicant’s suitability for their chosen programme and it also affords the applicant the opportunity to gain a deeper insight into the nature of that programme and the opportunities offered by the RCS.
In arriving at its recommendation, the audition/interview panel will take account of all aspects of the applicant’s profile i.e.:
- Performance at audition/interview
- Commitment to the particular programme
- Potential to benefit from the programme
- Academic qualifications
- Personal statement
- Performance qualifications
- Performance/practical experience
- References
- Contextualised data
Academic Entry Requirements
Candidates for both the MMus and MA are normally expected to hold a good honours (at least 2:2) degree, or its overseas equivalent, in a subject area relevant to the demands of the programme.
Language of Study
The language of study is English. Applicants who first language is not English will be required to provide evidence of proficiency in English. We accept the International English Language Testing System (IELTS). Level 6.0 (with a minimum score of 5.5 in each component) is required of applicants to the School of Music.
Direct Entry
Applications for direct entry beyond Year 1 will be considered on a case-by-case basis and in accordance with the Royal Conservatoire’s Recognition of Prior (Experiential) Learning policy. If you wish to apply for direct entry, please mark the point of entry on UCAS Conservatoires application as 2.
Non-standard Entry
We welcome applications from individuals whose academic qualifications or English language qualifications do not match (in terms of equivalence) or fall short of the normal entrance requirements, where specified*. Having satisfied the Audition Panel that they meet the selection criteria and demonstrated that they have the capacity to pursue the proposed course of study, such applicants will be considered through examination of contextualised data provided in accordance with the Non-Standard Entry Policy. The appropriate Head of Department/ Programme will make a case in support of the applicant for consideration by the Directors of the Schools and Convener of the Quality and Standards Committee.
*Note that UK Visa and Immigration (UKVI) imposes minimum English Language qualifications in respect of international (non-EU) applicants who require a Tier 4 Visa to study in the UK.
Mature Students
RCS welcomes applications from mature students, i.e. students over the age of 21 at entry to the programme. Whilst the selection procedures will still be applied, consideration will be given to appropriate artistic experience not normally expected in school leavers, which is deemed to compensate for any lack of traditional entrance qualifications. Successful mature applicants, as for all other applicants, must convince auditioning panels that they have the ability and potential to cope with the demands of the programme. Their progress, especially in the early stages of the programme, will be closely monitored and appropriate advice and support given.
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Auditions
With the safety of our students, applicants and staff as our priority, all auditions will take place via audition recording. This may or may not be followed by an in-person interview or further audition. The deadline dates to apply and submit your audition recording can be found in the table below –
UCAS Conservatoires Application Deadline Audition Recording Deadline Applicants 1 October 2021 15 October 2021 Once you submit your UCAS Conservatoires application, please then upload your audition recording to Acceptd – https://app.getacceptd.com/rcs.
All decisions will be posted on UCAS Conservatoires following your audition via UCAS Conservatoires track (you will need your username and password). We aim to post outcomes before Christmas (week commencing 13 December 2021).
Through audition, applicants will be required to demonstrate:
- a high degree of technical competency on the instrument or voice in the service of specific repertoire
- an ability to demonstrate a considerable degree of understanding of the repertoire performed
- an ability to perform specific repertoire convincingly
- a considerable degree of self-confidence and creativity with respect to the repertoire performed
- a degree of self-sufficiency, initiative and independence in selecting, preparing and performing a particular programme
- a developing musical personality
Recording Guidelines:
- When setting up for your video recording, your body (typically, from about the waist up) and instrument should be the focal point of the frame. The committee wants to be able to see not just your face but how well you navigate your instrument.
- The video recording should be provided in ONE continuous shot without separate tracks for different musical pieces.
- Please begin the recording by introducing yourself to camera and stating what you will be performing. You can take a little time between pieces so long as your body must remain in the frame.
- For any pieces that were written for your instrument and piano accompaniment, you are encouraged to perform with piano accompaniment (whether live or pre-recorded) if practical for you. Be assured, however, that if this is not possible for you, then you will not be disadvantaged in any way.
Please prepare the following for your audition recording –
Violin
Any two movements from Bach’s Sonatas or Partitas, or equivalent piece (Bartok, Hindemith, etc) for solo violin and a movement from a major concerto (Beethoven, Brahms, Bartok, Tchaikovsky, Prokofiev, Barber etc.) or a major performance piece (Chausson, Bartok Rhapsody, Ravel Tzigane, etc).
Viola
Any two movements from Bach’s Cello Suites, Violin Sonatas or Partitas, or equivalent piece (Ligeti, Hindemith etc) for solo viola and a movement from a Major concerto (Walton, Bartok, Schnittke, etc.) or a major performance piece or one or two movements from a sonata (Enesco Concertpiece, Schumann Marchenbilder, or Brahms Sonata etc).
Cello
Any two movements from Bach’s Cello Suites, or equivalent piece (Britten, Crumb, etc) for solo cello, and a movement from a major concerto (Dvorak, etc.) or a major performance piece or sonata.
Double Bass
Any movement from a major concerto and a contrasting performance piece.
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How to Apply
- Apply via UCAS conservatoires
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Applications are made through UCAS Conservatoires website. The UCAS Conservatoires application system is separate from the main UCAS undergraduate application system. If you wish to apply to conservatoires and universities within UCAS, you will need to register for both services.
There is a UCAS application fee of £26.50 to register to use UCAS Conservatoires.
To begin a new UCAS Conservatoires application, you will need to register. You can read the UCAS Conservatoires’ advice on completing the UCAS Conservatoires application.
If you need assistance with your application, you can contact UCAS Conservatoires team by telephoning (Monday to Friday, 8.30 — 18.00). Phone 0371 468 0470 from within the UK or +44 330 3330 232 if you are calling from overseas.
Application deadline date
The deadline dates to apply and submit your audition recording can be found in the table below –
UCAS Conservatoires Application Deadline Audition Recording Deadline Applicants 3 October 2022 17 October 2022 Once you submit your UCAS Conservatoires application, please then upload your audition recording to Acceptd – https://app.getacceptd.com/rcs.
If you submit your application after this date, we cannot guarantee that your audition recording will be reviewed by the audition panel. If you do want to submit a late application, you must contact admissions@rcs.ac.uk in the first instance to check we are accepting late applications. Late applications will be considered on a case by case basis and will not be considered in the first round of scholarship allocation.
We do not offer deferred entry. If you wish to commence in 2023, you must apply next year.
The Royal Conservatoire of Scotland institution code is R58.
MMus Performance (2 years) – 890F
MA Performance (1 year) – 801F
Book an advice lesson with one of our Music tutors (faculty)
An advice lesson gives you the chance to experience having a lesson with Conservatoire staff and provides a great opportunity for you to gain some expert advice. If you are unsure of what programme you wish to apply for, we recommend booking an advice audition with a teacher who can help advise which programme you may be suitable for. Advice lessons normally take place late August to early October and are dependent on staff availability.
- Application fee
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There is a UCAS Conservatoires application fee of £26.50. In addition to the application fee, each conservatoire charges an audition assessment administration fee. For RCS, the audition assessment administration fee is £65 per programme applied for. Fees are not refundable. The fees are paid via the UCAS Conservatoires website and not directly to RCS.
Audition Assessment Administration fee
The Royal Conservatoire of Scotland charges an audition assessment administration fee of £65 per course.
We recognise that auditioning and interviewing for conservatoires, drama and ballet schools can be costly. The audition assessment administration fee charge allows us to offer a thorough and positive experience to all applicants and we encourage you to get in touch to ask the panel questions and find out more about the Royal Conservatoire of Scotland to see if it is the best place for you.
- References
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It is your responsibility to ask two separate referees to write references and ensure that these are sent to RCS.
The references must be written by two different people and we will not accept references from family, other relatives or close friends. You can submit your UCAS Conservatoires application form and send your references at a later date, but they must be received prior to your audition date.
UCAS Conservatoires provides reference forms for you to download and send to your referees for completion.
- Entrance requirements
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Our admissions processes are designed to be fair, transparent and efficient. The audition/interview approach serves the dual nature of allowing the panel to assess first-hand an applicant’s suitability for their chosen programme and it also affords the applicant the opportunity to gain a deeper insight into the nature of that programme and the opportunities offered by the RCS.
In arriving at its recommendation, the audition/interview panel will take account of all aspects of the applicant’s profile i.e.:
- Performance at audition/interview
- Commitment to the particular programme
- Potential to benefit from the programme
- Academic qualifications
- Personal statement
- Performance qualifications
- Performance/practical experience
- References
- Contextualised data
Academic Entry Requirements
Candidates for both the MMus and MA are normally expected to hold a good honours (at least 2:2) degree, or its overseas equivalent, in a subject area relevant to the demands of the programme.
Language of Study
The language of study is English. Applicants who first language is not English will be required to provide evidence of proficiency in English. We accept the International English Language Testing System (IELTS). Level 6.0 (with a minimum score of 5.5 in each component) is required of applicants to the School of Music.
Direct Entry
Applications for direct entry beyond Year 1 will be considered on a case-by-case basis and in accordance with the Royal Conservatoire’s Recognition of Prior (Experiential) Learning policy. If you wish to apply for direct entry, please mark the point of entry on UCAS Conservatoires application as 2.
Non-standard Entry
We welcome applications from individuals whose academic qualifications or English language qualifications do not match (in terms of equivalence) or fall short of the normal entrance requirements, where specified*. Having satisfied the Audition Panel that they meet the selection criteria and demonstrated that they have the capacity to pursue the proposed course of study, such applicants will be considered through examination of contextualised data provided in accordance with the Non-Standard Entry Policy. The appropriate Head of Department/ Programme will make a case in support of the applicant for consideration by the Directors of the Schools and Convener of the Quality and Standards Committee.
*Note that UK Visa and Immigration (UKVI) imposes minimum English Language qualifications in respect of international (non-EU) applicants who require a Tier 4 Visa to study in the UK.
Mature Students
RCS welcomes applications from mature students, i.e. students over the age of 21 at entry to the programme. Whilst the selection procedures will still be applied, consideration will be given to appropriate artistic experience not normally expected in school leavers, which is deemed to compensate for any lack of traditional entrance qualifications. Successful mature applicants, as for all other applicants, must convince auditioning panels that they have the ability and potential to cope with the demands of the programme. Their progress, especially in the early stages of the programme, will be closely monitored and appropriate advice and support given.
- Selection process
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Applicants who apply on time invited to upload their audition recording to Acceptd. The deadline dates can be found below –
UCAS Conservatoires Application Deadline Audition Recording Deadline Applicants 1 October 2021 15 October 2021 If you submit your audition recording after this date, we cannot guarantee that your audition recording will be reviewed by the audition panel.
Please note that the Conservatoire is obliged to offer one audition recording per application. If you are unable to submit your audition recording by the deadline date above, you must email us immediately stating the reason. We have a specific period allocation to audition and all on time applications will receive a decision before Christmas (week commencing 13 December 2021). If your audition recording is delayed, there is a risk that places will already have been taken and your application may not be considered in the first round of scholarship allocation.
Applicants are selected first and foremost on the basis of merit and potential. However, due attention is also paid to the range of Principal Studies accepted in order to ensure the optimum experience for each student and to sustain the critical mass required for curricular activities, such as the symphony orchestra and choral activities.
- Audition
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With the safety of our students, applicants and staff as our priority, all auditions will take place via audition recording. This may or may not be followed by an in-person interview or further audition. The deadline dates to apply and submit your audition recording can be found in the table below –
UCAS Conservatoires Application Deadline Audition Recording Deadline Applicants 1 October 2021 15 October 2021 Once you submit your UCAS Conservatoires application, please then upload your audition recording to Acceptd – https://app.getacceptd.com/rcs.
All decisions will be posted on UCAS Conservatoires following your audition via UCAS Conservatoires track (you will need your username and password). We aim to post outcomes before Christmas (week commencing 13 December 2021.)
Through audition, applicants will be required to demonstrate:
- a high degree of technical competency on the instrument or voice in the service of specific repertoire
- an ability to demonstrate a considerable degree of understanding of the repertoire performed
- an ability to perform specific repertoire convincingly
- a considerable degree of self-confidence and creativity with respect to the repertoire performed
- a degree of self-sufficiency, initiative and independence in selecting, preparing and performing a particular programme
- a developing musical personality
Recording Guidelines:
- When setting up for your video recording, your body (typically, from about the waist up) and instrument should be the focal point of the frame. The committee wants to be able to see not just your face but how well you navigate your instrument.
- The video recording should be provided in ONE continuous shot without separate tracks for different musical pieces.
- Please begin the recording by introducing yourself to camera and stating what you will be performing. You can take a little time between pieces so long as your body must remain in the frame.
- For any pieces that were written for your instrument and piano accompaniment, you are encouraged to perform with piano accompaniment (whether live or pre-recorded) if practical for you. Be assured, however, that if this is not possible for you, then you will not be disadvantaged in any way.
Please prepare the following for your audition recording –
Violin
Any two movements from Bach’s Sonatas or Partitas, or equivalent piece (Bartok, Hindemith, etc) for solo violin and a movement from a major concerto (Beethoven, Brahms, Bartok, Tchaikovsky, Prokofiev, Barber etc.) or a major performance piece (Chausson, Bartok Rhapsody, Ravel Tzigane, etc).
Viola
Any two movements from Bach’s Cello Suites, Violin Sonatas or Partitas, or equivalent piece (Ligeti, Hindemith etc) for solo viola and a movement from a Major concerto (Walton, Bartok, Schnittke, etc.) or a major performance piece or one or two movements from a sonata (Enesco Concertpiece, Schumann Marchenbilder, or Brahms Sonata etc).
Cello
Any two movements from Bach’s Cello Suites, or equivalent piece (Britten, Crumb, etc) for solo cello, and a movement from a major concerto (Dvorak, etc.) or a major performance piece or sonata.
Double Bass
Any movement from a major concerto and a contrasting performance piece.
- Following your audition
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All decisions will be posted on UCAS Conservatoires following your audition via UCAS Conservatoires Track, (you will need your username and password). You will also receive notification from UCAS Conservatoires when decisions on all your choices are available.
UCAS Conservatoires Codes
Guaranteed Unconditional (GU) RCS is satisfied from the information you have given, that you have already met the conditions for entry. Unless your application and/or qualification are subsequently shown to be fraudulent, a guaranteed unconditional offer is binding.
Guaranteed Conditional (GC) RCS has made the offer subject to you meeting certain conditions such as examination results. Conditions can be viewed via UCAS Conservatoires Track. Unless your application and/or qualifications are subsequently shown to be fraudulent, the offer is binding if you accept the offer and meet the conditions. You must meet the conditions of the offer by 31 August 2021, unless an earlier date is specified. If your conditions include obtaining IELTS (English Language test), you must meet this condition by 31 May 2021.
Reserve Unconditional (VU) RCS is satisfied from the information you have given, that you have already met the conditions for entry and you have been offered a place on our reserve pool.
Reserve Conditional (VC) RCS has offered a place on its reserve pool subject to you meeting certain conditions such as examination results. Conditions can be viewed via UCAS Conservatoires Track.
Unsuccessful (R) RCS does not wish to offer you any type of a place.
- Replying to offers
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As soon as a decision is made, UCAS Conservatoires will let you know. You must reply online via UCAS Conservatoires Track. Your reply date is displayed on Track. If you do not reply by the date given, your offers will be declined automatically. The reply date may be different to other applicants as it is based on when you receive your last decision.
Last decision by Your reply date is 4 January 2021 1 February 2021 16 March 2021 13 April 2021 15 May 2021 1 June 2021 13 July 2021 29 July 2021 4 August 2021 8 September 2021 After 4 August 2021 22 September 2021 Please see the UCAS Conservatoires website for more information on replying to offers. If you make an application through UCAS Conservatoires, UCAS or UCAS Teacher Training, you cannot hold more than one confirmed place. A confirmed place in UCAS Conservatoires is a guaranteed unconditional offer as your first choice (GU1) and in UCAS and UCAS Teacher Training it is an unconditional firm (UF) place. If you receive more than one confirmed place, UCAS will ask you to accept one offer and withdraw from any others.
- Policy
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We have a number of policies and statements which you should read when applying to study at the Royal Conservatoire.
Please select the links below to read each policy.
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David Watkin Interview
New strings head at Conservatoire is ready to shake up the system
The Herald interview by Kate Molleson , Wednesday 25 February 2015
David Watkin, newly anointed Head of Strings at the Royal Conservatoire of Scotland, is leaning forward at his desk, describing in animated detail a class he intends to introduce to the RCS curriculum.
David Watkin, newly anointed Head of Strings at the Royal Conservatoire of Scotland, is leaning forward at his desk, describing in animated detail a class he intends to introduce to the RCS curriculum.
Kate Molleson
‘Wild-Card Thursdays’ will see string students turn up once a week for a two-hour session about which they know nothing at all. They might be required to dance or to improvise theatre sketches. They might find themselves singing, playing their instruments to a backdrop of Latin verse or simply lying on the floor and breathing properly. It’s all a long way from the traditional music-college diet of scales and arpeggios.
Watkin is what you might call a lateral-minded musician. He conducts and he coaches young people, but most Scottish audiences will know him as a superb cellist: he was a soloist, chamber player and principal cello of the Scottish Chamber Orchestra until an autoimmune condition forced him to stop playing just over a year ago. For many instrumentalists, such a blow would be spirit-destroying. Watkins doesn’t suggest that the past year has been easy, but when we meet he is full of a drive and optimism that can’t be feigned. “I’ve always been a musician first and a cellist second,” he says. “Maybe losing the cello wasn’t so bad because it’s only ever been one avenue of musicianship for me.”
In conversation, Watkin is rather like his playing: energetic and fiercely intelligent but also playful and light-handed. His references dart between obscure musicological texts and the Pixar film Ratatouille. He uses the latter example – a cartoon about a Parisian rat who becomes a chef – to illustrate how real expression can cut through any pompous guff. “Not everyone can become a great artist, but a great artist can come from anywhere,” he says, quoting the movie’s notorious food critic Anton Ego. I suspect it probably sums up his own approach to music education, too.
The new RCS job couldn’t have been better timed for Watkin in terms of occupying the gaping space that cello playing filled for 40-odd years. But it’s clear that the new position isn’t just a fall-back. Watkin talks passionately about his father’s work as a peripatetic violin teacher in Port Talbot during the 1970s – “he was teaching every kid the violin in the biggest council estate in Europe, long before Sistema” – and applies the same principles of broad reach to the RCS, talking intently about the importance of the institution being a resource for the whole of Scotland.
As for those Wild-Card Thursdays? If it all sounds a bit fuzzy – well, it isn’t. At the core of Watkin’s mission is a deeply serious approach to music-making that pivots around the decidedly unfuzzy discipline of theory. A couple of years ago he wrote a potentially game-changing article for The Strad magazine in which he outlined what he thinks is wrong with the state of string teaching in music colleges and string playing in general.
“At conservatoires,” he wrote, “music theory has been pushed to the margins in the minds of many young performers (and often their teachers), whose goal is to build formidable technique. After all, technical prowess is easier to measure than musicianship, and it’s generally the prime currency at conservatoires, auditions and competitions.” The thrust of his argument is that a thorough grasp of theory is essential for any inquisitive, thinking musician. “How can we find real meaning in a piece if we do not understand how it works? How can we be eloquent without grammar? How can groups discuss interpretation without a common language?”
The article caused something of the stir he intended. “As I pinged it off, I thought, ‘I can kiss goodbye to any guest teaching at any conservatoire in the English-speaking world.’ It is quite damning of the status quo… But look,” he beams. “The RCS gave me a job!”
Watkin himself never went to music college: he studied musicology at Cambridge (where he was also a choral scholar) and learned cello privately until he began picking up work in various London orchestras. Before long he was drawn into the early music crowd, attracted by its “genuine sense of discovery and revolution. This was the late 1980s,” he says, “when there were still the real pioneers around. Today the technical standard has probably gone up in early music, but that sense of discovery has been diluted because it’s being taught. It’s a shame when early music, which was such a revolutionary thing, gets reduced to a new orthodoxy. When you get teachers saying, ‘all you’ve got to do to get work in early instrument groups is play a bulge here and no vibrato here…”
At the heart of Watkin’s approach to pedagogy is a desire to empower students to think for themselves, which can’t be a bad starting point for any head of department. He tells me about something he almost wrote in that Strad article but didn’t because he knew it would distract from the matter at hand.
“At that time there was a huge furore about scandals in music schools and colleges. For me, behind all the stuff about theory is the fact that a relationship between teacher and pupil cannot be dictatorial. It has to be a two-way collaboration; both people have to be learning. My dream is that one day the student comes back to the teacher and says, ‘that’s a minor subdominant chord there – so it can’t be an up-bow like you told me to do’. The faults of the system can be righted from either side.” Listening to him talk, I get the sense the RCS could have hired no better person to instigate the process.
Before I go, Watkin opens a desk drawer and rummages around for a CD. It’s his last recording, Bach’s complete cello suites, made in the months just before he stopped playing and due for release next week. Late in 2013 he was diagnosed with scleroderma, a chronic condition that relates specifically to his fingers: when he presses down on the strings, his blood vessels break. Now he can demonstrate a few bars in a lesson but six hours of rehearsal is out of the question. “I managed to get that recording done in early December,” he says, looking down at his hands. “My fingers would be black and blue by the end of the day, but I got it done.”
I head home and put on the first disc, and find myself in tears by the end of the first suite’s Allemande. Watkin’s playing is breathtaking: poised, tender, searching, eloquent. The fast movements really dance, the slow movements really sing. The sound is gorgeous – gut strings on a 1670 Cremona instrument for the first five suites and a smaller, earthier, slightly earlier five-string cello for the sixth. There is grit and solemnity, pain and resolve, but no trace of the anger that his illness must have caused during the recording. Mostly, Watkins shapes his phrases with all the time and love in the world. It’s a truly beautiful parting statement.