PA-Musical Theatre March 2009

UNDERGRADUATE STUDIES
PROGRAMME
HANDBOOK
FACULTY OF PERFORMING ARTS
MUSICAL
THEATRE
ALL RIGHTS RESERVED. 2004, 2009.
THIS DOCUMENT AND ITS CONTENTS ARE THE PROPERTY OF LASALLE COLLEGE OF THE ARTS, 1 MCNALLY STREET, SINGAPORE 187940.
UNAUTHORISED USE IS PROHIBITED. ANY BREACH OF COPYRIGHT WILL BE SUBJECT TO PROSECUTION.
THE PROGRAMME HAS BEEN DESIGNED AND DEVELOPED BY LASALLE COLLEGE OF THE ARTS IN 2004.
THE PROGRAMME HAS BEEN VALIDATED BY THE OPEN UNIVERSITY ON 5 TO 7 MAY 2004, AND REVALIDATED ON 25 AND 26 MARCH 2009.
Programme Information
Module Descriptions and Reading Lists
Supplementary Information / Appendices
Appendix I Information on How the Programme is Managed
Appendix II Academic Structure and the Credit System
Appendix III Examples of Assessment Forms
Academic Regulations
The Academic Regulations Section is a separate document that is available
on the Learning Portal.
Assessment Information and Guidance
Note: Each section has its own contents page.
OVERVIEW OF
CONTENTS
From the President 2
From the Dean 3
About this Handbook 4
Introduction to the Programme 6
Programme Structure 10
Programme Design, Content & Organisation 11
Personal Professional Development 18
Summary of Hours & Credits 20
The Learning Outcomes 22
SECTION
CONTENTS
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This handbook will tell you lots of
useful things about studying on
the performing arts programmes
of LASALLE, but it will not tell you
everything you need to know.
The programmes of your faculty are sometimes
consciously experimental whilst at other times they
focus on the acquisition of skills for your future
career. They are however always challenging and at
the contemporary edge of creative performance,
and this is because they thrive within a College
that values todays concepts of creativity across all
its faculties and programmes whilst it debates and
starts to sketch tomorrows notions of Art. One of the
inputs into your programme will be an appreciation of
different artistic traditions originating from different
parts of the world. You will be encouraged to enrich
your concepts of creativity with these divergent ideas
and practices.
Another reason why you will nd LASALLE such
a stimulating college in which to study is that your
programme sits along side others from radically
different artistic traditions and disciplines but whose
students are all examining the same concepts that
you grapple with. Talk with them, work with them,
learn from their different perspectives, experiment
together and you will uncover secrets not only of your
art but also of you.
Professor Alastair Pearce
President
LASALLE College of the Arts
FROM THE
PRESIDENT
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Congratulations on being accepted
into a programme in the Faculty of
Performing arts at LASALLE. Your
presence here means that your
abilities and potential are already of
a standard that singles you out as an
artist of the future.
You will meet many exciting challenges and will
also face a deal of criticism aimed at improving your
work. It is important that you remember that, by your
very selection into our programme, we already think
you are special - even when we are making more
demands of you.
FROM THE
DEAN
Our Facultys teachers are amongst the most
respected international professionals and are here to
inuence future directions in the performing arts by
developing the practitioners and leaders of tomorrow.
They expect from you the highest application and
preparation. A vocational course differs from other
tertiary studies in that you are a valued member of
a company and all inter-dependent. You will learn as
much from experiencing the progress of others as you
will from the teaching itself. lf you concentrate, work
hard and contribute, you will grow in skills, creativity
and knowledge.
The Performing Arts are the most collaborative of
arts forms and involve physical skills that are varied
and exhilarating. Students in Dance, Music, Acting,
Musical Theatre, Technical Theatre and Performance
Studies become part of a community of emerging
artists. Here you will meet many of your future
collaborators and together will explore and interpret
much of the worlds greatest art. You will also be
encouraged to be creative artists and express your
ideas and feelings in professional ways so you can
contribute to society and be employed anywhere in
the world.
Aubrey Mellor OAM
Dean
Faculty of Performing Arts
/ 4 PROGRAMME INFORMATION
ABOUT THIS
HANDBOOK
The Student Handbook is designed to
give you information and guidance
about the programme you are
studying and the academic and
organisational framework in which it
is delivered.
/ 5
The Handbook is divided into the following sections:
A Programme Information
B Assessment Information and Guidance
C Module Descriptions and Reading Lists
Appendix I Information on How the
Programme is Managed
Appendix II Academic Structure and the
Credit System
Appendix III Examples of Assessment
Forms
Academic Regulations
The College website has extensive additional
Information including:
The College Health and Safety Policy
The Open University Student Appeals
Procedures
The College Equal Opportunities Policy
Placement Learning Procedures
Accreditation of Prior Learning Procedures
The programme you have joined is validated by the
Open University Validation Services (OUVS). The
OUVS is part of the Open University, a large and
prestigious higher education institution based in
the United Kingdom. LASALLE College as a whole
is accredited by the OUVS, which means that the
institution is recognised as being competent to deliver
education at both undergraduate and postgraduate
levels. The College is required to meet exacting
educational standards and comply with rigorous
codes of practice in such areas as quality assurance,
admissions, assessment and curriculum design.
The Handbook uses the term programme in the
singular. However, you should note that there are
two exit (graduation) points available - the Diploma
of Higher Education after two years and the Bachelor
Degree with Honours after three years.
While we have tried to set out the information as
clearly and straightforwardly as possible, the material
contained in the Handbook is necessarily complex and
much of it has to be expressed in formal, academic
language. It is possible that the Handbook might
raise many questions and it is therefore vital that
you seek advice and guidance on anything you do
not understand. Your programme tutors will also be
explaining the content of this Handbook to you in
greater detail as the programme progresses. You will
hear the terms autonomous learner and reective
practitioner, being used to describe the Colleges
expectation of its students. Both terms describe
the approach that you will be encouraged to take
with both your studies and your practice. You will be
expected to take a signicant amount of responsibility
for your own learning, to nd your own voice and to
develop your own strategies for tackling the work
required of you. This vital process in developing your
professional practice as an artist will be based on your
ability to be analytical, critical and objective about your
work.
You will nd that reviewing and reecting on your
practice, plays an important part in the learning
strategies used at LASALLE. Similarly, the programme
team, with your input, are regularly reviewing
the programme itself to ensure that it meets the
high standards expected of it. This means that the
programme is being regularly updated and revised.
So, whilst the information in the Handbook is as
accurate as possible, it is subject to change. Please
make sure that you update your Handbook if revisions
are published.
INTRODUCTION TO
THE PROGRAMME
LASALLEWhy Study Arts?
Throughout its twenty-year history,
LASALLE College of the Arts has
maintained a determined approach to
arts education and training based on
a learning environment which reflects
the collaborative and interactive
processes inherent in artistic
practice.
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Crucially, the College has developed this educational
strategy from and within a practice-based vocational
context. The specialisms in key areas of art, design
and performing arts are offered as discrete, but
implicitly collaborative, entities. In addition, a
comprehensive revision of the academic infrastructure
has been informed by a close analysis of the
prevailing circumstances of local, regional and global
professional environments, with particular emphasis
on ensuring that the academic provision is responsive
to national agendas aimed at positioning Singapore as
a creative and educational hub for the region.
A number of important factors continue to exert
a profound effect on creative industries and
communities in the 21st Century. Even in what can
be described as the emerging artistic community of
Singapore performing arts, a variety of global issues
have inuenced the performing arts as a working
environment. For example, increasing pressure
from other forms of cultural and entertainment
media have had the effect of changing the way that
theatre practitioners engage in, and are engaged by,
theatre companies. Major investment in developing
infrastructure and the growth of small, independent
companies, often formed to pursue highly-focused
creative objectives are ourishing and receive
important support from, the National Arts Council
and others. Organisations such as the Fun Stage,
the Necessary Stage, TheatreWorks, Toy Factory,
and Wild Rice are providing opportunities for young,
independent and above all exible practitioners, while
a small but inuential group of freelance artists is also
making stimulating contributions
However all this technical wizardry would be an empty
vessel without a key component the performer. And
these performers have to have their own brand of
wizardry. The demands of the contemporary musical
theatre performer require that they sing, dance and
act with equal measure and be adaptable to the
ever-changing styles within this world. Producers are
seeking performers that are not only highly trained in
these skills but are sensitive and creative contributors
to a wide range of theatrical ventures.
Musical Theatre and the Musical Theatre Artist
The world of musical theatre is a diverse one. In
all corners of the globe there are new musical
theatre works being conceived by local creative and
production teams that are resonating with audiences
of that particular area. These works range in size and
ambition and grow organically through ideas of the
writing teams, are given a particular meaning by each
of the performers, are brought alive by directors,
choreographers, designers and musicians and are
ultimately accepted or rejected by the audience to
which they are played. These productions may be
very simply staged but somewhere there are teams
of creative people always trying to move the genre
forward.
There are also hundreds of international touring
productions of blockbuster hits that provide long-term
employment to another new generation of touring
musical theatre families. Every week it seems a new
city in the world is added to the touring circuit and
another new audience is found for the popular musical
theatre genre. Productions originally conceived
for a WestEnd or Broadway audience are being
translated into many different languages and the thrill
of attending live theatre is reaching a more diverse
international audience than ever imaginable 50 years
ago. Technical advances in set construction, lighting
and sound design often make these productions
spectacles within themselves.
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Introduction to the Programme
The Bachelor of Arts (Hons) Musical Theatre
degree, the rst of its kind in the Asian region, is
a performance-based course designed to prepare
the student for professional careers in not only
musical theatre, but plays, cabaret, lm and TV.
The uniqueness of the course is that it is a heavily
skills based degree guiding the student into the
competitive performance arena but is also has an
honors component at the nal level where the
student develops the more academic skill of individual
research. This comprehensive course is based on
the techniques of Singing, Acting, Dancing and
Music Skills. In addition to classes, you will work on
a series of workshops and productions of existing
and original works. In the rst year of the course
there is a series of in-house classroom presentations
demonstrating the skills explored within the learning
modules. The 2nd year introduces the student to the
theatrical environment in a series of presentations in
the smaller theatre spaces on the LASALLE campus.
Level 2 students are also cast in ensemble roles in
the Graduate productions delivered by the students at
the 3rd level. The nal year offers fully staged public
performances of musicals, at a professional standard
in the new theatre complex of the New City Campus
of LASALLE.
Group classes in music and dance are streamed so
the student sits comfortably within the skill level
and is able to meet the challenges necessary for
progressive development. Singing is taught in private
weekly lessons by an expert in this area therefore
tailoring this component to individual development.
Lecturing staff, directors, choreographers and visiting
international artists are drawn from the established
theatre industries of UK, Australia, USA and from
Asia to provide you with a truly exciting opportunity
for cross cultural learning experience. Many of these
visiting artists are leading industry professionals
bringing with them the credentials and expectations
of a vibrant and competitive professional atmosphere
that is then placed within the already existing student
environment.
The course is such that the classes attended in the
morning are in an environment that enables you to
learn skills and take risks. This is then complemented
in the afternoon by the edge of professional
atmosphere that is created in the rehearsal room
when preparing for a public performance production.
The Bachelor of Arts (Hons) Musical Theatre
programme is a three-year full-time course to be
conducted at LASALLE and conferred by the Open
University, UK, with a world-class reputation for high
quality education.

The programme prepares students for the
following careers: Performer for Musical Theatre,
Cabaret, TV and Film. It may also be a springboard
to lead to such careers as Choreographer,
Educator, Musical Director, Theatre Director,
Composer, Playwright, Producer, Vocal Arranger
and Vocal Coach.

PROGRAMME
STRUCTURE
Aims and Objectives
The following list outlines what the programme is
designed to achieve. Some aspects relate specically
to the subject you are studying while others are
common to all students studying at this level. The
programme aims to:
Offer a musical theatre course of the highest
international standards.
Offer training in the essential technical skills and
working vocabularies of the multi disciplined
performer in order to enable students to realise
their professional and artistic goals in multiple
disciplines
Provide students with knowledge and
understanding of musical theatre in its cultural
and historical context
Introduce students to a range of research and
practice methodologies
Enable students to develop a range of analytic,
reective and communicative skills in order to
become articulate and reective practitioners
Introduce students to the work of key
practitioners and theorists and to their cultural
and historical contexts
Promote an awareness and understanding of
musical theatre as an interdisciplinary art form
Empower students to collaborate effectively
within a group and with other practitioners
Foster independent learning and a range of
transferable study skills
Equip students with an understanding and
training that will enable them to make worthwhile
contributions to current professional practice and
to the development of musical theatre for the
world stage.`
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The programme is divided into three
levels, which correspond to each
academic year of the programme.
The academic year is divided into two
semesters of fifteen weeks each.
Each level is taught through a series
of modules and each module has a
credit value. In order to progress to
the next level, you are required to
attain 120 credits. If credit systems
and modular structures are new to
you, please read Appendix II of this
section for guidance.
PROGRAMME
DESIGN, CONTENT
& ORGANISATION
PROGRAMME SUMMARY / LEVEL 1
Semester Code Module Credits
1 & 2 PA1200 Singing 1 15
PA1201 Music 1 15
PA1202 Dance 1 30
PA1203 Acting 1 30
PA1204 Academic Studies 1 10
PA1205 Performance 1 20
Level One concentrates on assisting
you to develop and understand the
need for a secure technical and
knowledge base for all aspects of
your life as a performer. Classes set
the foundations for both physical
and intellectual learning and a series
of workshops and presentations
will assist in the process of
integrating the technical work into a
performance.
At the end of Level 1, the successful student will
embody an understanding of:
the foundations of contemporary and classical
acting practices;
a concept of truth in performance, individuality
and authenticity;
the contexts from which various signicant
schools of thought about performance arise;
understand the technical fundamentals required
to sustain the health of the singing voice
the foundations required for career-sustaining use
of the body and voice;
the various dancing styles most commonly used
in contemporary musical theatre
his or her own body, its expressive strengths and
challenges;
the relationship between the body, voice and
mind;
a commitment to a life as a musical theatre
performer, and the disciplines inherent in that
commitment.
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MODULE DESCRIPTIONS
Singing 1
A weekly one-hour private singing lesson is
provided to secure personal basic technique and an
understanding of technique, range and vocal health.
A weekly Song Repertoire class introduces the song
material from the great writers of musical theatre and
assists you in building a vocal repertoire in context.
A reective journal documenting the understanding
of the techniques and repertoire being studied is also
included in this module.
Acting 1
This module lays the foundation and understanding
of the creation of an acting technique, which will
constitute your personal methodology in the creation
of a secure performance. Improvisation classes will
explore the freeing of imagination and the elimination
of emotional blocks. The speaking voice and its care
are addressed along with an understanding of body
movement for the actor. A series of writing tasks are
also undertaken in this module to explore the various
methodologies of acting techniques.
Dance 1
Classical, Jazz, Tap and Production Song & Dance are
studied in weekly classes. Technical work and dance
terminology are built throughout the year to form a
fundamental structure for further study.
Music 1

This module includes classes in basic Piano Keyboard,
Aural and Music Theory. These skills will assist you
in independent and accurate learning of musical
repertoire.
Academic Studies 1
You are introduced to an overview of World Theatre,
which will enable the later exploration of a variety
of stylistic tools for performance. In Dramatic
Literature classes, the important works of theatre are
explored and analyzed to give an introduction to the
international great plays and playwrights.
Performance 1
You will participate in a series of rehearsals,
workshops and classroom presentations that allows
you to begin establishing a methodology for the
rehearsal and performance process. Each project is
also documented and analysed in a reective journal.
This module begins your challenge to integrate the
skills and knowledge addressed in the previous
modules.
1 & 2 PA2200 Singing 2 15
PA2201 Music 2 15
PA2202 Dance 2 20
PA2203 Acting 2 20
PA2204 Academic Studies 2 10
1 PA2205 Performance 2A 20
2 PA2206 Performance 2B 20
Level 2 builds on the newly acquired
skills and moves forward with more
challenging practical and academic
work. The ability to process and
integrate the class work into the
performance is a requirement of
level 2. The production programme
becomes more intense with larger
production values added to the public
performances.
At the end of Level 2, successful students will
consistently embody all of the principles and practices
held to be core throughout Level 1. They also
demonstrate an understanding of how to:
make choices about the techniques and
approaches required of a specic project;
analyse the external and internal details of
character;
shape a song using the principles taught in both
music, acting and singing modules
deal with text and render meaning from it;
begin to build a repertoire suited to their voice
type and demonstrate performing in the various
contrasting musical theatre styles
build on techniques already established to further
progress in all forms of dance
write meaningfully and effectively in a theatrical
academic context;
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MODULE DESCRIPTIONS
Singing 2
Singing lessons, vocal health and technique are
further developed to include an understanding of a
variety of singing styles. This then connects in context
with the Song Repertoire class, which continues
exploring the vocal material. A reective journal
is also kept to document the vocal progress and
understanding.
Dance 2
The technical basics begun in Level 1 are expanded to
further develop the skill range as well as establishing
a greater understanding of style. The ability to process
choreographic combinations in a more rapid and
concise manner is also addressed
Acting 2
The aspects of building character and the introduction
of a greater variety of methods and styles add to the
Level 1 basics. Improvisation will also move into areas
such as mask work and non-verbal performance. Voice
work introduces more details of the physiology of the
instrument and movement becomes more integrated
with practical work.
A written assignment is undertaken during the rst
semester.
Music 2
Theoretical and practical experience in Music Theory,
Aural and Piano Keyboard continues to develop the
music skills needed by musical theatre performers.
Academic Studies 2
The Musical Theatre History component gives a
greater understanding of the genres development by
tracing the stylistic, technical and dramatic changes
over time. You are also required to develop analytic
skills through confronting more challenging works in
the Dramatic Literature component
Performance 2A
This semester engages you in a continuous
rehearsal and Performance programme. These public
performances offer productions in a variety of styles
and an increasingly complex level and will introduce
you to the added aspects of theatrical environment.
Throughout each semester, casting will offer each
student the opportunity to experience leading roles as
well as ensemble work.
Performance 2B
The Performance programme continues with the
opportunity for you to build on your ever-increasing
technical, stylistic and performance vocabulary and
should provide the experience of maintaining a
performance throughout the scheduled season.
1 & 2 PA3201 Performance Skills 40
PA3202 Performance Research 15
PA3203 Career Management 5
1 PA3204 Performance 3A 30
2 PA3205 Performance 3B 30
Daily classes in performance skills
continue and are followed by a
detailed rehearsal process to support
a rigorous production programme.
You will create a document on
the research of an individually
chosen topic. To assist in career
management, a series of lectures will
provide important tools for a future
career in the arts.
`At the end of Level 3, successful students
consistently embody all of the principles and practices
held to be core throughout the course. They will
have an understanding of the physical and vocal
requirements to sustain a career as a musical theatre
performer. Graduates of the course will be equipped
to work as actors in a variety of theatrical media
contexts, and lead an artistic life of personal and
professional integrity.
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MODULE DESCRIPTIONS
Performance Skills
Singing
A Weekly private singing lesson and group
repertoire class are continued at the 3rd level.
An end-of-year singing recital will be scheduled
to demonstrate the versatility of technique and
repertoire demanded by the contemporary
musical theatre singer.
Acting
Building on the acting techniques explored in the
previous levels, an acting class in the preparation
of audition monologues and scene work is
implemented at the 3rd level. A weekly acting
class will be introduced catering to the specic
needs of the lm/TV performer.
Dance
Classical, Jazz, Tap and Production Song & Dance
classes are continued on a weekly basis with a
greater level of technical prociency expected.
Simulated dance auditions are scheduled to test
the ability of the student at a professional level.
Performance Research
Students select a topic of research and develop it
through qualitative and quantitative research. This
module represents the culmination of the students
critical reection on performance practices and gives
them an opportunity to undertake a sustained piece of
independent work. The student may choose to have a
performance component within this project.
Career Management
This module is the students link to the professional
world of the performing arts, performance work and
creation. Career Management addresses the need
to understand the role of the agent, professional
contracts, and promotion assisting students to
undertake control of their own career.
Performance 3A / Performance 3B
The 3rd level gives the opportunity to integrate all
the skills learned over the previous years Casting
will continue to offer both major and minor roles, in a
variety of productions. It is required that all students
function at the very highest professional industry
standards in areas such as punctuality, skills, work
methods and company behaviour. The nal production
of the course is a Showcase to which leading
international and Singaporean agents, directors
and casting agents are invited. These two nal-year
Performance modules require performers who will, at
graduation, move into the industry with the training
and skills that will enable them to take their place
alongside the very nest professionals.
A regular time is not allocated into
the timetable for PPD. However, it is
woven into the general fabric of the
programme and is aligned with the
college policy on PPD.
PERSONAL
PROFESSIONAL
DEVELOPMENT
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At all levels Auditions have been implemented
into the programme for all performance projects
Feedback is then given on the audition process by
the creative team for each project and each student
in his or her project journals then records this. During
the Orientation Week just prior to the beginning
of the academic year the Programme Leader holds
discussions with the incoming students on time
management, working as a team, performance
anxiety, personal effectiveness, diet and tness.
During the 1st week of semester the academic
teachers in the Academic Studies module hold a
session on academic writing, research skills and
seminar presentation skills.
Vocal workshops and masterclasses are held
throughout the year where vocal issues can be
demonstrated and discussed. How personal
development effects vocal development is discussed
in these workshops.
At Level 2 Audition and interview technique is
discussed as part of the Song Repertoire component
The Career Management module includes
sponsorship and funding applications, preparing a CV,
letter writing, alternative support careers for actors,
artist contracts and intellectual property, work permit
processors in UK, USA & Australia. The Programme
Leader also provides contacts details of agents and
casting directors in all these centres.
An international industry professional is invited to the
Graduation Showcase at the end of every academic
year. This provides an important bridge from the
college to the industry for many of the graduating
students. Local Singaporean producers and directors
are also invited to graduating productions.
The following table shows the
breakdown of hours and credits for
each module. Please note that this
information is given as a guide, and
the precise disposition of hours
between sub-headings may change
according to the needs of individual
students and particular years/groups
of students. However, the total
allowance and credit remain constant.
SUMMARY OF
HOURS & CREDITS
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Credit Module Classroom Work Rehearsals & Workshops Writing Private Study Total
15 PA1200 52 18 80 150
15 PA1201 72 20 58 150
30 PA1202 200 100 300
30 PA1203 242 12 46 300
10 PA1204 72 20 8 100
20 PA1205 170 10 20 200
LEVEL 1
LEVEL 2
LEVEL 3
15 PA2200 52 18 80 150
15 PA2201 72 20 58 150
20 PA2202 150 50 200
20 PA2203 160 10 30 200
10 PA2204 72 20 8 100
20 PA2205 170 10 20 200
20 PA2206 170 10 20 200
40 PA3201 360 40 400
15 PA3202 28 70 52 150
5 PA3203 30 10 10 50
30 PA3204 260 10 30 300
30 PA3205 260 10 30 300
THE LEARNING
OUTCOMES
It is important that the programme
defines what each student is expected
to learn what they will know and
understand about the subject, the skills
acquired and what they will know about
themselves as they progress through
the programme. The following lists set
out the expected learning outcomes.
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This acts as a learning checklist and you will notice
that each of the module descriptions found in Section
C of this document contains one or more of the
outcomes listed below. In addition, the chart on the
next page tabulates each of the learning outcomes
against the list of modules to show where each of the
outcomes is delivered through the teaching (shaded
squares), and where they are assessed (squares
with a ).
Knowledge and Understanding
On successful completion of this programme, a
graduate will demonstrate:
A1 an understanding and command of the
appropriate physical, vocal and performance skills
A2 an understanding of the interplay between
theory and practice within performance work
A3 a greater understanding of performance
as a collaborative creative artistic process which
draws upon and challenges their intellectual,
imaginative, emotional and physical abilities
A4 a critical awareness of the relationship
between the text, the music, the event and
the audience in a range of social contexts and
historical periods
A5 the skills required to research, evaluate,
discuss and write about performance
Subject-specic skills and Attributes
On successful completion of this programme a
graduate will be able to:
B1 an understanding of the commitment and
self discipline demanded of the professional
multi-disciplined performer
B2 a knowledge of dance, acting and singing
styles appropriate to the current musical theatre
industry
B3 a working knowledge of musical and non-
musical theatre history and style
B4 the understanding and skills to integrate a
variety of disciplines within a performance
Transferable Skills and Attributes
On successful completion of this programme a
graduate should:
C1 the initiative to work both independently
and as part of a collaborative team
C2 the ability to be responsible for the
development and assessment of their own
professional skills
C3 a range of analytic, reective and
communicative skills, informed by a practical
understanding of the processes inherent in
production
C4 the ability to critically evaluate arguments,
assumptions, abstract concepts and information
and to make judgements and frame appropriate
questions in order to identify solutions to practical
and theoretical problems
C5 the ability to present their performance and
themselves with condence and communicate
effectively in writing and through oral and
practical work
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RELATIONSHIP BETWEEN LEARNING OUTCOMES AND ASSESSMENT
Each module is shown on the left and each of the
learning outcomes listed across the top of the chart. A
shaded square indicates that the learning outcome is
addressed in the content of the module and squares
containing a white or black ( ) mean that your
understanding of the learning outcome is assessed in
one or more of the assessment tasks of the module.
Module Level A1 A2 A3 A4 A5 B1 B2 B3 B4 C1 C2 C3 C4 C5
PA1200 1
PA1201 1
PA1202 1
PA1203 1
PA1204 1
PA1205 1
PA2200 2
PA2201 2
PA2202 2
PA2203 2
PA2204 2
PA2205 2
PA2206 2
PA3201 3
PA3202 3
PA3203 3
PA3204 3
PA3205 3
SECTION
CONTENTS
Assessments 2
Assessment Strategies 5
Assessment Feedback 9
Assessment Criteria Charts 13
Assessment Schedule Level 1 18
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B ASSESSMENTS
ASSESSMENTS
Introduction
This section identifies and discusses
the management and implementation
of assessment and feedback on
assessed work. It is important that
you are exposed to a diversity in
teaching, learning and assessment
methods during your study and the
following describes procedures for
the assessment:
Written assignments
(essays, journals)
Practical Assignments
Seminar Presentations
Class Participation
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WHAT IS ASSESSMENT?
Assessment is a generic term for a
set of processes that measure the
outcomes of your learning, in terms
of the knowledge acquired, your
understanding of the subject and the
skills you gain.
Assessment therefore provides:
A means, by which you are graded, passed or
fail.
The basis for decisions on whether you are
ready to proceed, to qualify for an award or to
demonstrate competence to practice.
Feedback on your learning, and help to improve
performance.
Staff with the opportunity to evaluate the
effectiveness of their teaching.
The Programmes assessment strategy is designed
to measure how well you achieve the programme
learning objectives and reach the required
standard for the award of the Honours degree.
Assessed assignments are also important learning
opportunities, which build upon each other as well as
providing the means of formal assessment. With this
in mind, an assessment strategy has been devised in
which:
Every assessment is designed to be of use
to you and to relate closely to your academic
development;
Every assessment is designed to provide
information on your ability and progress towards
fullling the aims of the programme;
A range of assessment methods, both formative
and summative, are used, assessing both your
reective and analytic oral and written abilities
as well as your practical understanding, creative
and collaborative skills and ability to undertake
research and enquiry;
All modules are assessed. Most modules are
assessed by more than one method.
/ 4
B ASSESSMENTS
The three main forms of assessment are diagnostic,
formative and summative and are dened as follows:

a. Diagnostic Assessment indicates a learners
aptitude and preparedness for a programme of
study and identies potential learning problems;

b. Formative Assessment designed to provide
learners with feedback on progress and
development but does not contribute towards
the overall assessment;

c. Summative Assessment measures
achievement or failure in respect of a learners
performance in relation to the learning outcomes
of the programme of study.
These denitions encompass many types of
assessment. Providing you with feedback on these
different types of assessment requires a measure
of exibility to assist your learning. All assessments
at Level One are seen as diagnostic and formative.
A recorded percentage mark enables you to chart
your progress and gain an understanding to the
criteria used to describe the level or standard you
have attained. At this level however assessments
are formally recorded as pass or fail. Achieving an
overall pass at Level One enables you to progress to
Level Two. Assessed assignments in Level Two help
to develop practical, critical and research skills as a
basis for informed choice and study/practice at Level
Three. They help you to become an autonomous
learner by offering opportunities for choice and self-
determination as well as critical engagement with
and manipulation of concepts. Assessment in Level
Three and Level Two is described as summative
and characterised by the need for the application of
previously acquired practical knowledge, a highly
developed knowledge base, a requirement for
critical analysis and an appropriate measure of both
collaborative and independent work. The recorded
percentage mark for these assessments contributes
to the nal degree classication.
Assessment is non-judgmental in the sense that
it focuses on learning, which is the outcome
of many inuences, including teaching style,
student motivation, timeliness, study intensity,
and background knowledge. It is the aim of the
Programme Team to ensure that all aspects of your
assessment are clear - and so that there should be no
surprises or mysteries.
Assessment outcomes are designed to be positive
and assist you in your development. We recognise
the sensitivities involved in the assessment process
therefore and individual assessments and feedback
will be condential. However, you will be encouraged,
even expected, to develop your abilities in positive
critical analysis and collaborative project work which
is often discussed in open forum. A great benet
of studying in groups is that your peers can often
remind habits and repeated errors, just as you can
assist them in developing control of their instrument.
/ 5
B ASSESSMENTS
Assessment Criteria
The programme uses a variety of assessment
platforms. You need to develop a wide range of
skills and be condent, articulate and expressive in
a variety of media. The major assessment strategies
are outlined below.
Continuous Assessment Of Practical Coursework
This is undertaken by tutors, at key points indicated
to you in advance and in respect of clearly articulated
criteria: which may include commitment to process,
understanding of practice, development of practical
and collaborative skills and the ability to reect upon
practice. You are encouraged to research and test
ideas and theory in practice and to develop theory
from practice.
Logbooks
A number of components may require you to keep a
series of logbooks, which will build into a record of
their project, performance and practical work.
Refective Journal
You will be required to keep a series of reective
journals for specic components, which builds into
a record of your work. Each journal is a vital record
of individual discoveries and may also draw upon the
reections, observations and conclusions of previous
journals. In this way, you learn to critically reect
upon and articulate your own knowledge, experience
and process.
ASSESSMENT
STRATEGIES
/ 6 / 6 / 6
Seminar Presentation
Seminar Presentations give you the opportunity
framework to explore, examine and discuss subjects
with your peer group. They are designed to develop
the ability to research, analyse and communicate
ideas.
Written Assignments
Written assignments ranging from 1,500 words
to 2,000 words are set in Levels 1 and 2. They
are designed to develop skills of analysis and
comparative study, the ability to research, develop
and test ideas and communicate effectively in
writing. Written assignments allow you to generate
answers rather than select them; and to demonstrate
your knowledge within broad limits and demonstrate
originality, creativity in a topic and in real depth.
Research Project
In Level Three you use these skills in a major research
project which is the equivalent of 4,000 words.
The project is broken down into two components.
Alternatively, you can choose to present a 20 to 40
minute self-directed performance component plus a
3000 word written component. A project may contain
written material such as objective descriptions,
constructive evaluations, together with visual and
aural material, design work, DVD and photographic
records that demonstrate your ability to appropriately
research the chosen area. Practical Assignments
allow you to practice live projects in real-life
situations. Practice-based realised assignments are
hands-on and allow you to be creative and resourceful
within the scope of limited resources and time.
You will prepare a seminar presentation on your
chosen topic that is presented at the end of semester
1 and is equivalent to 500 words and counts for
20% of the assessment weighting. All submission
proposals must be negotiated and agreed with your
supervising tutor and the Program Leader.
/ 7
B ASSESSMENTS
Practical Presentation
This category includes sessions with a peer
audience in order to present a specic aspect of the
curriculum. Assessment is based not only on content
but also the efciency and effectiveness of the
presentation.
Class Participation
You are expected to attend all required scheduled
classes and encouraged to contribute to class
discussion. Participation is the key to a lively class.
Class participation provides the opportunity to
practice speaking and develop your persuasive
skills, as well as the ability to listen. Comments
that are vague, repetitive, unrelated to the current
topic, disrespectful of others, or without sufcient
foundation will be evaluated negatively. What matters
is the quality of ones contributions to the class
discussion, not the number of times one speaks.
/ 8
MARKS
Marks carry evaluative and accumulative weight as
to the worthiness of your achievement. You will nd
that individual marks for assignments are consolidated
with other marks in a module to give an overall mark.
The weighting of each of the marks is set out in
the module descriptions in Section C.
ASSESSMENT CRITERIA
Assessment criteria are determined by the aims
and objectives of the programme and the expected
outcomes of the modules. They also relate to
commonly accepted criteria for education at this
level. Assessment Criteria are set out in charts with
written descriptions of attainment for each band
of marks. You will nd that some charts relate to
very specic aspects of your programme, whereas
others have more general purpose to cover such
aspects as written work. The criteria are therefore
important benchmarks used by the internal examiner
in assessing the quality of your work and for you to be
able to reect on your performance and progress. In
more specic terms the criteria will articulate:
Your ability to develop and test ideas in theory
and practice
Different levels of attainment and their relation to
the aims of the modules
The measurement of your attainment of
intellectual and imaginative powers
Your use of appropriate methods for the
development of communication skills
Your grasp, engagement and implementation of
professional and vocational skills
B ASSESSMENTS / 9
ASSESSMENT
FEEDBACK
An important aspect of assessment
is the way that you are advised about
the outcome. The programme uses a
variety of written and oral feedback
mechanisms to provide you with
information and advice about the
quality of your work and strategies
for moving forward to the next
assignment.
/ 10
The type of assessment feedback used is designed
to complement the method of assessment used.
For example, you will nd that most written work
you submit will have feedback provided in written
form. Oral feedback is more appropriate following the
assessment of a students overall development during
the year but will also be supplemented by written
summaries.
It is critical that staff providing feedback to students
have a clear understanding of the facultys policy
and processes for providing assessment feedback,
and that they are aware of the assessment material,
the learning outcomes and the students work.
This allows for standardisation, which allows for
monitoring, auditing and improving the methods of
feedback and assessment.
It is College policy that you are provided with
information before you commence an assignment as
to:
how work will be assessed;
when and how assessment results will be
communicated,
what format of assessment feedback you may
expect,
an agreed timeframe for the submission of
assessed work and the provision of feedback,
both throughout the academic year and in
individual instances, and
details of assessment criteria and learning
outcomes for the module, together with
information on whether and how assessment
feedback will be related to these criteria and
outcomes.
It is important for feedback to be given as soon as is
possible, usually no more than two weeks after the
hand-in deadline. You should expect the comments
made to be insightful and constructive and designed
to be helpful in addressing areas of weakness. You
will also be provided with a Provisional Mark. The
nal mark is conrmed by the Board of Examiners at
the end of the academic year and may be subject to
adjustment. However, the provisional mark is useful
and important for you to have an indication of the
standard of your work. Please remember a number
of factors feed into the Final Mark, and therefore a
Provisional Mark can later be changed.
Completing the cycle of learning, assessment and
assessment feedback is important in the creation
of an integrated student academic experience.
Assessment feedback should identify ways to further
develop your knowledge and learning abilities. The
feedback process provides an opportunity for you
to work towards a set of goals, aiming at improving
your learning and your performance in the next set of
assessments.
The College uses standard Assessment Feedback
forms to ensure that there is a consistency in
feedback procedures. Examples of these forms can
be found in Appendix III.
/ 11
B ASSESSMENTS / 11 / 11
Student Feedback
Your feedback to us is also very important. As part
of the quality assurance processes, programmes are
regularly monitored to assess the effectiveness of the
teaching and learning strategies. You will be asked to
give written feedback on a module-by-module basis
and there are frequent group feedback sessions,
particularly at the end of practical projects. In addition,
you will be asked to elect student representatives
from your year group to sit on Programme and Faculty
Boards. Student representatives play an important
role in advising staff on student issues related to
programme delivery.
The Board of Examiners
The procedure for agreeing and conrming marks
and any resulting consequences is a very formal
process. The guidelines governing assessment and
examination are set out in the Academic Regulations
and they cover every aspect of the process. Overall
management of The Board of Examiners is a formal
meeting that takes place at the end of each academic
year to consider and conrm all marks awarded in that
year. This meeting is preceded by formal meetings
at programme and faculty levels where marks are
reviewed and agreed by lecturing staff the internal
examiners. Mark-sheets are then forwarded to the
Board of Examiners who consider all marks awarded
across the College.
/ 12
The Consequences of Failure
A possible outcome of assessment is that you
may be awarded a fail mark. This may happen
because the work you present does not meet the
required standard. The College uses the percentage
marking system where any mark below 40% is
deemed to be a fail. In most cases and if you have
demonstrated that you have made a serious attempt
at the assignment you will be given the opportunity
to retrieve the failure by attempting the assignment
again or undertaking an alternative assignment.
In certain circumstances, set out in the Academic
Regulations, your failure may be condonable and
you may be able to continue without redoing the
assignment.
So while there are safety nets you must be aware that
failure can lead to a situation where you are forced
to withdraw from the programme. This is rare but it
is vital that the programme sets and maintains high
standards and expects its students to aspire to those
standards.
Failure can also result because of the imposition of
a penalty. This will happen if you hand in work late
or not at all. Deadlines are important and must be
respected. The programme will only grant extensions
to hand-in if there are very persuasive reasons
There are of course circumstances that are beyond
your control, for example illness, that may prevent
you from continuing your studies or inhibit your
performance. Again, there are regulations and
procedures to ensure that students with legitimate
reasons are not unfairly penalized and your
circumstances can be taken into account when you
are assessed. The most important issue is for you
to advise the College of any problem that may affect
your studies as soon as possible. It is much easier to
take action to deal with the potential consequences of
problems before they occur. The College takes great
care to ensure that your privacy is respected if the
nature of the problem is condential.
If you think you are getting into difculties, it is vital to
talk to a member of staff before it becomes a problem
that is difcult to unravel. The College sets high
standards and expects a great deal of commitment
from you, but we recognize that things can go wrong
and will do all that is possible to advise and assist
you. If you have a problem that you need to discuss
condentially then you should make use of the
Student Counsellor.
B ASSESSMENTS / 13
ASSESSMENT
CRITERIA CHARTS
The following charts establish
Assessment Criteria as evaluation
guidelines for students and staff. A
distinction has been made between
written work, practical projects and
research criteria in order to clarify
the need for a different approach
to the examination of the expected
outcomes. Specific assessment
criteria can be found in each module
description in Section C.
B ASSESSMENTS
Class Mark Written Work
I 90% - 100% As below but also demonstrating imaginative application of research,
argument and conclusions beyond the initial subject but with relevance
to the eld.
80% - 89% As below but also demonstrating consistent originality of thought and
approach
70% - 79%

1. Covers all aspects of the assignment brieng
2. Guides the reader through well-reasoned and structured
argument
3. Breadth of research and critical use of source material
4. Appropriate style, use of language and syntax
5. Clear, secure grasp of the subject and context
II i 60% - 69% 1. Covers all aspects of the assignment brieng
2. Clear structure and argument
3. Relevant and effective use of research
4. Rare lapses of style, language and syntax
5. Sense of the subject and wider context
II ii 50% - 59% 1. Address all of the assignment brieng, but variably so
2. Evidence of a cohesive structure and relevant, if limited, argument
3. Adequate use of research
4. Mainly good use of style, language and syntax
5. Some sense of the subject and context
III 40% - 49%

1. Address most aspects of the assignment brieng
2. A sense of logical structure, with some argument
3. Some relevant research
4. Sufcient style, use of language and syntax to be easily read
5. Little sense of the subject and context
Redeemable
Fail
33% - 39% 1. Poor sense of the assignment brieng and its requirements
2. Weak or incoherent structure
3. Little, or frequently irrelevant research
4. Use of style, language and syntax render the paper difcult to
read
5. Poor sense of the subject and context
Outright Fail 0% - 32% 1. No sense of addressing the assignment brieng or, at most, only
sporadically
2. Incoherent structure
3. No, or largely irrelevant research
4. Style, language and syntax consistently poor and faulted
5. No sense of the subject and context
Assessment Criteria
Chart
/ 15
Class Mark Practical Classes and Performance Projects
I 80% - 100% As below, but with creativity and originality in realisation of the work.
70% - 79%

1. Achieves all of the designated outcomes of the brief grasp of all aspects of
the performance
2. Fully prepared and organised for and in complete control of all performance
aspects
3. Assured and uent in handling knowledge and understanding of the
subject and its contexts
4. Assured and condent expression and communication throughout the
performance
5. Breadth and depth of research was evident in the execution of the
performance
6. Full imaginative engagement with all aspects of the work being performed
7. Full personal commitment and self-discipline
8. Engaging in the collaborative team process and integrating a fully realised
personal contribution within the working group
II i 60% - 69% 1. Realises consistently all of the designated outcomes of the brief with a
clear and condent grasp of most aspects of the performance
2. Fully prepared and organised
3. Comprehensive knowledge and understanding of the performance subject
and its contexts
4. Well expressed and communicated throughout the performance
5. Relevant and effective use of research was evident in the execution of the
performance
6. Consistent imaginative engagement with the work being performed
7. Consistent commitment and self-discipline
8. Successfully contributing to the work of the group and operating as a fully
integrated team member
II ii 50% - 59% 1. Realises all of the designated aspects of the brief, but uneven grasp of
various aspects of the performance
2. Competent preparation and organisation, but with some aspects unrealised
3. General but variable knowledge and understanding of the performance
subject and its contexts
4. Generally able to express and communicate during performance
5. Adequate use of research was evident in the execution of the performance
6. Generally, but variably engaged at an imaginative level with the work being
performed
7. Committed and self-disciplined, but variably so
8. Generally contributing to the work of the group
Assessment Criteria
Chart
B ASSESSMENTS
Class Mark Practical Classes and Performance Projects
III 40% - 49%

1. Addresses most but not all of the designated outcomes of the brief,
without grasp of the various aspects of the performance
2. Uneven preparation and organisation but sufcient to meet the demands
of the brief
3. Adequate but incomplete knowledge and understanding of the
performance subject and its contexts
4. Partial success in expressing and communicating during performance
5. Some relevant research and its application was evident in the execution
of the performance
6. Some imaginative engagement with the work being performed
7. Sufcient but erratic commitment and self-discipline
8. Some contribution to the working group and to collaborative team work
Redeemable
Fail
33% - 39% 1. Inadequate coverage of the range of designated outcomes of the brief
2. Poorly prepared and organised
3. Insufcient grasp of the performance subject and its contexts
4. Poorly expressed and communicated during performance
5. Inadequate use of research was evident in the execution of the
performance
6. Little imaginative engagement with the work being performed
7. Insufcient commitment and self-discipline
8. Inadequate contributions to the work of the group and the building of a
team
Outright Fail 0% - 32% 1. Poor coverage of the range of designated outcomes of the brief
2. Unprepared and disorganised
3. Little grasp of the performance subject and its contexts
4. Ideas unformulated, badly expressed and inadequately communicated
5. Little or no research was evident in the execution of the performance
6. No imaginative engagement with the work being performed
7. Lacking commitment and self-discipline
8. No contributions to the work of the group and the building of a team
(
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/ 17
Class Mark Research Portfolio, Refective Journal and Seminar Presentation
I 80% - 100% As below, but with superbly articulated creativity, originality and insight in the
realisation of the work.
70% - 79%

1. Covers all aspects of the assignment brieng with evidence of perceptive
insight and originality
2. Uses a variety of appropriate and effective research methodologies in
completion of assignment
3. Clear analysis and understanding of the material combined with effective
and innovative presentation
4. Clear evidence of developed reection upon, and understanding of, the
processes involved in practice.
II i 60% - 69% 1. Covers all aspects of the assignment brieng
2. Uses a variety of appropriate research methodologies in completion of
assignment
3. Clear analysis and understanding of the material combined with effective
presentation
4. Clear evidence of developed reection upon the processes involved in
practice
II ii 50% - 59% 1. Addresses all aspects of assignment brieng but unevenly
2. Uses appropriate research methodologies
3. Analysis of the material combined with some understanding of effective
presentation
4. Evidence of reection upon the processes involved in practice
III 40% - 49%

1. Addresses most aspects of the assignment brieng
2. Has some understanding of different modes of research
3. Some analysis of the material within adequate presentation
4. Evidence of uneven reection upon the processes involved in practice
Redeemable
Fail
33% - 39% 1. Poor sense of the assignment brieng and its requirements
2. No understanding of the variety of research appropriate for the assignment
3. Little analysis of the material with poor presentation
4. Inadequate evidence of reection upon practice
Outright Fail 0% - 32% 1. No sense of assignment brieng
2. Distinctive lack of research
3. No evidence of analysis
4. No evidence of ability to reect upon practice
ASSESSMENT CRITERIA
CHART
B ASSESSMENTS
ASSESSMENT SCHEDULE
LEVEL 1
Modules Course Code Credits Assessed Item Weighting Date
Singing 1 PA1200 15 Practical Coursework
Singing Journal
90%
10%
Wk 29
Music 1 PA1201 15 Practical Coursework 100% Wk 28
Dance 1 PA1202 30 Practical Coursework 100% Wk 30
Acting 1 PA1203 30 Practical Coursework
Written Assignment
80%
20%
On-going
On-going
Academic Studies 1 PA1204 10 Written Assignments/
Seminar presentations
100% On-going
Performance 1 PA1205 20 Practical Presentation
Reective Journal
80%
20%
On-going
On-going
/ 19
Singing 2 PA2200 15 Practical Coursework
Singing Journal
90%
10%
Wk 29
Music 2 PA2201 15 Practical Coursework 100% Wk 28
Dance 2 PA2202 20 Practical Coursework 100% Wk 30
Acting 2 PA2203 20 Practical Coursework
Written Assignments
85%
15%
On-going
Academic Studies 2 PA2204 10 Written Assignments/
Seminar presentations
100% On-going
Performance 2A PA2205 20 Practical Presentation
Research Portfolio
80%
20%
On-going
On-going
Performance 2B PA2206 20 Practical Presentation
Research Portfolio
80%
20%
On-going
On-going
ASSESSMENT SCHEDULE
LEVEL 2
/ 20
B ASSESSMENTS
Performance Skills PA3201 40 Practical Course work 100% Wk 29
Performance
Research
PA3202 15 Written Assignment
80%
20%
Wk 30
Wk 16
Career
Management
PA3203 5 Written Assignment 100% On-going
Performance 3A PA3204 30 Practical Presentation
Research Portfolio
90%
10%
On-going
On-going
Performance 3B PA3205 30 Practical Presentation
Research Portfolio
90%
10%
On-going
On-going
ASSESSMENT SCHEDULE
LEVEL 3
SECTION
CONTENTS
Module Descriptions & Reading Lists 2
Singing 1 / Level 1 3
Music 1 / Level 1 6
Dance 1 / Level 1 9
Acting 1 / Level 1 12
Academic Studies 1 / Level 1 16
Performance 1 / Level 1 19
Singing 2 / Level 2 22
Music 2 / Level 2 26
Dance 2 / Level 2 29
Acting 2 / Level 2 32
Academic Studies 2 / Level 2 36
Performance 2A / Level 2 39
Performance 2B / Level 2 42
Performance Skills / Level 3 46
Performance Research / Level 3 49
Career Management / Level 3 52
Performance 3A / Level 3 55
Performance 3B / Level 3 58
/ 2 MODULE DESCRIPTIONS
C
MODULE DESCRIPTIONS &
READING LISTS
LEVEL ONE
Singing 1
Music 1
Dance 1
Acting 1
Academic Studies 1
Performance 1
LEVEL TWO
Singing 2
Music 2
Dance 2
Acting 2
Academic Studies 2
Performance 2A
Performance 2B
LEVEL THREE
Performance Skills
Performance Research
Career Management
Performance 3A
Performance 3B
/ 3
Module Code PA1200
Credits 15
Status Compulsory
Prerequisites Placement Audition
Semester 1 & 2
Weeks 1 30
Indicative Workload (in hours)

Classroom
Work 52
Writing
18
Private Study
80
Total: 150
Module Description
This module will offers students a
weekly singing lesson with a vocal
professional, and introduce students
to the technical requirements of
vocal performance.
The singing voice is the most natural of all
instruments and this component is designed to allow
students to develop their individual vocal potential.
Students at this level will only study repertoire
written prior to the 1960s so a thorough grounding in
classical technique is established.
Weekly Song Repertoire classes will introduce
students to the vocal repertoire of musical theatre
and explore the early works and styles that form
the historical base of the genre. This class will allow
students to begin the integration of their singing,
acting and music skills classes.
A reective journal documenting the understanding
of the techniques and repertoire being studied in both
components is also included in this module.
SINGING 1 / LEVEL 1
C
Aims to
Explore and identify the needs and care of the
singing voice
To introduce the student to the solid foundations
of a strong classical vocal technique
To study and build repertoire suited to the vocal
technique being studied
To seek physical control of the voice with
attention being particularly given to breathing and
placement.
Explore the early song repertoire of musical
theatre

Learning Outcomes
On successful completion of this module, a student
will:
have established a secure classical foundation
and vocal technique along with an understanding
of his/her singing voice and its physiology and the
requirements of vocal health.
Demonstrate exibility of tone and use of various
tonal colours to help adopt to the varying musical
theatre styles which will be met
have acquired a core repertoire of songs from
the pre-1960s era suitable for performance or
audition.
Teaching Methods
Lectures, tutorials, practical class-work
Assessment
Practical Coursework
Singing
Song Repetoire
60%
30%
Singing Journal 10%
Assessment Outlines
A students attendance, progress and commitment
are considered in addition to the following:
a. Practical Coursework
Singing assessment before a panel includes the
following:
i. Vocalise
ii. Pre-1960s Ballad
iii. Pre-1960s Up-tempo

Each semester, students are assigned a song
from the Song Repertoire class and are required
to perform it to both peers and lecturing staff.
Students will also be required to sing a complete
song at sight.
b. Journals
A journal of singing lessons is kept throughout
the year to assist the student to chart his/her
progress in areas of vocal technique and vocal
health as well as to document an understanding
of the physiology of the voice. This journal is
viewed by the lecturer at mid year to ensure
students are able to articulate the information.
/ 5
Required Reading
Hunt, Peter. Handbook For Singing, Oxford. New
York, 2001
Melton, J. Singing in Musical Theatre: The
training of Singers and Actors, Allworth Press, 2007
Practical work books will be assigned by the individual
lecturers.
Recommended Reading
Bennett, Gloria. Vocal Technique Breaking
Through, Hal Leonard Corp. Milwaukee Wis.1994
Brower, Harriete, & James Francis Cooke. Great
Singers On The Art Of Singing, Dover Publications.
Mineola, New York, 1985
Bunch, Meribeth. Dynamics For The Singing
Voice, Springer-Verlag. New York, 1993
Campbell, Mike. Sight Singing: The Complete
Method for Singers, Hal Leonard Corp. Milwaukee,
Wis. 1998
Citron, Stephen. The Musical From The Inside
Out, Hodder & Stoughton, London, 1991
Harpster, Richard W. Technique In Singing,
Schimer Books. New York, 1984
Husler, Frederick & Yvonne Rodd-Marling. Singing:
The Physical Nature Of The Vocal Organ, Huchinson.
London, 1983
Jacobi, Henry N. Building Your Best Voice, Schimer
Books, New York, 1982
Kagen, Sergius. On Studying Singing, Dover
Publications. New York, 1950
Kosarin, Oscar. The Singing Actor, Prentice-Hall
Inc. Englewood Cliff, NJ, 1983
Krasker, Tommy. Catalogue Of The American
Musical. National Institute For Opera And Musical
Theatre, 1988
Miller, Richard. The Structure of Singing, Schirmer
Books. New York, 1986
Peckham, Anne. The Contemporary Singer:
element s of Vocal Technique, Berklee Press; Boston,
Mass. 2000
Potter, John. Vocal Authority: Singing Style and
Ideology. Cambridge University Press. New York,
1998
Robison, Kevin. The Actor Sings: Discovering a
Musical Voice For the Stage, Heinemann. NH, 2000
Rusch, Gloria. The Professional Singers
Handbook, Hal Leonard. Milwaukee, Wis. 1998
Salaman, Esther. Unlocking Your Voice: Freedom
To Sing, Khan & Averill. London, 1999
Waterman, Roma. The Working Singers
Handbook, Roma Waterman, 2007
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Module Code PA1201
Credits 15
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work
72
Writing 20
Private Study 58
Total: 150
Module Description
This module provides an introduction
to the various musical skills
necessary for the professional
musical theatre performer. Students
study Music Theory as well as
developing their Aural and Keyboard
skills, the module is designed to
develop a firm foundation upon which
subsequent music modules will build.
Music Theory and Aural is based on standard practice
in western music. Students learn music terminology,
standard harmonic construction and forms, as well
as develop an aural system that will enable them to
aurally identify standard elements in classical and
contemporary music.
The development of a working knowledge of piano
Keyboard skills will assist in the integration of Theory
and Aural skills.
MUSIC 1 / LEVEL 1
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Assessment
30%
30%
40%
Music Theory
Aural skills
Keyboard skills
Assessment Outlines
Keyboard Skills are be a practically assessed
while a written paper is required for Music
Theory. Aural includes both written and practical
aspects.

Streaming
Music classes are streamed into the following
teaching and assessment levels:
Beginner Aural equivalent to minimum ABRSM
Singing (Sight-Singing) Grade 3
Intermediate Aural equivalent to minimum
ABRSM Singing (Sight-Singing) Grade 5
Advanced Aural equivalent to minimum ABRSM
Singing (Sight-Singing) Grade 7
Beginner Theory equivalent to minimum ABRSM
Theory Grade 2
Intermediate Theory equivalent to minimum
ABRSM Theory Grade 4
Advanced Theory equivalent to minimum
ABRSM Theory Grade 5
Aims to
Introduce the basic language of music.
Begin developing the sight and aural identication
of intervals.
Introduce the basic fundamentals of the piano
keyboard
Apply piano keyboard skills to the practice of
singing and the independent learning of vocal
repertoire.
Learning Outcomes
will:
demonstrate a greater understanding of the
stave, note names and values, time and key
signatures, as well as accidentals and basic scale
formations in the practical context of playing the
piano.
develop the sight-identication and practical
demonstration of melodic and rhythmic
gurations.
demonstrate an ability to play simple tunes with
both hands on the piano.
Sustain an independent melodic line against
a competing voice with accuracy of pitch and
awareness of intonation.

Teaching Methods

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Beginner Keyboard equivalent to minimum
ABRSM Piano Grade 1
Intermediate Keyboard equivalent to minimum
ABRSM Piano Grade 2
Advanced Keyboard equivalent to minimum
ABRSM Piano Grade 3
ABRSM = Associated Board of the Royal Schools of
Music
Assessment
Students are assessed according to the assessment
criteria assigned to each Level, however consideration
is made of the progressive development of the
individual student within their prociency stream.

Required Reading
Harnum, Jonathan, Basic Music Theory: How
To Read, Write And Understand Written Music,
Questions, Inc. Publishing Fairbanks, 2001
Practical work books will be assigned by the
individual lecturers.
Recommended Reading
Aston, Peter & Julian Webb, Music Theory in
Practice Grades 1-2. The Associated Board of the
Royal Schools of Music, 1993
Benward, Bruce & Barbra G. Jackson. Practical
Beginning Theory. A Fundamental Work Text, W. C.
Brown, Dubuque, 1991
Campbell, Mike. Sight Singing: The Complete
Method for Singers, Hal Leonard Corp. Milwaukee,
Wis. 1998
Duckworth, William. A Creative Approach To Music
Fundamentals, Wadsworth/Thompson Learning,
Australia, 2001
Manoff, Tom. The Music Kit: Workbook, W.W.
Norton & Co., New York, 1994
Manoff, Tom. The Music Kit: Rhythm Reader and
Scorebook, W.W. Norton & Co., New York, 1994
Ottman, R & F. Mainous. Rudiments of Music,
Prentice-Hall. New Jersey, 1980
Ottman, Robert W. & Paul E. Dworak. Basic Ear
Training Skills, Prentice-Hall Inc., New Jersey, 1991
Pinksterboer, Hugo. Rough Guide To Reading
Music and Basic Theory, Rough Guides, London,
2001
Shumway, Stanley. Harmony and Ear Training At
The keyboard, W.C. Brown Publishing Co. Dubuque,
Iowa, 1980
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Module Code PA1202
Credits 30
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work
200
Private Study 100
Total: 300
Module Description
Dance is a central skill for the musical
theatre artist and this module gives
students a strong foundation for the
continued study of dance in Classical,
Jazz and Tap.
Classes will introduce students to the basic
techniques, terminology and body awareness as
well as safe dance practices. Production song and
dance classes will enable students to assimilate
their singing, dancing and acting skills in a practical
way. A non-assessed course wide conditioning class
will be held once a week. All these classes will form
the basis for further and more complex work in
subsequent years.
DANCE 1 / LEVEL 1
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Aims to:
Explore the potential of the body through a
variety of dance genres.
Introduce basic technique and terms in Classical,
jazz, tap and production song & dance.
Build condence and knowledge and stamina in
the physical dance repertoire.
Begin to address any fears that may inhibit the
students physical freedom and exibility
Introduce and understanding of physical &
stylistic requirements of dance.
Learning Outcomes
will:
demonstrate a greater awareness and condence
of dance and its physical requirements
have acquired a greater physical stamina and
exibility
possess a basic understanding of anatomy
demonstrate a working vocabulary of dance
terminology.
have experienced a greater understanding of the
choreographic requirements in musical theatre.
Have begun to adopt the commitment and self
discipline demanded of the professional dance
performer.

Teaching Methods
Practical class-work
Assessment
25%
25%
25%
25%
Classical
Jazz
Tap
Production Repertoire
Assessment Outlines
Assessments for Jazz and Song and Dance
will take place before a panel and will include
combinations of the syllabus studied over the
year. Assessments for Ballet and Tap will be held
by the teacher of that component.

Streaming
Dance classes are streamed into the following
teaching and assessment levels:
Beginner
Equivalent of CSTD Grade 3
Intermediate
Equivalent of CSTD Grade 5
Advanced
Equivalent of CSTD Elementary
CSTD = The Commonwealth Society of Teachers of
Dancing
Assessment
Students are assessed according to the assessment
criteria assigned to each Level, however consideration
is made of the progressive development of the
individual student within their prociency stream.

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Required Reading
Kislan, Richard. Hoong On Broadway-A History
Of Show Dancing, Simon & Shuster. London, 1987
Long, Robert Emmet. Broadway, The Golden
Years, Continuum, NY, 2002
Recommended Reading
Andreu, Helene. Jazz Dance: An Adult Beginners
Guide, Prentice-Hall. Englewood Cliffs, NJ, 1983
Ambrosio, Nora. Learning About Dance. An
Introduction to Dance As An Art Form and
Entertainment, Kendall/Hunt Pub. Col, Dubuque,
Iowa, 1999
Atwater, Constance. Tap Dancing: Techniques,
Routines, Terminology. C.E. Tuttle Co. Rutland VT,
1971
Audy, Robert. How To Teach Yourself to Tap.
Vintage Books. New York, 1976
Berkson, Robert. Musical Theatre Choreography:
A Practical Method for Preparing and Staging
Dance in a Musical Show, A & C Black. London,
1990
Buckroyd, Julia. The Student dance: Emotional
Aspects of The Teaching and Learning of Dance.
Dance, London, 2000
Dufort, Antony. Ballet Steps: Practice to
Performance, C.N. Potter. New York, 1990
Feldman, Anita. Inside Tap: Technique and
Improvisation for Todays Tap Dance, Princeton Book
Co. Pennington, NJ, 1996
Frank, Rusty E. Tap! The Greatest Tap Dance Stars
and Their Stories, DaCapo Publications. New York,
1994
Franklin, E. Conditioning for Dance, Champaign. Il:
Human Kinetics, 2004
Giordano, Gus. Jazz Dance Class: Beginning thru
Advanced, Princeton Book Co. Hightstown NJ, 1992
Giordano, Gus. An Anthology of American Jazz
Dance, Orion Publishing House. Il. 1978
Grant, Gail, Technical Manual And Dictionary of
Classical Ballet, Dover Publications. New York, 1982
Gray, Acia. The Souls of Your Feet: A Tap Dance
guidebook for Rhythm Explorers, Grand Weavers
publishing. Austin, Tx.1998
Hammond, Sandra Knoll, Ballet Basics, Mayeld
publishing Co. California, 1984
Howse, Justin, Dance Technique & Injury
Protection, Routledge, New York, 2000
Kraines, Minda Goodman. Jump Into Jazz: A
Primer for the Beginning Jazz, Mayeld Pub.,
Mountain View, Calif.1997
Luigi, Luigis Jazz Warm Up: An Introduction
to Jazz Style & Technique, Princeton Book Co.
Pennington, NJ, 1997
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Module Code PA1203
Credits 30
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work 242
Writing
12
Private Study
46
Total:
300
Module Description
This module lays the foundation and
understanding for the creation of an
acting technique through practical
application and text work.
Practical classes develop the skills needed by the
actor and are developed and augmented over the
three years. There is an exploration of acting theories,
including a practical study of Stanislavskis approach
to performance and the concept of working on self
in order to develop ways of exploring roles. Voice
classes introduce a series of exercises designed to
develop a technically sound vocal instrument. These
exercises make students aware of the importance of
breath (support and release), resonance (balance and
placement) and muscularity. Improvisation classes
aim to make students aware of their imaginative
resources introducing them to the principles of play,
developing spontaneity and stimulating an awareness
of others, whilst movement work extends the physical
awareness of each student.
ACTING 1 / LEVEL 1
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Aims to
Introduce the need for a secure acting technique,
Encourage vocal and physical freedom and
exibility
Focus on releasing the students imagination.
Enable students to work in an open and creative
environment.
Introduce the works of the great playwrights
western theatrical genre.
Develop professional practice and self-discipline
Introduce the core skills of voice, and movement
Learning Outcomes
will:
demonstrate the ability to record and reect upon
their work and that of others
comprehend the need for a sound technical base
for acting.
possess an understanding of theatre as a
collaborative creative artistic process which
draws upon and challenges their intellectual,
imaginative, emotional and physical abilities
develop a critical awareness of the relationship
between the text and the performer.
show an understanding of the commitment and
self discipline demanded of the professional actor
display the ability to accept responsibility for
the development and assessment of their own
professional skills
embody core Stanislavskian principles such
as Personalisation, Public Solitude, Given
Circumstances, Sense Memory and Objectives,
and the purpose and applicability of Impulse work
Teaching Methods
Critical session, seminars, practical class-work,
practical presentations

Assessment
Acting
Improvisation
Voice
Movement
25%
20%
20%
20%
Written Assignments 15%
Assessment Outlines
Students are assessed on quality of contribution,
participation and practical presentations in Acting,
Improvisation, Movement and Voice. Practical
presentations set by the lecturer will occur
throughout the year.
b. Written Assignment
An assignment is set on a topic related to the
texts being studied. The written work will be
viewed mid year by the lecturer to ensure format
and content are as designated.
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Required Reading
Gates, Linda. Voice For Performance, Applause,
New York, 2000
Hagen, Uta. A Respect for Acting, Basingstoke:
Macmillan, 1973
Stanislavski, C. An Actor Prepares, London: Eyre
Methuen, 1980
Play texts will be assigned by the lecturers.
Recommended Reading
Andeerson, V. Training The Speaking voice, Eyre
Methuen Oxford university Press. New York, 1977
Barker, C. Theatre Games, Eyre Methuen, London,
1997
Barlow, W, More Talk of Alexander, Gollancz,
London, 1987
Beckerman, B. Performer, audience & Act,
Routledge, New York
Benedetti, RL. The Actor At Work, Allyn & Bacon,
Boston, 1997
Benedetti, J. Stanislavski: an introduction,
London: Eyre Methuen, 1982
Berry, C. Voice and The Actor, Harrap, London,
1973
Boal, A. Games For Actors And Non Actors,
Routledge, London, 1982
Callow, S. Being An Actor, Penguin,
Harmondsworth, 1984
Cole, T and Chinoy H (Ed.) Actors On Acting,
Crown, New York, 1980
De Mallet Burgess, Thomas. The Singing And
Acting Handbook, Routledge, London, 2000
Evans, M. Movement Training for the Modern
Actor, Routledge, 2008
Feldenkrais, M. Awareness Throught Movement,
Arcana, New York, 1990
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Grifths, Stuart. How Plays Are Made, Heineman
Press, oxford, 1982
Hodge, A. Twentieth century actor training,
London: Routledge, 2000
Innes, C. ed. A Sourcebook on Naturalist Theatre,
Johnstone, K. Impro: Improvisation In The
Theatre, Eyre Mehtuen, London, 1981
Linklater, K. Freeeing The Natural Voice, Drama
Book Publisher, New York, 1976
Machlin, Evangaline. Speech for The Stage,
Manley, Beatrice. M Breath In Art, Applause, new
York, 1998
Morrison, Malcolm. Clear Speech, A & C black,
London, 2001
Polsky, Milton. Lets improvise: Becoming
Creative, Expressive, University Press of America,
New York, 1998
Potter, N. Movement for actors, US : Allworth,
2002
Sher, A, Year Of The King, Mehtuen, London, 1985
Spolin, Viola. Improvisation For The Theatre,
Northwest university Press, 1985
Thomson, P. On Actors And Acting, University of
Exeter, Exeter, 2000
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Module Code PA1204
Credits 10
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work
72
Writing 20
Private Study/
Research
8
Total: 100
Module Description
This module engages students
in an overview of the context in
which World Theatre developed
and the history that informed that
development. Dramatic Literature
classes will further an understanding
of the great works of the theatre
with an emphasis on analysis.
ACADEMIC STUDIES 1 / LEVEL 1
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Aims to
Provide students with an understanding of the
development of the performing arts in a world
context
Explore and discuss the great literature and
writers of theatre.
Lay a foundation for future thematic and stylistic
interpretations

Learning Outcomes
On successful completion of this module, students
will:
have a greater understanding of performance
styles and genres in a variety of cultures.
display an understanding of the interplay
between theory and practice within performance
work
possess a critical awareness of the relationship
between the text, the music, the event and the
audience in a range of social contexts, historical
periods and cultures
have developed skills in researching, evaluating
and writing about performance.
have acquired a core repertoire of songs suitable
for performance or audition.
Teaching Methods
Lectures, seminars, practical class-work
Assessment
Written Assignment/
History of World Theatre
Dramatic Literature
50%
50%
Assessment Outlines
Students give seminar presentations on assigned
texts in the Dramatic Literature and History of
World Theatre components.
The topic and guidelines for this document are
set by the lecturer conducting the Dramatic
Literature and History of World Theatre
components.
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Required Reading
Banham, Martin. Cambridge Guide to Theatre.
Cambridge University Press, 1992
Clark, Barrett H. World Drama (2 Volumes) Dover
Publications. New York, 1960
Other specic texts and play texts will be assigned by
individual lecturers.
Recommended Reading
Barba, E & Nicola Savarese. The Secret Art Of The
Performer: A Dictionary of Theatre Anthropology.
Esslin, M. The Theatre of the Absurd, London:
Methuen, 2001
Hartnel, Phyllis ed. The Oxford Companion To The
Theatre, Oxford University Press. 1971
Hartnoll, Phylis, The Theatre: A Concise History,
Thames and Hudson. New York, 1985
Molinari. Theatre Through the Ages, N.Y. McGraw
Hill, 1975
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Module Code PA1205
Credits 20
Status Compulsory
Semester 1 & 2
Weeks 1 30

Rehearsals &
Workshops
170
Writing 10
Private Study 20
Total: 200
Module Description
The rehearsal and performance
projects introduce the student to the
integration of class work and address
the fundamentals of the work
process through a series of classroom
presented workshops.
Projects such as self devised/written and small scale
cabaret/revue work offer stylistic as well as technical
challenges. This module also exposes the students
to the needs of ensemble work and the need for
personally centred learning. A weekly Performance
Practice class is offered to all students on a rotating
basis. This class allows each student to attempt a
range of challenges they may set for themselves in
singing, dancing and acting.
PERFORMANCE 1 / LEVEL 1
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Aims to:Assist in the process of the integration of
skills
Introduce the accepted methods of rehearsal and
performances procedure
Create a safe and enquiring environment within
the group
Establish an understanding of process
Develop the communication between performer
and audience
Provide a forum for individual and self motivated
performance.

Learning Outcomes
will:
have a greater awareness of the creative process
understand both, personal and group needs
have begun to achieve the ability of self criticism
be more motivated towards self learning
possess a greater condence and freedom as a
performer.
Teaching Methods
Rehearsals, workshops, critical sessions
Assessment
Rehearsal
Performance
45%
35%
Refective Journal 20%
Assessment Outlines
Students are assessed on their ability to work
both independently and as part of a group as well
as their contribution and the ability to express
ideas.
b. Practical Presentation
The ability and exibility to amalgamate the
directors ideas into the students own vision and
consolidate into a performance is assessed at
each presentation. This performance is viewed by
and commented on by a number of the lecturing
staff.
c. Journal
The parameters and content of this reective
journal is dened by the director of the project.
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Required Reading
Mitter, Shomit. Systems of Rehearsal, Routledge,
New York, 1985
Oddey, A. Devising theatre: a practical & theoreti-
cal handbook, London: Routledge, 1994
Specic texts, reading and study materials will be
dictated by the specic production requirements and
will be set by the directorial staff.
Recommended Reading
Andeerson, V. Training The Speaking voice, Eyre
Methuen oxford university Press. New York, 1977
Barker, C. Theatre Games, Eyre Methuen, London,
1997
Barlow, W. More Talk of Alexander, Gollancz,
London, 1987
Beckerman, B. Performer, audience & Act,
Routledge, New York, 1990
Berry, C. Voice and The Actor, Harrap, London,
1973
Boal, A. Games For Actors And Non Actors,
Callow, S. Being An Actor, Penguin, Harmonds-
worth, 1984
Cole, T and Chinoy H (Ed.) Actors On Acting,
Crown, New York, 1980
Dymphna C. Through the Body: A Practical Guide
to Physical Theatre, NY: Routledge, 2002
Feldenkrais, M. Awareness Throught Movement,
Arcana, New York, 1990
Gates, Linda. Voice For Performance, Applause,
New York, 2000
Innes, C. ed. A sourcebook on Naturalist Theatre,
Johnstone, K. Impro: Improvisation In The Thea-
tre, Eyre mehtuen, London, 1981
Laban, R. The mastery of Movement (4th. Ed.),
Northcote House, London, 1980
Schechner Richard. Performance studies : an
introduction, Routledge, NY, 2003
Spolin, Viola, Theatre Games For Rehearsal: A
Directors Handbook, Northwestern University Press,
Evanston Ill.1985
Yarrow, R and A Frost. Improvisation in Drama,
Macmillan, Basingsoke, 1989
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Module Code PA2200
Credits 40
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work 52
Writing 18
Private Study 80
Total: 150
Module Description
Private singing lessons continue
to address vocal range and health,
as well as address the technical
requirements for a greater stylistic
repertoire. Students at this level
study repertoire written from the
1960s to present day expanding and
developing the classical technique is
established in Level 1.
Weekly Song Repertoire classes introduce students to
the vocal repertoire of musical theatre and explore the
early works and styles that form the historical base
of the genre. This class will allow students to begin
the integration of their singing, acting and music skills
classes.
SINGING 2 / LEVEL 2
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Aims to
Explore and identify the needs and care of the
singing voice.
To introduce the student to the solid foundations
of a strong classical vocal technique
To study and build repertoire suited to the vocal
technique being studied
To seek physical control of the voice with
attention being particularly given to breathing and
placement.
Explore the early song repertoire of musical
theatre

Learning Outcomes
On successful completion of this module, you will be
able to:
achieve a more secure vocal technique along with
a greater understanding of his/her singing voice
and its physiology and the requirements of vocal
health.
Demonstrate exibility of tone and use of various
tonal colors to help adopt to the varying musical
theatre styles which will be met
have acquired a core repertoire of songs from
the Musical Theatre repertoire suitable for
performance or audition.
Teaching Methods
Assessment
Singing
Song repertoire
60%
30%
Singing Journal 10%
Assessment Outlines
Singing assessment before a panel will include
the following:
i. Vocalise
ii. Pre-1960s Ballad
iii. Pre-1960s Up-tempo

The degree of difculty will have increased from
level 1 assessment.

Each semester, students will be assigned a song
from the Song Repertoire class and be required
to perform it to both peers and lecturing staff.
Students will also be required to sing a complete
song at sight. The material in level 2 will have
increased melodic and dramatic complexity.
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b. Journals
The journal of singing lessons kept throughout
the previous year continues with the requirement
of more detailed material on the students
understanding of their vocal instrument. At the
completion of level 2, each student should have a
document charting their own personal growth in
a singing technique along with an understanding
singing physiology.
An informal un-graded assessment is held at the end
of semester 1 to allow both the student and the staff
to identify and address problems before the formal
end-of-year graded assessments.
Required Reading
De Brett, Tona. Discover Your Voice: learn To Sing
From Rock to Classic, Schott. London, 1996
Peckham, Anne., The Contemporary Singer:
Elements Of vocal Technique, Berklee Press, Boston,
Mass. 2000
Practical work books will be set by the individual
lecturers.
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Recommended Reading
Alderson, Richard. Complete Handbook of Voice
Training, Parker Pub. Co. West Nyack New York, 1979
Allen, Jeffrey. Jeffrey Allens Secrets of Singing,
Warner Bros. Publications. Miami, Fla., 1994
Baxter, Mark. The Rock-n-roll Singers Survival
Manual, Hal Leonard. Milwaukee Wis., 1990
Bunch, Meribeth. Dynamics Of The Singing Voice,
Springer-Verlag, Wien, 1995
Green, Alan. The New Voice; How to Sing and
Speak Properly, Chappell & Co. 2003
Harpster, Richard W. Technique In Singing,
Schimer Books, new York, 1984
Melton, Joan. One voice: integrating singing
technique and theatre voice training, Portsmouth,
NH, 2003
Mckinney, James C. The Diagnosis & Correction
Of Vocal Faults, Broadman Press, Nashville, Tenn.
1982
Roseman, Ed. Edlys Music Theory for Practical
People, Musical EdVentures, Kennebunkport, Me.
1999
Stoloff, Bob. Vocal Improvisation Techniques, Ger-
ard and Sarzin Pub. Co. Brooklyn New York, 1996
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Module Code PA2201
Credits 15
Status Compulsory
Prerequisites PA1201
Semester 1 & 2
Weeks 1 30

Classes 72
Writing 20
Private Study 58
Total: 150
Module Description
This module offers advances in the
music skills begun in Music 1. The
continued development of a working
knowledge of Piano Keyboard, skills
allows students to accompany
themselves in vocal activity at a basic
level and provides more complex
information in Music Theory and
Aural skills.
MUSIC 2 / LEVEL 2
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Aims to
Introduce a more advanced knowledge of musical
terms and chords, their structure and inversion.
Explore more complex intervals and rhythms in
sight-singing with greater aural accuracy.
Encourage more self-accompaniment to simple
vocal works along with a more condent
technical ability.
Singing lessons will address more advanced
technical requirements needed for a greater
variety of styles i.e.: jazz, rock and pop.

Learning Outcomes
will:
demonstrate a more analytical understanding of
triads and their inversions as well as dominant
sevenths, diminished and augmented chords.
have gained an understanding of written
chord symbols and have developed a greater
prociency of piano skills with an emphasis on
right hand (melody) and left hand (chords)
demonstrate an increased knowledge of the
more complex aspects of rhythm, scales
and theory with a greater facility at the piano
keyboard to accompany his/herself with a simple
song. Sight reading should also be of a more
advanced standard.
possess a singing voice with a secure technical
base and an even tonal range throughout the
scale.
At the completion of Level 2 it is expected the
student will have reached a standard of ABRSM Grade
Four Theory and ABRSM Grade Two Piano.
Teaching Methods
Assessment
Music Theory
Aural Skills
Keyboard Skills
30%
30%
40%
Assessment Outlines
Keyboard Skills are practically assessed while a
written paper is required for Music Theory. Aural
includes both written and practical aspects.
b. Journals
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Required Reading
Pratt, George. Aural Awareness, Open University
Press, London, 1971
1999
Practical work books will be set by the individual
lecturers.
Recommended Reading
Harder, Greg A. Basic Materials in Music Theory,
Prentice-Hall, New Jersey, 2000
Harrison, mark. Contemporary Music Theory.
Level 3, Hal Leonard, Milwaukee, 2001
Kraft, Leo. A New Approach To Ear Training: A
Programmed course In Melodic and Harmonic
Dictation, W.W. Norton, 1999
Manoff, Tom. The music kit: rhythm Reader and
Scorebook, W.W. Norton A & Col, New York, 1994
Pratt, George. Aural Awareness, Open University
Press, London, 1971
1999
Warburton, Annie O. Graded Aural Tests For Al
Purposes. Longman, London, 1971
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Module Description
Students continue the study of
the genres begun in Dance 1. An
emphasis on more advanced technical
work is addressed along with a
greater understanding of style,
along with the encouragement of
more rapid and accurate learning of
basic choreographic combinations.
Greater strength and flexibility is
also addressed along with stylistic
accuracy.
DANCE 2 / LEVEL 2
Module Code PA2202
Credits 20
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work
150
Private Study/
Research
50
Total: 200
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Aims to
Introduce more complex and greater stylistic
range
Develop greater speed in processing
choreographic amalgamations.
Assist the students in gaining greater exibility,
strength and stamina
Instil a greater awareness of safe dance practice
and physical awareness.

Learning Outcomes
will:
have a greater condence in personal ability in
dance.
display a more advanced secure level of technical
prociency.
comprehend the technical names and vocabulary
in each dance genre.
understand the needs of the choreographer and
his/her expectations.
display the ability to integrate the actor and the
character into the dance.
At the end of Year 2, each student must have gained
a pass in a least Level 2 of all dance components to
continue into Year 3.
Teaching Methods
Practical class-work
Assessment
Classical
Jazz
Tap
Production Repertoire
25%
25%
25%
25%
Assessment Outlines
All four dance forms take place before a panel
and include combinations of the syllabus studied
over the year.

An informal un-graded assessment is held at
the end of semester one to allow both the
student and the staff to identify and address
problems before the formal end-of-year graded
assessments.
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Required Reading
Berkson, Robert. Musical Theatre Choreography,
A & C Black, London, 1990
Howse, Justin. Dance Technique & Injury
Protection, Routledge, New York, 2000
Recommended Reading
Duggan, Anne Schley. The Complete Tap Dance
Book, University Press of America. Washington, D.C.
1977
Gay, Moyra. Modern Tap Technique, Imperial
Society of Teachers of Dancing. London, 1976
Giordano, Gus. Jazz Dance Class: Beginning Thru
Advanced, Dance Books, London, 1992
Gray, Acia. The Souls of Your Feet: A Tap Dance
guidebook for Rhythm Explorers, Grand Weavers
publishing. Austin, Tx. 1998
Hatchett, Frank, Frank Hatchetts Jazz Dance,
Human Kinetics, Champaign, Ill. 2000
Kislan, Richard. Hoong On Broadway-A History
Of Show Dancing, Simon & Shuster. London, 1987
Kraines, Minda Goodman, Jump Into Jazz: The
Basics and Beyond for the Jazz Dance Student,
Mayeld Pub. Mountain View, Calif. 2001
Lepecki, A. Of the Presence of the Body, London:
Wesleyan University Press, 2004
Long, Robert Emmet. Broadway, The Golden
Years, Continuum, NY, 2002
Medova, Marie-Laure. Ballet For Beginners,
Sterling Pub. Co., New York, 1995
Spilkin, Terry. The Dancers Foot Book, Dance
Horizons, Book. Princeton NJ, 1990
Stearns, Marshall Winslow. The Story of American
Vernacular Dance, Da Capo Press, New York, 1994
Kriegel, Lorraine Person. Jazz Dance Today, West
Pub. Co. Minneapolis, 1994
Sunderland, Margot & Ken Pickering.
Choreographing The Stage Musical, J. Garnet Miller
Ltd. New York, 1989
Vincent, L.M. A Dancers Book Of Health, Dance
Books, London, 1980
Wessel-Therhorn. Jazz Dance Training, Aachen,
Lansing, Mich. 1998
C
Module Code PA2203
Credits 20
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work
160
Writing 10
Private Study 30
Total: 200
Module Description
This module continues the building
of the actors technical requirements
and introduces a variety of non-
naturalistic performance styles.
Level 2 acting engages much more with rich dramatic
texts and consideration is structures, theme, mood,
character and relationship. Students work beyond
linear understanding and personalisation into deeper
explorations of character and characterization.
Improvisation explores other non-verbal performance
skills such as mask and mime. Voice work becomes
more integrated into performance, along with a
greater understanding of the actors body and
movement.
ACTING 2 / LEVEL 2
/ 33
Aims to
Introduce students to a practical acting
methodology.
Encourage students to use a variety of theories
to develop sustained character work
Develop the students awareness of their own
emotional, physical and imaginative resources.
Integrate the basic core skills of voice and
movement and acting in order to realise a
dramatic performance.
Introduce the works of non-naturalist playwrights
and practitioners

Learning Outcomes
will be able to draw on:
an understanding of theatre as a collaborative
creative artistic process which challenges their
intellectual, imaginative, emotional and physical
abilities
a working vocabulary of a greater variety of styles
and genres
an appropriate range of physical, vocal and
performance skills
an understanding of the interplay between theory
and practice within performance work
a range of analytic, reective and communicative
skills, informed by a practical understanding of
the processes.
the ability to present themselves with condence
and communicate effectively in writing and
through oral and practical work
Teaching Methods
Critical session, Seminars, practical class-work,
practical presentations
Assessment
Acting Workshops 35%
Practical Presentation Performance
Voice
Movement
Improvisation
20%
15%
15%
Written Assignments
Final Performance 15%
Assessment Outlines
Students are assessed on quality of contribution,
participation and practical presentations in Acting,
Improvisation, Movement and Voice classes.
Practical presentations set by the lecturer
occur throughout the year. The end of year
presentations are viewed by other lecturers in
addition to the class teacher. It is expected the
students ability to articulate and discuss their
choices and to contribute in critical matters will
be of a higher level than the previous year.
b. Research Portfolio
A written assignment will be set on topics related
to the texts being studied. The written work will
be viewed mid year by the lecturer to ensure
format and content are as designated.

An informal un-graded assessment will be held
at the end of semester one to allow both the
student and the staff to identify and address
problems before the formal end-of-year graded
assessments.
C
Required Reading
Berry, Cicely. The Actor And The Text, Virgin Books,
London, 2000
Chekov, M. On the Technique of Acting, N.Y.:
Harper Perennial, 1991
Davies, D. Gareld. Care Of The Professional
Voice, Butterworth Heinemann, Boston, 1998
Play texts will be assigned by the lecturer.
Recommended Reading
Abrams, M.H. A Glossary of Literary Terms,
Orlando FL: Harcourt Brace College Publishers, 1988
Atkins, Greg. Improv. A Handbook for the Actor,
Portsmouth NH, 1982
Barrenger, Milly S. Understanding Plays, Boston:
Allyn, 1990
Barnet, Sylvaio & Morton Berman & William Burto.
Types of Drama, NY: HarperCollins, 1992
Benedetti, J. Stanislavski: an introduction.
London: Methuen, 1982
Benedetti, J. Stanislavski and the Actor. London:
Methuen, 1998
Benedetti, R. The Actor at Work, Allyn and Bacon,
Boston, 1997
Bloom, Harold. Shakespeare. The Invention of the
Human, NY: Riverhead Books, 1998
Braun, E. The Director and the Stage from
Naturalism to Grotowski. London:Methuen, 1986
Braun, K. Theatre directing: art, ethics, creativity,
N.Y. E. Mellen Press, 2000
Brook, P. There are no Secrets, London: Methuen,
1993
/ 35
Cassady, Marsh. Spontaneous Performance,
Meriwether Pub., Colorado springs, Colo. 2000
Donnellan, D. The Actor and The Target, London:
Nick Hern, 2002
Hagen, Uta. A Respect for Acting, Basingstoke:
Macmillan, 1973
Hollberg, Arthur. The Theatre of Robert Wilson,
London: Cambridge University Press, 1998
Hornby, R. The End of Acting. New York: Applause,
1995
Jacobs, Lee A. The Bedford Introduction to
Drama, NY: St. Martins Press, 1989
Jones, C. Make Your Voice Heard, Back Stage
Linklater, Kristen. Freeing the Natural Voice,
Drama Book Publishers, 1976
McDonald, R. Shakespeare and the arts of
language, Oxford: Oxford University Press, 2001
Meisner, Sanford & Dennis Longwell. Sanford
Meisner on Acting, NY: Randon House, 1987
Merlin, Bella. Beyond Stanislavsky, Nick Hern,
London, 2001
Moore, S. The Stanislavski System.
Harmondsworth: Penguin, 1976
Novak, Elaine. Styles Of Acting, Pretice-Hall, Inc.,
Englewood Cliffs, NJ, 1985
Quennell, Peter & Hamish Johnson, Whos Who in
Shakespeare, London: Routledge, 1995
Richards, I.A. Principals of Literary Criticism,
Lonndon: Routledge, 1995
Rodenburg, Patsy. The Need For Words. Voice &
The Text, London: Methuen Drama, 1994
Rodenburg, Patsy. The Right To Speak, London:
Mehtuen Drama, 1992
Seyler, Athene, & Stephen Haggard, The Craft Of
Comedy, Theatre Arts Books, New York, 1957
Stanislavski, C. An Actor Prepares, Theatre Arts
Books: New York, 1936
Stanislavski C. Building a Character. London: Eyre
Methuen, 1979
C
Module Code PA2204
Credits 10
Status Compulsory
Semester 1 & 2
Weeks 1 30
Indicative Workload per semester (in hours)

Classroom
Work 72
Writing 20
Private Study 8
Total: 100
Module Description
This module includes a more specific
study and exploration of the
development of Musical Theatre.
Students examine musical theatre and its history and
evolvement through discussions and research. The
exploration of text, lyrics, music and context of the
seminal works and their creators provide a secure
knowledge base for performance.
Continued examination of Dramatic Literature
provides further analytical insights into both the
literature and its writers.
ACADEMIC STUDIES 2 / LEVEL 2
C
Aims to
Provide a greater understanding of the
antecedents and historical development of
Musical Theatre.
Highlight important works, composers and
librettists in the development of the music
theatre genre
Examine the performance, stylistic and
intellectual challenges posed by the great
dramatic literature.
Learning Outcomes
will:
have the ability to place their performance work
in a more accurate historical perspective.
possess a greater critical awareness of the
structure and demands of the great works of the
theatre.
gained an ability to present themselves with
condence and communicate effectively in
writing, oral and practical work
Teaching Methods
Lectures, seminars, practical class-work
Assessment

Written Assignment/Seminar Presentation
Musical Theatre
Dramatic Literature
50%
50%
Assessment Outlines
Students are asked to give seminar presentations
on assigned topics in the Dramatic Literature
component.
The topic and guidelines for this document will
be set by the lecturer conducting the History of
Musical Theatre component. Assessment criteria
will include, comprehension of the subject,
research skills, presented materials and the ability
to express ideas.

At mid year, Lecturers will seek to identify any
students will difculties and convey the details to
the Programme Leader who will, in consultation
with both student and Lecturer, seek to assist
the student to solve the problems they may be
encountering.
C
Required Reading
Ganzl, Kurt. The Musical: A Concise History, North
Eastern University Press, 1997
Miller, Scott. Rebels With Applause: Broadways
Groundbreaking Musicals, Heinemann. Portsmouth
NH, 2001
Specic texts will be assigned by the lecturer.
Indicative Bibliography
Baneld, Stephen. Sondheims Broadway
Musicals, University of Michigan Press. Ann Arbor,
1993
Bawtree, Michael. The New Singing Theatre,
Oxford University Press. New York, 1991
Citron, Stephen. Sondheim And Lloyd-Webber:
The New Musical, Oxford University Press. New
York, 2001
Engel, Lehman. Words With Music. The Broadway
Musical Libretto, Schirmer Books. New York, 1972
Green, Stanley. Broadway Musicals of the 30s, Da
Capo Press. New York. 1971
Hischak, Thomas S. Word Crazy: Broadway
Lyricists From Cohan to Sondheim, Prager. New
York, 1991
Jackson, Arthur. The Book of Musicals: From
Show Boat to A Chorus Line, Mitchell Beazley.
London, 1977
Mandelbaum, Ken. Not Since Carrie, St. Martins
Press. NY, 1991
Mates, julian. Americas Musical Stage: Two
Hundred Years of Musical Theatre, Praeger.
Westport, Conn. 1987
Mordden, Ethan, Coming Up Roses. The
Broadway Musical of the 50s, Oxford University
Press. New York, 1998
Mordden, Ethan. The Happiest Corpse Ive Ever
Seen, Palgrave Macmillan, New York, 2004
Singer, Barry. Ever After: The Last Years of Musical
Theatre and Beyond, Applause Theatre & Cinema
Smith, Cecil & Glenn Litton, Musical Comedy in
America, Theatre Arts Books. New York, 1981
Suskin, Steven. Show Tunes: 1905-1991, Oxford
University Press, New York, 2000
Swain, Joseph P. The Broadway Musical: A Critical
And Musical Survey, Oxford University Press. New
York, 1990
C
Module Code PA2205
Credits 20
Status Compulsory
Semester 1
Weeks 1 15

Rehearsal/
Performance 170
Writing 10
Private Study 20
Total: 200
Module Description
Level 2 offers a more comprehensive
calendar of public performances.
The production schedule will offer a continuous
performance programme and includes works of
varying styles and genres. Along with existing
works, it is intended that students are also given the
opportunity to work with writers on new works.. An
emphasis is also placed on rehearsal and performance
protocol to the benchmark of industry standards. A
weekly Performance Practice forum will be offered to
allow the presentation of work either from either class
study or personal work.

Casting Policy
Casting will offer students the opportunity to
experience principal, featured and ensemble roles.
Due care is taken for students so that while procient
progressive development is provided the student
is not exposed unduly to public scrutiny without a
commensurate level of ability. Equal opportunity is in
itself a way of providing support for the student by
progressively exposing them in each developmental
stage. All students audition for all Performance
Projects at every level. This ensures the development
of audition technique in all areas of study. The plays
and musicals selected over the course of study allows
every student to be assessed fairly with respect to
the kind of roles given to them. When casting, the
creative team consideration the skill level of students
and aims to present opportunities for all students
to adequately demonstrate the expected learning
outcomes.

PERFORMANCE 2A / LEVEL 2
C
Aims to:
Provide the opportunity for the integration of
class work.
Offer the experience of audience action and
interaction.
Provide a safe and creative rehearsal process.
Encourage the development of a work process
for both personal and group needs.
Provide the basis for personal research.
Offer a forum for self generated work in the
weekly Performance Practice class.
Learning Outcomes
On successful completion of this module, the student
will:
understand the rehearsal process.
have developed a systematic and effective work
method.
have begun to understand the need for exibility
and adaptability.
begin to trust in his/her own judgements.
be able to provide the needs and requests of the
director and the production.
Teaching Methods
Rehearsals, performances, critical sessions
Assessment
Rehearsal
Performance
40%
40%
Research Portfolio 20%
Assessment Outlines
Students attendance, contribution, commitment are
considered in addition to the following.
During rehearsals, students are assessed on their
ability to work both independently and as part
of a group as well as their contribution and the
ability to express ideas. Professional etiquette
such as preparation of work, the ability to be
exible and adaptable to the needs of the director
will also be assessed.
The public performance programme begins in
Level Two and the ability to consolidate and
integrate the rehearsal work into a cohesive and
secure performance is expected.

All lecturers will view the performances and
contribute to the assessment.
c. Research Portfolios
This document contains aspects of the students
research into the roles they have been assigned.
It may also include research in all aspects of the
production such as political and social context,
associated arts and any relevant material that will
inform the performance.
/ 41
Required Reading
Robison, Kevin. The Actor Sings: discovering A
musical Voice for The Stage, Heinemann, NH, 2000
Recommended Reading
Berry, C. The Actor And His Text, Virgin, London,
2000
Craig, David. A Performer Prepares, Applause,
New York, 1983
Craig, David. On Singing Onstage, Applause
Theatre Book Publishers. New York, 1990
Acting handbook, Routledge, London, 2000
Engel, Lehman. Words With Music: The Broadway
Musical Libretto, Schirmer Books, New York, 1981
Green, Don. Fight Your Fear And Win, Broadway
Protection, Routledge, new York, 2000
McKinney, James C. The diagnosis & Correction
Of Vocal Faults, Broadman Press, Nashville, Tenn,
1982
Perry, John. The Rehearsal Handbook for Actors
And Directors, Crowood Press, Marlborough,
Wiltshire, 2001
Robin, Mitchell W. Performance anxiety: Adams
Pub. Holbrook, Mass, 1995
Swain, Joseph P. The Broadway Musical: A Critical
And Musical Survey, Oxford University Press. New
York, 1990
Winter, William. Shakespeare On the Stage, B.
Blom, New York, 1969
C
Module Code PA2206
Credits 20
Status Compulsory
Semester 2
Weeks 16 30

Rehearsals &
Performances
170
Writing 10
Private Study 20
Total: 200
Module Description
The performance programme
continues as in Semester 1. At this
time, it is expected that students
will have adopted a rehearsal and
performance methodology, in addition
to the confidence to take greater
risks in the rehearsal room.
The ability to integrate the various technical skills
should be evidenced by a more cohesive and
seamless performance. It is expected that at this
point in their training, the experience of working
with a variety of directorial practitioners will enable
them to adapt to their differing methods of work. The
Performance Practice Forum will continue to offer
further performance opportunities.
PERFORMANCE 2B / LEVEL 2
/ 43
Aims
To assist in further dening and rening all
aspects of production work.
To have provided each student with the
opportunity to experience roles in a variety of
styles, size and complexity.
Ensure that each student understands the
rehearsal and performance procedure.
Develop an understanding of both rehearsal and
performance requirements.

Learning Outcomes
will:
have the ability to work with condence and
generosity within a performing company
understand the need for exibility to
accommodate the needs of each specic director,
choreographer and musical director.
possess the ability to draw on and integrate the
skills and techniques studied in classes.
display the ability to monitor and sustain each
performance.
Developed a consistency of performance
Teaching Methods
Rehearsals, performances, critical sessions
Assessment
Rehearsal
Performance
40%
40%
Assessment Outlines
Students attendance, contribution, commitment are
considered in addition to the following.
During rehearsals, students are assessed on their
ability to work both independently and as part
of a group as well as their contribution and the
ability to express ideas. Professional etiquette
such as preparation of work, the ability to be
exible and adaptable to the needs of the director
will also be assessed.
The public performance programme begins in
Level 2 and students are expected to develop the
ability to consolidate and integrate the rehearsal
work into a cohesive and secure performance.

All lecturers will the performances and contribute
to the assessment.
This may also include research in all aspects
of the production such as political and social
context, associated arts and any relevant material
that will inform the performance.
C
Required Reading
Acting handbook, Routledge, London, 2000
Other required reading and texts is set by the
directorial staff.
Recommended Reading
Craig, David. A Performer Prepares, Applause,
New York, 1983
Craig, David. On Singing Onstage, Applause
Theatre Book Publishers. New York, 1990
Engel, Lehman. Words With Music: The Broadway
Green, Don. Fight Your Fear And Win, Broadway
Protection, Routledge, new York, 2000
McKinney, James C. The diagnosis & Correction
Of Vocal Faults, Broadman Press, Nashville, Tenn,
1982
Perry, John. The Rehearsal Handbook for Actors
And Directors, Crowood Press, Marlborough,
Wiltshire, 2001
Robin, Mitchell W. Performance anxiety: Adams
Pub. Holbrook, Mass, 1995
Robison, Kevin. The Actor Sings: discovering A
musical Voice for The Stage, Heinemann, NH, 2000
Swain, Joseph P. The Broadway Musical: A
Critical And Musical Survey, Oxford University
Press. New York, 1990
Winter, William. Shakespeare On the Stage, B.
Blom, New York, 1969
/ 45

Successful completion of this level
is awarded a Diploma of Higher
Education in Musical Theatre, and
graduates are equipped with skills
and knowledge enabling them to
enter employment within the Musical
Theatre field.
Through applying expressive technique and critical
analysis and exercising transferable skills, a graduate
will be able to chart a successful career in a wider
arena. This Diploma also qualifes students to
proceed into Level 3 of a BA degree.

C
Module Code PA3201
Credits 40
Status Compulsory
Prerequisites PA2201, PA2202, PA2203
Semester 1 & 2
Weeks 1 30

Classroom
Work 360
Private Study 40
Total: 400
Module Description
The final year of study consolidates
the previous modules studied in the
areas of Singing, Dance and Acting.
There are no Music components at the 3rd level.
Students are now expected to be reasonably self-
sufcient and possess the ability to draw on all their
skills and resources and poses the ability to draw on
all their resources in preparation for the Performance
Project rehearsals. A weekly class introduces
students to the specic requirements and vocabulary
needed for Film/TV work.
The continuation of the weekly individual singing
lesson ensures that all students are able to monitor
their continued vocal health. In addition to the
Musical Theatre repertoire students also study the
contemporary vocal repertoire that is so often used
in the genre today. Audition techniques are practiced,
and students begin to compile an audition repertoire.
Long-term vocal and physical well being is addressed
as the students prepare to take total responsibility for
the maintenance of their career skills.
PERFORMANCE SKILLS / LEVEL 3
/ 47
Aims to
Offer continued practical and maintenance work
on the singing voice.
Assist in the continued development in all dance
techniques and styles.
Encourage the responsibility for personal
maintenance in all skills and techniques.
Encourage the continued development of a
repertoire of solo songs suitable for audition and
performance.
Provide practical knowledge and skills required
for work in the industry
Provide the information and experience to assist
in the students theatre, lm and TV auditions.

Learning Outcomes
will:
demonstrate a mastery of the respective
techniques, styles and terminologies at a
professional standard.
demonstrate the motivation, commitment and
responsibility for his/her own learning.
adapt technical skills to the respective styles as
required.
show evidence of an appropriate range of
physical, vocal and performance skills
demonstrate a secure and exible singing
technique that is adaptable in tone, range and
colour.
have acquired a knowledge of the terms, and
skills needed for work in the lm medium.
Demonstrate the ability to execute the range of
contrasting dance styles required by the current
musical theatre performer
Demonstrate an ability to act in both monologue
and group scene work to a working professional
standard
Teaching Methods
Practical class-work, Tutorials
Assessment
Singing
Voice
Dance Skills
Acting for Camera
Acting
30%
10%
30%
15%
15%
Assessment Outlines
The aim of this module is to maintain the required
skills while embarking on a more intensive
performance programme.
Morning classes consist of Classical Ballet, Jazz, Tap,
Song and Dance, Voice and Acting. Assessment will
be made taking into consideration attendance and
continued progress.
Acting for Camera is assessed by the lecturer with
any Coursework footage viewed for comment by
other staff members.
Singing assessment is assessed on the performance
at the end of year vocal recital.
C
Required Reading
Bernard, Ian. Film And Television Acting: From
Stage To Screen, Focal Press, Boston, 1998
Lovell, Alan & Peter Kramer. Screen Acting,
Recommended Reading
Abbott, Leslie. Acting For lm & TV, Star
Publishing Co., Belmont CA, 1997
Barr, Tony. Acting for the Camera. Allyn and Bacon.
Boston, 1982
De Brett, Tona. Discover Your Voice: learn To Sing
From Rock to Classic, Schott. London, 1996
Dougan, Pat. Professional Acting In Television
commercials: Techniques, Exercises, Copy, and
Storyboards, Heinemann, Portsmouth, NH, 1995
Fisk, John & John Harley. Reading Television,
Methuen & Co., London, 1980
Harmon, Renee. How to Audition for Movies and
TV, Walker, New York, 1992
Mckinney, James C. The diagnosis & Correction
Of Vocal Faults, Broadman Press, Nashville, Tenn.
1982
OBrien, Mary Ellen. Film Acting, Aarco Publishing,
New York, 1983
Reynerton, A.J. The work of The Film Director,
Focal Press, London, 1978
Rodenburg, Patsy. The Need For Words. Voice &
The Text, Methuen Drama, London, 1994
Shand, John & Tony Wellington. Dont Shoot The
Best Boy! The Film Crew At Work, Currency Press,
Paddington, 1988
Stoloff, Bob. Vocal improvisation Techniques,
Gerard & Sarzin Pub. Co., Brooklyn New York, 1996
Taylor, Malcolm. The Actor And The Camera, A.C.,
Black, London, 1994
Tucker, Patrick. Secrets Of Screen Acting,
Routledge, New York, 2003
Vincent, L.M. A Dancers Book Of Health, Dance
Books, London, 1980

/ 49
Module Code PA3202
Credits 15
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work 28
Writing 70
Private Study 52
Total: 150
Module Description
This module consolidates the
students theoretical research skills
and enables them to investigate
in some detail an aspect of the
performing arts that is of particular
interest to them and relevant to their
field of study.
This research represents the culmination of the
students critical reection on performance practices
and gives them an opportunity to undertake a piece
of independent, supervised work. The important
distinction is that this is not an essay but an
engagement with a supervisor in an Honours context.
Students are allocated supervisors and meet their
supervisors on a one-to-one basis.
The Performance Research Project consists of both
practice and theory. The practical presentations
can take any form but must be a minimum of 20
minutes/maximum 40 minutes in length and the
written component to be a minimum of 3,000 words.
Alternatively, the student may complete 4,000 word
research paper with no practical presentation. This
is worth 80% of the nal mark. This nal document
and presentation is due in the assessment period of
semester 2.
PERFORMANCE RESEARCH / LEVEL 3
C
During the assessment period of the Semester 1,
students present a 20 minute seminar paper to their
supervisors and the Programme Leader as a means of
tracking their work in progress. This mid year seminar
presentation and paper (approx 500 words) is worth
20% of the nal assessment. All submissions must
be discussed and agreed with the supervisor. The
combination of academic and communicative skills,
which are pivotal to the curriculum, shapes this nal
project.
Aims to
To provide the opportunity and guidance needed
to create a research document
To assist in developing the students ability to
source research materials
To encourage exploration and enquiry to support
performance work.
To develop critical thinking, analysis and
discursive skills
Learning Outcomes
will:
Undertake well-structured research relevant to
the chosen eld of study
Communicate the aims, processes and outcomes
of this research in performance, oral and written
presentations
Articulate through the analysis of their chosen
topic a critical understanding of theatre craft and
performance
Demonstrate an understanding of the importance
of context in theatre practice
Interpret and examine the relationship between
theatre practice and critical reection
Demonstrate an ability to act in both monologue
and group scene work to a working professional
standard
Teaching Methods
Seminars, tutorials, supervision
Assessment
Written Assignment 80%
Seminar Presentation 20%
Assessment Methods

a. Seminar participation
Students are assessed on the thoroughness of
their preparation to speak fully and meaningfully
at their Seminar presentation, to receive criticism
and present reasoned arguments for their
research processes and positions.
The document is assessed on the depth and
quality of the research, the critical analysis of the
material and the students ability to write and
present a well-structured research document in
clear, precise, readable academic language. The
work is assessed on its capacity to assert itself
as signicant to the students development as a
thinking performer.
Assessment Outlines
This document may consist of expanded data from a
previous subject of the students choosing, subject to
the approval of the Programme Leader.
The document may contain not only written material
but any appropriate visual and aural material or design
work that may support the subject. If a performance
component is included the assessment breakdown is
as follows:
Written 60%
Performance 40%
/ 51
Required Reading
Allison, B. The Students Guide to Preparing
Dissertations and Theses, London: Kogan Page, 1997
Berry, R. The Research Project; How To Write It.
(4th ed.) Routledge, London, 2000
Other books and texts will be dictated by the
chosen work and the specifc role assigned to each
student.
Recommended Reading
Allison, B. The Students Guide to Preparing
Dissertations And Theses, Routledge, London, 2000
Bell, J. Doing Your Research Project (2nd Ed)
Milton Keynes, 1993
Carr, W & S. Kemmis. Becoming Critical, Falmer,
Sussex, 1986
Hult, Christine A. Researching And Writing: Across
The Curriculum, Allyn and Bacon, Boston, 1996
Irving, Ann. Study And Information Skills Across
The Curriculum, Heinemann Educational Books,
Portsmouth, N.H. 1985
Rice, Ronald E. Accessing And Browsing
Information And Communication, MIT Press,
Cambridge, Mass. 2001
Orna, Elizabeth. Managing Information For
Research, Open University Press, Buckingham, UK,
1995
Rowland, Robin. The Creative Guide To Research:
How To nd What You Need Online or Ofine,
Career Press, Franklin Lakes, NJ, 2000
Further reading lists are suggested for the
research projects.
C
Module Code PA3203
Credits 5
Status Compulsory
Semester 1 & 2
Weeks 1 30

Classroom
Work 30
Writing 10
Private Study 10
Total: 50
Module Description
This module is designed to prepare
students for entry into the
professional world of a performer.
An overview of Arts and career Management will
provide an understanding of the skills needed to
maintain a career in the performing including an
understanding of contracts and the role of the agent.
Financial accountability is also addressed through the
study of budget preparations and funding applications.
CAREER MANAGEMENT / LEVEL 3
/ 53
Aims to
Introduce students to the business needs of the
professional performer
To provide an understanding of the nature of
agents and contracts
Introduce the process of producing productions
to the highest industry standards.
Engage in the collaborative process of a
production
Engage in a range of simulated theatre company
activities including the application for arts funding

Learning Outcomes
will:
Display an understanding of basic arts
management procedures.
Comprehend the application process as required
by funding bodies.
Understand the fundamental requirements for
secure personal career management.
Possess the ability to create a thorough and
accurate budget sheet.
Present a CV, cover letter and repertoire list to
professional standard
Teaching Methods
Lectures, seminars, practical presentations
Assessment
Written Assignment 100%
Assessment Outlines
This module consists of a series of lectures, seminars
and practical presentations presented by a variety of
industry personnel. The specic tasks will be set by
each lecturer and dictated by the subject.
C
Required Reading:
Dunmore, Simon. An Actors Guide To Getting
Work, A & C Black, London, 1996
Merlin, Joanna. Auditioning: An Actor Friendly
Guide, Vintage Books, New York, 2001
Other texts are assigned by the lecturers conducting
the module.
Recommended Reading
Alterman, Glenn. Promoting Your Acting Career,
Allworth Press, New York, 1998
Cotterell, L. Performance The Business and Law
of Entertainment, Sweet & Maxwell, 1993
Fill, Chris. Marketing Communications (2nd Ed.)
Prentice-Hall, New York, 1999
Freakley, V. & R. Sutton. Essential Guide to
Business In The Performing Arts, Hodder &
Stoughton. UK, 1996
Henry, Mari Lyn & Lynne Rogers. How To Be a
Working Actor. M Evans & Co. Inc.: New York, 1986
Hill, E et al. Creative Arts Marketing, Butterworth-
Heinemann Ltd., UK, 1995
Hines, Terrance. An Actor Succeeds: Career
Management For the Actor, S, French, Hollywood,
CA, 1990
Hunt, Gordon. How To Audition: TV, Movies,
Commercials, Plays, musicals, Harper & Row,
Publishers. New York, 1977
Hoffman, Basil. Cold Reading And How To Be
Good At It. Dramaline Publications, Rancho Mirage,
Calif. 1999
Kotler, P & J. Scheff. Standing Room Only:
Strategies For Marketing The Performing Arts,
Harvard Business School Press, Boston, 1997
Mapleson, Peter. Auditioning For Musicals,
Currency Press. Sydney, 1994
Merlin, J. Auditioning: an actor-friendly guide.
N.Y.: Vintage Books, 2001
Oliver, Donald. How To Audition For the Musical
Theatre, Drama Book Publishers. New York, 1985
Proctor, T. Essentials O Marketing Research (2nd
Ed.), Prentice-Hall, New York, 1997
Salt, Chrys. Make Acting Work, Bloomsbury,
London, 1997
Kotler, Philip. Marketing the Performing Arts,
Harvard Business School Press, 1997
Silver, Fred. Auditioning For The Musical Theatre,
Newmarket Press. New York, 1985
/ 55
Module Code PA3204
Credits 30
Status Compulsory
Semester 1
Weeks 1 15

Rehearsals &
Performances 260
Writing 10
Private Study 30
Total: 300
Module Description
This module continues the process of
developing the repertoire of public
performances and the works chosen
offer greater complexities and
challenges to the performers.
All musicals presented at this level are fully staged
productions. All the previous classes and performance
work inform and enrich these nal year performances.
The ability to function in an accepted and professional
manner is expected at all times during rehearsals
and performances. The ability to thoroughly research
the work is expected to enable debate and open and
creative exibility on the rehearsal oor. The ability to
take, process and integrate direction on a continuing
basis is a necessity.
PERFORMANCE 3A / LEVEL 3
C
Aims to
Offer the opportunity to work at a level
commensurate to the profession in all aspects.
Relate research, practice and performance.
Provide the opportunity to work with a variety of
directorial personnel.
Adapt to the individual choreographer, director
and musical director and his/her needs.
Address audition requirements and techniques as
they are presented.
Continued opportunity to participate in the
weekly Performance Practice class.

Learning Outcomes
will:
Integrate the skills of acting, singing and dance
to a high level as demonstrated through individual
and group performance
possess the skills to present themselves with
condence and communicate effectively through
practical work
create, rehearse and perform a variety of works
in a consistent and methodical manner with
appropriate style and imagination.
demonstrate a range of analytic, reective and
production
develop and generate solo and group work
Teaching Methods
Rehearsals, Performances, Critical Session
Assessment
Rehearsal
Performance
40%
50%
Rehearsal Portfolio 10%
Assessment Outlines
In this nal year of study, students are expected to
conduct themselves to accepted industry standards
of rehearsal and performance protocol.
a. Rehearsals
At this level, students are expected to take more
responsibility for preparation and the presentation
of ideas within the rehearsal process.
b. Performance
All directorial staff meet to discuss and agree
upon the students grading for each production.
It may also include all aspects of the production
such as political and social context, arts and
any relevant material that will inform the
performance.
/ 57
Required Reading
Corson, Richard. Stage Makeup, Englewood Cliffs,
NJ: Pretice-Hall, Inc. 1986
Mandarino, N. Actor As Artist, L.A.: Mandarino,
1991
Required reading and texts is dictated by each
production and set by the directorial staff
Recommended Reading
Oxford University Press, New York, 1991
Cassady, March. Spontaneous performance,
Methuen Merivether Pub. Colorado Springs, Colo.
2000
Craig, David. A Performer Prepares, NY: Applause,
1993
Craig, David. On Singing On Stage, NY: Applause
Engle, L. Words With Music. The Broadway
Kosarin, The Singing Actor
Mitter, Shomit, Systems of Rehearsal, New York:
Routledge
Rich, Frank. Hot eat: theatre Criticism For The
New York Times. 1980-1993, Random House, New
York, 1998
Rubin, D (ed.) The World Encyclopaedia of
Contemporary Theatre, Vols.1-6, London, N.Y.:
Routledge, 1994-2000
Stanislavski, C. Creating A Role, Eyre Methuen,
London, 1980
Westmore, Michael. The Art of Theatrical Makeup
for Stage and Screen, New York: McGraw-Hill Book
Co., 1973
C
Module Code PA3205
Credits 30
Status Compulsory
Semester 2
Weeks 16 30

Rehearsals &
Performances 260
Writing 10
Private Study 30
Total: 300
Module Description
Students will focus this semester
preparing the graduation musical and
the industry showcase. Both students
and staff will create the showcase to
highlight the particular skills of each
individual student.
They will also be guided and instructed on all the
needs for a successful entry into the international
performing industry. This will be assisted by the
knowledge acquired in the Career Management
module.
At the completion of the Showcase, all students will
have the condence to take on the responsibility of
both the performance and management of their future
careers.
PERFORMANCE 3B / LEVEL 3
/ 59
Aims to
Offer the opportunity to work at a level
commensurate to the profession in all aspects.
Relate research, practice and performance.
Adapt to the individual choreographer/director and
his/her needs.
Address audition requirements and techniques.
Produce a performance to attract interest within
the industry.
Offer the opportunity to assist in the creation of a
personal showcase performance.

Learning Outcomes
will:
Integrate the skills of acting, singing and dance
to a high level as demonstrated through individual
and group performance
possess the skills to present themselves with
condence and communicate effectively through
practical work
create, rehearse and perform a variety of works
in a consistent and methodical manner with
appropriate style and imagination.
demonstrate a range of analytic, reective and
production
develop and generate solo and group work
Teaching Methods
Workshops, Rehearsals, Performances, Critical
Session
Assessment
Rehearsal
Performance
40%
50%
Assessment Outlines
In this nal year of study, students are expected to
conduct themselves to accepted industry standards
of rehearsal and performance protocol.
a. Rehearsals
At this level, students are expected to take more
responsibility for preparation and the presentation
of ideas within the rehearsal process.
b. Performance
All directorial staff meet to discuss and agree
upon the students grading for each production.
This document contains aspects of the
students research into the roles they have
been assigned. This may also include all aspects
of the production such as politics, the arts
and any relevant material that will inform the
performance.
C
Required Reading
Cole, Susan Letzler. Playwrights In Rehearsal. The
Seduction Of Company, Routledge, New York, 2001
Myer-Dinkgrafe,D. (ed.) Whos Who In
Contemporary World Theatre, London: Routledge,
2000
Required reading and texts will be dictated by each
production and set by the directorial staff
Recommended Reading
Oxford University Press, New York, 1991
Cassady, March. Spontaneous performance,
Methuen Merivether Pub. Colorado Springs, Colo.
2000
Cole, Susan Letzler. Playwrights In Rehearsal. The
Seduction Of Company, Routledge, New York, 2001
Corson, Richard. Stage Makeup. Englewood Cliffs,
NJ: Pretice-Hall, Inc. 1986
Craig, David. A Performer Prepares, NY: Applause,
1993
Craig, David. On Singing On Stage, NY: Applause
Engle, L. Words With Music. The Broadway
Hoffman, Basil. Cold Reading And How To Be
Good AT It. Dramaline Publications, Rancho Mirage,
Calif., 1999
Kosarin, The Singing Actor
Mapleson, Peter. Auditioning For Musicals,
Currency Press, Sydney, 1994
Mitter, Shomit. Systems of Rehearsal, New York:
Routledge
Rich, Frank. Hot eat: theatre Criticism For The
New York Times. 1980-1993, Random House, New
York, 1998
Stanislavski, C, Creating A Role, Eyre Methuen,
London, 1980
Westmore, Michael. The Art of Theatrical Makeup
for Stage and Screen, New York: McGraw-Hill Book
Co. 1973

/ 61

Successful completion of this level
is awarded a BA (Hons) Musical
Theatre, and graduates are equipped
with developed skills and substantial
knowledge enabling them to enter
professional employment within
the international Musical Theatre
industry, where it is expected
they have the potential to make a
significant contribution to its future.
Through application of expressive technique and
critical analysis and by exercising transferable skills,
a graduate will succeed in various areas of the
performing arts and in a wider arena, not only as
performer and collaborator but also as creator and
leader.
This Degree also qualifes students to later
proceed into further studies at Masters level.

/ 1
SUPPLEMENTARY
INFORMATION
APPENDIX I
Programme Management
APPENDIX II
Academic Structure Levels, Modules and Credits
APPENDIX III
Example Assessment Forms
/ 2 SUPPLEMENTARY INFORMATION
The Programme Leader
The Programme Leader is responsible for the
management of the programme, including such
duties as:
admission to the Programme,
supervision of the Programmes stated objective,
implementation of assessment procedures,
liaison with programme tutors,
monitoring and maintenance of students records.
The Module Coordinator
Each module is organised by a Module Coordinator
who is responsible for organising the teaching and
learning strategies used to deliver the module. They
supervise the contributions of other lecturers and
practitioners and are responsible for assessment
procedures.
Tutorial Support
Each student is allocated a tutor who is responsible
for monitoring the academic progress and pastoral
needs of the students. Tutorials give students the
opportunity to discuss the negotiated aspects of their
learning and the tutor looks after their general welfare,
identifying and clarifying for the student the role of
the different support systems and agencies within the
College.
The role of the tutor includes:
monitoring academic progress and study skills.
monitoring personal development.
maintaining records on tutorial meetings.
writing academic or ofcial references.
advice on personal problems.
reporting to the Dean of Faculty and Programme
Board.
PROGRAMME
MANAGEMENT
APPENDIX I
Administrative Records
Marks are recorded for every assignment and every
module. These records are required for Examination
and Assessment Boards. A le is compiled for each
student and supervised by the Programme Leader in
conjunction with the Programme Administrator. The
les are kept centrally and managed by the faculty
Academic Ofcer. Students have access to these
records by appointment.
There are four types of assessment records:
Written assignment reports
Practical assignment reports
Module summary reports
Assessment Board reports
Programme Review Board
The Programme Review Committees are responsible
to the relevant Dean of Faculty for reporting on the
academic quality and management of the learning
provided on the programme.
Specically, the Committee is responsible for the:
review of Programme outcomes.
review of the aims and objectives of the
Programme.
ensuring quality of provision by maintenance of
academic standards.
preparation of the information required for
the Faculty Review of the Programme and its
development.
making recommendations to the relevant
Faculty Board on matters relating to the
effective organisation and administration of the
Programme including resources.

The composition of the Board is:
Programme Leader (who will be Chair).
Dean of Faculty.
Lecturers assigned to the Programme.
Student Representatives from each year of the
programme.
Meetings will take place after a period of study,
normally a semester, and are constituted and
conducted to ensure that the students as a body and
as individuals can properly participate in a fair and
open evaluation of the activity they have engaged in.
Each meeting prepares a programme-specic Report
and Action Schedule.
Faculty Meetings
These meetings are convened to consider Programme
review material and to prepare the Faculty Report.
The Report will include programme review material
related to the following evaluation and action points.
These relate to the six areas covered by the
Quality Assessment Guidelines:
marketing, recruitment and progression data.
aims, rationale and structure of the programme.
student assessment proles.
examiners reports.
student feedback.
module tutors reports.
The meetings will also consider any other matters
relating to other academic, administrative or service
departments within the College and any external
agencies directly or indirectly involved in the delivery
of programmes.
The meetings consolidate Action Schedules to be
appended to the faculty Monitoring Reports.
Membership includes:
Dean of Faculty (who shall be Chair).
All relevant staff directly or indirectly involved in
the delivery of the programmes being discussed.
One student representative of each year of each
full-time programme.
/ 5
Faculty Boards
Reports from Programme and Faculty Meetings
are submitted to the Faculty Board. The Board in
turn conrms a consolidated minuted report, which
is received by the Academic Quality Assurance
Committee (AQAC) from where a copy of the report
with any minuted comments from AQAC, is passed to
the Academic Board for consideration.
The membership of the Board includes:
Dean of Faculty (who shall be Chair)
Secretary - Faculty Administrator
Programme Leaders
Other Academic Coordinators
The College Librarian
One member of permanent staff from the Faculty
One Student Representative of each year of full-
time provision of the Faculty (no more than one
student from any programme)
Ex-ofcio Dean of Academic Development
ACADEMIC
STRUCTURE
The structure of the majority of the
academic programmes offered by the
College is based around a three year
undergraduate degree structure. The
three years are usually referred to as
Levels, 1, 2 and 3.
APPENDIX II
LEVELS, MODULES & CREDITS
/ 7
Entry Points
Many of you will enter at Foundation or pre-degree,
which is perhaps confusingly referred to as Level 0.
In most cases, the Foundation Year is a prerequisite
for entry to Level 1 (there are exceptions BA (Hons)
Acting and Musical Theatre have no Foundation
pathways).
Many of you will have entered at Level 1, ie. have
already studied up to a level equivalent to Foundation.
So, to summarise;
if you start at Foundation and graduate with a
Degree with Honours with you will be at the
College for four years
if you start at Level 1 and graduate with a Degree
with Honours you will be at the College for three
years.
Beyond the undergraduate programmes there
are opportunities for postgraduate study in most
subjects. You should refer to the Postgraduate Student
Handbook for further details.
Modules and Credits
As discussed above, your programme will be
structured in levels, each equivalent to one year
of study. In addition, all programmes use modules
as basic academic building blocks. A module is
essentially a block of teaching and learning.

Each module is based on a particular topic or area
of study the title will describe the broad area
and is designed to be a self-contained, coherent
block of learning. The description of each module
will outline the content, the aims and objectives,
the intended learning outcomes ie what we
expect you to have learnt on completion of the
module the assessment tasks used to determine
your understanding of the material studied.

You will nd descriptions for each of the modules
that make up your programme in Section C of the
Handbook.
A short explanation about the module code might also
be useful. Each module has a unique two character,
four digit reference. So, an example, PA1101:
P
A
The characters refer to the faculty
responsible for the module in this case
Performing Arts.
1
The rst digit indicates the level 0,1,2, 3,
or M (M is postgraduate)
1
The second digit identies the programme
- in this case Acting
0
1
The last two digits is reference for the
module itself.
/ 9
All programmes offered by the College use what is
called the Credit Accumulation and Transfer System
(CATS for short). This system is based on a credit
tariff. Each module has a prescribed number of
credits attached to it and as you progress through
the programme and successfully complete each
module you accumulate credits. The system used by
LASALLE is based on 120 credits per year. There is a
broad relationship between credits and the number of
teaching and learning hours one credit is equivalent
to ten hours of teaching and/or learning. So, a
module rated at 30 credits will have 300 teaching
and learning hours. It is important to remember that
the accumulation of credit is not directly related to
marks. You gain credit by successfully completing
the module. The mark you receive as a result is quite
independent.
The introduction of modular structures and credit
frameworks was designed to give students exibility
of learning and a typical modular structure will give
students a variety of options at certain points in a
programme. This is not the case at LASALLE where
the programmes are highly specialised and offer little
or no options in terms of module choice. However,
you will be given considerable freedom to choose the
context of your practical project work.
The CATS is designed to ensure students accumulate
the necessary amount of learning and enables the
extent of their learning to be measured should they
seek to transfer to another pathway or programme.
Again the specialist nature of our programmes means
that it is difcult to make radical changes to your
chosen pathway but there are limited opportunities
and you seek guidance on this should you feel
another discipline might be more appropriate. Credit
accumulation also means that you have a basis for
quantifying your learning should you decide to take
a break and then return to your study or should you
decide to move to another institution.
SAMPLE
ASSESSMENT
FORMS
Please refer to the attached
document(s).
APPENDIX III

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