Historically Informed Performance Practice (In Conjunction With RCS) (Taught)

This Masters, taught jointly with the Royal Conservatoire of Scotland (formerly RSAMD), combines vocal or instrumental study with performance-related academic research and an element of apprenticeship with professional ensembles. If you’re aspiring to perform professionally or wishing to undertake historical research relating to performance practice, or both: this programme is designed for you.

Applications should be made directly to the Royal Conservatoire of Scotland.

For further information regarding the course, or details on how to apply, please refer to The Royal Conservatoire of Scotland programme page.
WHY THIS PROGRAMME
You will benefit from access to our facilities including seminar and practice rooms, the University library, two audio labs and an electroacoustic music studio, the University’s Concert Hall and attached studios. You will also have access to facilities at the Royal Conservatoire of Scotland.
We offer the unique opportunity to study alongside world-class performer-scholars, and to work both within the University and the Conservatoire environment. Where possible, RCS can arrange involvement in the work of professional historically-informed ensembles, including Dunedin Consort and Concerto Caledonia.
Glasgow is the UK’s first UNESCO city of music, and home to the BBC Scottish Symphony Orchestra, Royal Scottish National Orchestra, Scottish Opera and National Theatre of Scotland.
PROGRAMME STRUCTURE
Two routes are available: one weighted toward performance, the other toward musicological enquiry.

The core of the course concerns 17th- and 18th-century musical practices, but these can be used as a jumping-off point for the study and development of other historical and traditional musical activities.

You will have access to a range of both reproduction and original historical instruments from the collections of both institutions. Previously completed student projects include: phrasing marks in Beethoven’s string writing; tablature and transcription in vihuela repertoire; Baroque and traditional practices in Scottish fiddle variation sets; and Italianate vocal training and its relationship to pedagogic practice in 18th-century Britain. With professional groups, students have performed, prepared editions, researched repertoire and assisted on educational outreach.