Welcome to Trinity Laban

1. Welcome to Trinity Laban Employability and the BMus 1) Music degrees in a conservatoire Music Profession from a performance perspective 2) Overview of how BMus seeks to address employability

2. Degrees in Music Performance • Music performance at a conservatoire was previously non-graduate training • Pre-degree programmes tended to “train” for a much narrower definition of the music profession • Pre-degree programmes were constructed more autominously but with less explicit consideration to wider professional needs

3. The Profession for performing musicians • Was there a time when performers just played and composers just wrote music? • Portfolio career – how new? • Changing profession – has it ever been thus?

4. Funding!! “The country's symphony orchestras received a standard 11% cut in real terms, but Cambridge's Britten Sinfonia was rewarded for innovative touring work with an 11.8% increase; and Tête à Tête opera, which creates small-scale work in innovative spaces, became part of the portfolio for the first time, as did the Academy of Ancient Music.” (Guardian Online 30/03/2011)

5. Performance Plus: Music Management Music Therapy IVT Research Recording/Production Marketing/self-promotion; Outreach/animateur activity Convening festivals Broadcasting/Presenting Arranging Technology

6. Association of European Conservatoires • Annual Congress 2006 • UniversitätMozarteum Salzburg • Dan McLean – Schulich School of Music, McGill Quebec

7. Maurice Whitaker IMG Artist Management • technical accomplishment • academic understanding • understanding of the constrains and challenges of the business world • understanding of the need for him/her to be the ambassador of his/her orchestra • quality of presentation • be musically communicative • be historically aware • have stage presence • understand his/her media role • ability to run his/her career as a small business.

8. Creating a Land with Music – Youth Music 2002 • 64% classical music • 44% film/tv • 42% jazz • 44% pop • 41% opera/music theatre • 31% folk • 31% rock • 24% latin • 23% blues • 18% electronic • 14% indie • 13% reggae • 7% country western • 24% other

9. Creating a Land with Music • 52% of those questions admitted to performing across 4 or more of the genres • 35% of those question admitted to performing across 3 or more of the genres

10. Trinity Laban Mission • “Trinity Laban Conservatoire of Music and Dance is an international artistic community whose overriding purpose is to advance the art forms of dance and music. We achieve this by bringing together artists to train, perform, collaborate and research in an inspiring creative, intellectual and physical space. Performance and artistic practice are at the heart of all our activities. We seek out and embrace new means of artistic education and expression: we are experimental, creatively ambitious and forward-thinking. • As a leading and progressive arts educator, we identify, support and develop talented and innovative performers and practitioners wherever they may be found and throughout their creative lives.

11. Cross Cutting Themes • Collaboration • Digital Futures • Internationalisation

13. Engaging Audiences 4 • To gain experience of improvising and devising music• To introduce group creativity• To lead small group activity with your peers• To gain experience through observation of the professional world and to begin to consider the nature of a range of audiences

14. Engaging Audiences 5 •Devising, planning and leading a session of musical activity designed to engage new audiences/learners in music making•The role of musicians as visiting artists, in schools and community settings•Designing and evaluating activities to meet the needs of specific participant groups/audiences and to achieve specific objectives

15. Engaging Audiences 6(1) • Creative and critical thinking• Being able to communicate effectively• Time and financial management• Technological skills• Presentation skills• Outreach and audience development• Marketing• Flexibility • Autonomy – purpose

16. Engaging Audiences 6(2) • to develop entrepreneurial skills, artistic leadership, autonomy and the ability to reflect upon processes and outcomes; • to gain self-led professional experience and build contact networks.

17. Specialist Options • IVT – linked to the LTCL Trinity Guildhall Diploma • Arranging • Jazz Improvisation for Non-Jazz Musicians • Performing Practice (Essential, Advanced, The Age of Recording) • Digital Musicianship (Capture, Publish, Edit; For Performers) • Cultural Studies • The 4th Plinth

18. Core Curriculum – Years 1 & 2 • Reception and Interpretation • Applied Musicianship • Musical Studies • Technology for Learning (Year 1)

19. CoLab • 10 Credits in each year • Features in all Music Faculties Programmes and introduced in Dance this year

20. Stephen Sondheim Musicals are plays, but the last collaborator is your audience, so you've got to wait 'til the last collaborator comes in before you can complete the collaboration. http://www.achievement.org/autodoc/page/son0int-5http://www.brainyquote.com/quotes/keywords/collaboration.html#bWWQ5lzCTOBHYUhh.99