Relevant bibliographies by topics / Royal College of Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Royal College of Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Royal College of Music"

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Berhamovic, Aida. "Royal College of Music: Carbon Management Plan." Journal of Sustainability Perspectives 3, no. 2 (October 18, 2023): 156–69. http://dx.doi.org/10.14710/jsp.2023.20477.

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In Autumn 2021, an updated carbon management plan was approved by Royal College of Music Council which set an ambitious goal for the Royal College of Music to achieve carbon net-zero by 2035. This plan was supported by a heat decarbonisation plan and energy assessment, which highlighted short and long-term projects that need to be undertaken for the Royal College of Music to make the transition to net zero. From this the Royal College of Music were able to develop a high- level cost and programme plan for the works required to implement these projects. The plan also aims to reduce emission arising from ‘scope 3’ of the Greenhouse Gas Protocol [1], which make up a large part of the College’s total emissions.
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Cox, John L. "Royal College Music Society." Psychiatric Bulletin 24, no. 6 (June 2000): 236. http://dx.doi.org/10.1192/pb.24.6.236-b.

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Venn, Edward. "London, Royal College of Music." Tempo 60, no. 235 (January 2006): 80–81. http://dx.doi.org/10.1017/s0040298206330069.

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Matthews, David. "London, Royal College of Music: Britten's ‘Plymouth Town’." Tempo 58, no. 230 (October 2004): 57–58. http://dx.doi.org/10.1017/s0040298204240311.

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Although much of the best of Britten's unperformed early music has come to light since his death, there are still a number of substantial works to be discovered. The latest to emerge – appropriately premièred at the Royal College of Music where Britten was a student – is the ballet score Plymouth Town, which he composed during his summer holidays in 1931, following his first year at the College. The idea for a ballet was suggested by Violet Alford, an authority on folklore and particularly Basque dancing, who in July 1931 was a fellow lodger in the house in Bayswater where Britten had a room.
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Wright, David. "The South Kensington Music Schools and the Development of the British Conservatoire in the Late Nineteenth Century." Journal of the Royal Musical Association 130, no. 2 (2005): 236–82. http://dx.doi.org/10.1093/jrma/fki012.

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In 1876, the National Training School for Music was established by the Society of Arts as a model of advanced music education after the pattern of leading European conservatoires. But, despite having Arthur Sullivan as Principal, the School failed amidst the rumblings of an academic scandal that dogged George Grove's attempt to establish the new Royal College of Music. The article sets this failure against the successful start of the Royal College and explains how conservatoires, after being in all practical senses virtually an irrelevance to professional concert life, managed to reinvent themselves as vital incubators of British musical talent.
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Kreutz, Gunter, Jane Ginsborg, and Aaron Williamon. "Music Students' Health Problems and Health-promoting Behaviours." Medical Problems of Performing Artists 23, no. 1 (March 1, 2008): 3–11. http://dx.doi.org/10.21091/mppa.2008.1002.

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The reported health problems of music performance students at two conservatoires in the UK were investigated, with specific attention to musculoskeletal and nonmusculoskeletal problems in relation to the students' instrumental specialty and their health-promoting behaviours. Students from the Royal Northern College of Music (n = 199) and the Royal College of Music (n = 74) were surveyed using server-based inventories over the internet. They provided 246 usable data sets for this study. Results reveal that musculoskeletal pain as well as nonmusculoskeletal problems were common among students, affecting about half of the sample, with similar patterns between groups of instruments. Regression analysis showed that musculoskeletal and nonmusculoskeletal symptoms reliably predicted perceived practice and performance quality, such that fewer symptoms predicted better quality; the strongest predictors were pain along the spine and fatigue. These results suggest that significant proportions of health problems among music performance students emerge from general dispositions, such as posture and fatigue, and thus are not specific to the instrument played. Healthy lifestyles appear not to affect perceived practice and performance quality.
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Stevens, Robin S. "Pathfinder and Role Model: Ada Bloxham, Australian Vocalist and Tonic Sol-fa Teacher." Journal of Historical Research in Music Education 39, no. 2 (January 18, 2017): 131–47. http://dx.doi.org/10.1177/1536600616669360.

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The Australian mezzo-soprano Ada Beatrice Bloxham (1865–1956) was the inaugural winner (in 1883) of the Clarke Scholarship for a promising musician resident in the Colony of Victoria to study at the Royal College of Music in London. She was the first Australian to enrol at the Royal College of Music and to graduate as an Associate of the College in 1888, and she was the first woman to be awarded a Fellowship of the Tonic Sol-fa College, London, also in 1888. After a period teaching and performing in Japan (1893–1899), she married and lived variously in South Africa, England, and France, returning to Australia in 1927. Due most probably to her marriage and family responsibilities, she appears not to have achieved her full potential as a performer and teacher. Nevertheless, Bloxham is worthy of recognition as having gained success as a musician and educator both in her native Australia and abroad during her early and middle years, and as a pathfinder and role model for other women during the early years of their musical careers.
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Latcham, M. "Reasoning a catalogue: Royal College of Music, Museum of Instruments catalogue, part 2: Keyboard instruments, ed. Elizabeth Wells (London: Royal College of Music, 2000), 25." Early Music 34, no. 4 (November 1, 2006): 684–86. http://dx.doi.org/10.1093/em/cal093.

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Baldwin, Michael. "Decontamination Double-Bill: #12 – fragmentation and distortion / #13 – Lecture about sad music and happy dance." Tempo 72, no. 286 (September 6, 2018): 74–77. http://dx.doi.org/10.1017/s0040298218000384.

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Over the last decade, Larry Goves, composer and lecturer of music at the Royal Northern College of Music (RNCM), has been steadily enriching the experimental music community in Manchester, UK. As an artistic director and curator, Goves regularly presents his and other's work through the ensemble The House of Bedlam, the annual New Music North West festival, and the Decontamination series. This review covers the twelfth and thirteenth instalments of the Decontamination series, presented as a double-bill at RNCM's Carol Nash Recital Room on 28 February 2018.
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Murray, Rod. "Holography Course, Royal College of Art." Leonardo 24, no. 4 (1991): 481. http://dx.doi.org/10.2307/1575528.

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Dissertations / Theses on the topic "Royal College of Music"

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Brightwell, Giles William Edward. "'One equal music’ : the Royal College of Music, its inception and the legacy of Sir George Grove 1883-1895." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2611/.

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The establishment of the Royal College of Music (RCM) in 1883 represents the denouement of an eighteenth-century movement to found a conservatoire with a national remit in Britain. Whether motivated by the desire to rival Continental conservatoires to generate and develop an environment in which a worthy successor to Purcell could be nurtured or to create an indigenous musical workforce to obtain direct control of market forces, the RCM was seen as a panacea in the light of the demise of the experimental National Training School for Music (1876-1882) and the ineffectual Royal Academy of Music founded in 1822. The NTSM's financial concerns led Sir Henry Cole to approach the Royal Commission of 1851 for aid. In return for a meagre grant, the Commission insisted the NTSM remodel its management and constitution on pain of eviction from buildings on the Kensington Estate. Cole's approach to 1851 Commissionets precipitated the involvement of the Prince of Wales and other senior members of the Court that led directly to the establishment of the RCM in 1878.Attempts to institute the RCM as a quango to regulate the music profession alongside music education both at elementary school and university level were intended to provide ideal circumstances for inducing comprehensive treasury assistance where the NTSM failed. When this proved elusive, a contingency was provided by George Grove (first RCM Director from 1882) who, at the request of the Prince of Wales, imtiated a capital fund. The introduction of fee-paying students alongside scholars provided financial security that distanced the College & insolvency. Substantial growth in numbers during the first few years forced Grove and the Council to address the issue of a new building. Grove's appointment of an unrivalled professorial staff and the development of a rigorous curriculum, whose inspiration was to be found within the Continental traditions in France and Germany, had paid dividends. By 1894, the results of RCM's pedagogical methods were respected across Europe. The appointment of Grove's neighbour, Alexander Mackenzie, as Principal of the RAM heralded an environment for mutual co-operation between two rival institutions. The institution of local examinations under the Associated Board of the Royal Academy of Music and the Royal College of Music from 1889 marked the conclusion of further attempts to amalgamate the two institutions. The foundation of both the Associated Board was intended to provide a remedy to the shortage of suitably-qualified candidates entering for scholarships and to improve music tuition among school children as set out in the RCM's 1883 charter. The coalition created formidable opposition to Halle's proposal to establish a chartered Royal College of Music in Manchester (RMCM) in 1893 and Parliament's attempts to include music within the provision of the bill for the regulation and registration of teachers. The foundation of the Associated Board allowed Grove to begin implementing the RCM's remit to lead the music profession on both a national and imperial scale. The RCM's national and European reputation established by Grove was consolidated under the directorate of his successor, c. Hubert H. Parry, who confirmed the RCM's global reputation to which other, fledgling institutions, such as New York's Juilliard School of Music, came to aspke. Grove's initiatives, which began the process of emancipating composer and performer alike, went on to transform Britain's international musical reputation within a generation, the ramifications of which continue to affect us more than a century later.
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Pampel, Ines, and Peter Horton. "Dresden – London 2012." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-130345.

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Jede außergewöhnliche Geschichte beginnt mit Kreativität, Mut und Freiheit. Da braucht es Menschen, die Neuartiges kreieren sowie Menschen, die die Chance erkennen, den Weg frei zu machen und sich beteiligen. Eine solche erfreuliche Konstellation führte an der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) im letzten Jahr erstmalig zum europäischen Personalaustausch. Zwei Musikbibliothekare aus London und Dresden wagten Neuland: für mehrere Wochen tauschten sie ihren Dienst- und Lebensort, um in den anderen Bibliotheken mitzuarbeiten, sich fachlich sowie sprachlich weiterzuentwickeln und erfuhren dabei vielfältige Unterstützung.
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Prince, Andrew Charles Vaughan. "Learning the collision regulations at Britannia Royal Naval College." Thesis, University of the West of England, Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.572899.

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This Thesis reports on a study of the ways in which officer cadets study the Collision Regulations at Britannia Royal Naval College (BRNC), which is widely held to be difficult and, anecdotally, leads to a high failure rate on testing. The research is opportunistic since my background both in the Royal Navy and as a civilian lecturer at BRNC facilitated unprecedented access and the potential for original discoveries. I took a mixed-methods approach with both quantitative and qualitative features within a pragmatic paradigm, based upon an eclectic selection of methodological models to suit the case, in order to achieve a measure of triangulation upon the learning with the aim of understanding it: I chose not to be bound by anyone theoretical perspective. In order to facilitate this I set five research questions. My aim was to add to the existing body of research on learning in order to generate some practical recommendations for improving learning the Collision Regulations to the benefit of the College and the wider seafaring community. I reached four principal conclusions: first, that there were a number of practical ways in which the learning could be improved; second, that the biggest single factors in determining success or failure were the attitude towards learning and the confidence exhibited by the students; third, that the failure-rate is not as high as expected and the majority of students at this level do not find it as difficult as anecdotal and historical evidence suggests and fourth, that to describe and understand the unique context of learning at BRNC requires a combination of several theoretical approaches to learning.
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Adler, Supeena Insee. "Music for the Few| Nationalism and Thai Royal Authority." Thesis, University of California, Riverside, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3630638.

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The khrueangsai pii chawaa ("Thai stringed instruments with Javanese oboe") ensemble in central Thailand is a unique and highly-regarded ensemble known for its repertoire, idiosyncratic tuning, high level of technical difficulty, and exceptionable virtuosity. Khrueangsai pii chawaa is reserved for very special royal functions including processions and dramatic performances of royal literature. Royal authority indirectly controls the performance and transmission of the ensemble and its repertoire, which is now maintained professionally only by the Fine Arts Department of the Thai government. At present only a few musicians are capable of performing or teaching the repertoire and performance style for this ensemble. The selection of new students is competitive and politicized. The khrueangsai pii chawaa ensemble is rare and kept largely outside of the gaze of ordinary spectators in Thai society. Nonetheless, a few individuals in institutions outside of Bangkok have tried to build khrueangsai pii chawaa ensembles, challenging the limits of authority and exposing tensions within the musical community. I argue that royal authority functions to keep this musical ensemble endangered by design, so that those chosen to participate maintain a powerful control over the tradition and repertoire and thereby preserve their unique social status.

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Kahunde, Samuel. "Our royal music does not fade : an exploration of the revival and significance of the royal music and dance of Bunyoro-Kitara, Uganda." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574557.

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After the kingdoms of Uganda were abolished in 1967, the royal music and dance of Bunyoro-Kitara kingdom was not performed, and remained obscure both locally and internationally, because it had been little documented. However, when the kingdoms were allowed to operate again in 1993, a process of revival started. This study has been undertaken with the aim of understanding the royal music and dance of Bunyoro-Kitara with regard to its revival, characteristics, and significance to the Banyoro people. The study has been guided by the following research questions: What are the characteristics of the royal music and dance of Bunyoro-Kitara? What does the royal music and dance of Bunyoro-Kitara kingdom express with regard to social structure and culture? What is the role of the royal music and dance of Bunyoro-Kitara? How does the revival of the royal music and dance of Bunyoro-Kitara compare with other revivals? This study was carried out in 2008 and 2009 using fieldwork methods of inquiry, such as participant-observation, interviews, personal communication, and questionnaires. The following findings have been generated: The royal music and dance of Bunyoro-Kitara consists of different genres which include the amakondere, the Empango, the entajemerwa, the entimbo, the kaijwiire/timbeeta, the kyarubanga, the enseegu, and the enaanga; it is different from the non-royal music and dance with regard to form, design, organisation, styles, names, venues, and accompaniment; it expresses the history, social structure, culture, and perspectives about authenticity of Bunyoro-Kitara kingdom; it plays communicative, symbolic, and aesthetic roles; and its revival differs from many other studied revivals, and it offers counter-examples to current revival theories proposed by other scholars. Overall, this study provides new knowledge about the royal music and dance of Bunyoro-Kitara, as well as furthering scholarly understandings of the relationships between music and social structure, of authenticity in music, and of revivals.
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Harding, Michael David 1960. "A performer's analysis of Hans Werner Henze's "Royal Winter Music", Sonata I." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288945.

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Royal Winter Music (First and Second Sonatas on Shakespearean Characters) by Hans Werner Henze is the largest composition for solo classical guitar written to date. It is comprised of nine movements, each movement a musical portrait of a character from Shakespeare's plays. My discussion focuses on the first sonata, comparing a detailed examination of the Shakespearean characters, and any applicable dialogue, with Henze's musical portraits. The musical analysis is from a performer's viewpoint and does not offer a strict theoretical analysis. Instead, my intention is to find key components of form, harmony, and other musical elements that illuminate the inner workings of Henze's music and its relationship to the Shakespearean character.
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Hume, James Cameron. "The Chapel Royal partbooks in eighteenth-century England." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-chapel-royal-partbooks-in-eighteenthcentury-england(18b3a468-67ea-42b8-a9a1-1aa51505d33f).html.

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This thesis provides a comprehensive source study of the eighteenth-century Chapel Royal partbooks (London, British Library R.M.27.a–d). The 56 manuscript volumes in this collection, which are now catalogued into four groups (or ‘sets’), were used in the daily choral services at St James’s Palace during the eighteenth and nineteenth centuries. The sources have a complex history since they have an ‘organic’ quality whereby the books continued to be copied into and altered whilst they were in regular use. The first part of the thesis (chapters two to six) examines the physical characteristics of the manuscripts by considering the books’ construction, the traits of the copyists, and the way material was gradually added. Paper and scribal analysis, as well as general cataloguing work, are used to identify the contents and explore the layers of copying. The second part of the thesis (chapters seven and eight) looks at the function of the books and considers the collection within its eighteenth-century context. Documentary sources are considered alongside various elements of the books to establish how the partbooks were used in performance. The Chapel’s method of partbook organisation is then compared with the organisation of similar collections at other choral foundations (including those with which the Chapel had strong connections).
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Gibbs, Fiona Joy. "The Royal Albert Hall : a case study of an evolving cultural venue." Thesis, Royal College of Music, 2018. http://researchonline.rcm.ac.uk/380/.

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Scholarship concerning the importance of understanding audiences and venues for music has developed a great deal over the last two decades. This thesis examines one element of this research: the importance of the venue as a space for culture. The Royal Albert Hall, a world-famous but little- understood venue, acts as case study for this text. Through a mixed-methods approach, this thesis seeks to answer four questions concerning the relationship between a public space and the events it hosts in the case of the RAH explicitly: What factors have affected the identity of the RAH as a public venue? How have these changed during the Hall's existence? How do these factors affect the events which the Hall hosts? Does a space affect what happens inside it? These questions will allow us to gain a deeper understanding of how a fixed cultural space can be repeatedly reshaped by multiple, often overlooked, factors as well as the extent to which these factors can affect the identity of a venue.
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Lewis, Ruby Margaret. "The educational functions of the Royal Liverpool Philharmonic Society 1840-1990." Thesis, University of Liverpool, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264281.

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Parsoneault, Catherine Jean. "The Montpellier codex : royal influence and musical taste in late thirteenth-century Paris /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008416.

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Books on the topic "Royal College of Music"

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Education, Quality Assurance Agency for Higher. Royal College of Music: May 2003. Gloucester: Quality Assurance Agency for Higher Education, 2003.

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Quality Assurance Agency for Higher Education. Royal College of Music: Institutional audit. Gloucester: Quality Assurance Agency for Higher Education, 2003.

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Quality Assurance Agency for Higher Education. Royal College of Music: Institutional audit. Gloucester: Quality Assurance Agency for Higher Education, 2003.

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Quality Assurance Agency for Higher Education. Royal Northern College of Music: Institutional audit. Gloucester: Quality Assurance Agency for Higher Education, 2003.

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Higher Education Quality Council. Quality Assurance Group. Royal College of Music: Quality audit report. London: Higher Education Quality Council, 1996.

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Douglas, Jarman, and Royal Northern College of Music., eds. Henze at the Royal Northern College of Music: Conversations. Todmorden: Arc Publications, 1998.

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Royal College of Music (Great Britain). Library. Herbert Howells: The music manuscripts in the Royal College of Music Library. London: Royal College of Music, 1994.

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Kensington, Ltd Christie's South. European furniture. London: Christie's, 2003.

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Kensington, Ltd Christie's South. Antiquities including an English private collection of ancient gems, part 1. London: Christie's, 2003.

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Kensington, Ltd Christie's South. Old master pictures and drawings. London: Christie's, 2003.

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Book chapters on the topic "Royal College of Music"

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Golding, Rosemary. "Charles Hallé, ‘The Royal Manchester College of Music’." In Music in Nineteenth-Century Britain, 357–66. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-41.

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Golding, Rosemary. "Duke of Edinburgh, Duke of Albany and Prince Christian, Music in England, and The Proposed Royal College of Music: Three Addresses." In Music in Nineteenth-Century Britain, 316–31. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003003908-36.

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Phillips, Michelle, and Ava Podgorski. "Best Practice Considerations for Arts Educators When Developing Intensive Online Courses for Creative Industries Higher Education Students." In FGF Studies in Small Business and Entrepreneurship, 183–97. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-28559-2_13.

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AbstractThe 2-year StART Entrepreneurship Project (StART) aims to support creative industries students to develop skills and utilise real-world experience to build successful and sustainable careers. UK-based and funded by the Office for Students and Research England, StART is a collaboration between the Royal Northern College of Music (RNCM), the Royal Central School of Speech and Drama (RCSSD) and University of the Arts London (UAL). The project involves the development of new in-curricular and extracurricular content and events, tailored specifically for students studying for higher education degrees in these and other specialist creative arts institutions.This chapter explores one specific way of delivering entrepreneurship education to students, an intense period of contact time often referred to as a ‘boot camp’. The chapter outlines the planning stage of this event, including how existing research on entrepreneurial learning might be mapped onto the boot camp format and how aspects of the QAA (Enterprise and Entrepreneurship Education: Guidance for UK education providers, Quality Assurance Agency for Higher Education, Gloucester, 2018) guidance was to be integrated. The chapter will also detail how existing frameworks such as EntreComp (McCallum et al., Joint Research Centre Entrepreneurship and the creative economy (3):400–414, 2018) and the CLEAR IDEAS model (Birdi, European Journal of Work and Organizational Psychology 30(3):400–414, 2021) informed design and delivery and how input from external industry partners and students themselves (both event participants and members of the StART Student Advisory Board) was a key part of the planning.
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Mellors, Colin, David Pollitt, and Andrew Radtke. "Royal Agricultural College." In Directory of Language Training and Services for Business, 447. London: Routledge, 2005. http://dx.doi.org/10.4324/9780203993170-332.

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Arnott, Eric J. "The Royal College of Surgeons." In A New Beginning in Sight, 75–82. London: CRC Press, 2022. http://dx.doi.org/10.1201/9780367813871-15.

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"Royal College of Music." In The Grants Register 2018, 629. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-94186-5_984.

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"Royal College of Music." In The Grants Register 2019, 629–30. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1007/978-1-349-95810-8_1018.

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"The Royal College of Music (1883–7):." In Charles Villiers Stanford: Man and Musician, 151–220. Boydell & Brewer Ltd, 2024. http://dx.doi.org/10.2307/jj.6380576.13.

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"The Royal College of Music, 1923–9." In The Life and Music of Elizabeth Maconchy, 11–27. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv134vk2t.8.

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"2 The Royal College of Music, 1923–9." In The Life and Music of Elizabeth Maconchy, 11–27. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781787448285-006.

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Conference papers on the topic "Royal College of Music"

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CROWE, N., and I. KNOWLES. "THE ACOUSTIC DESIGN OF THE ROYAL WELSH COLLEGE OF MUSIC AND DRAMA." In Auditorium Acoustics 2011. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/16851.

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Rossi Rognoni, Gabriele, Marie Martens, Arnold Myers, and Jen Schnitker. "CIMCIM Call for Papers ‘Global Crises and Music Museums: Representing Music after the Pandemic’." In Global Crises and Music Museums: Representing Music after the Pandemic, edited by Mimi Waitzman and Esteban Mariño. CIMCIM, 2023. http://dx.doi.org/10.46477/seca7941.

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The COVID-19 pandemic has arguably caused the biggest disruption to the museum and heritage sector since the Second World War. All over the world, museums have had to close, some never to reopen, and many have had to suspend their operations for prolonged periods. However, the disruption has also invited – sometimes forced – substantial changes in the way museums perceive themselves and their interactions with their audiences. This has included an increased focus on digital offers, a reconsideration of the human relationships with external as well as internal stakeholders, new ways to guarantee the preservation, documentation and availability of collections and revised financial and sustainability planning. Some of these changes will be transitory, while others are likely to leave permanent footprints on the identity of museums and the way they operate even after the emergency has passed. This conference will highlight and discuss some of the initiatives and innovations that emerged from the past year, with particular attention to curatorship, conservation, learning and participation, and documentation and research. Critical perspectives, as well as case studies are invited to focus on the long-term impact of the pandemic and on the way the identity of music museums, their value and relevance to society and research, and their ways of operating internally and externally may have been transformed. CIMCIM 2021 Conference Organising Committee Gabriele Rossi Rognoni (Royal College of Music, London, UK) Mimi Waitzman (Horniman Museum and Gardens, London, UK) Marie Martens (The Danish Music Museum, Copenhagen, Denmark) Arnold Myers (University of Edinburgh and Royal Conservatoire of Scotland, Glasgow, UK) Jen Schnitker (Metropolitan Museum of Art, New York, USA)
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Durand, Charlotte, Rachel Fillhart, Louise Roper, and Shrouk Messahel. "1474 Impact of therapeutic live music on pain and distress levels during interventions within the paediatric emergency department." In Royal College of Paediatrics and Child Health, Abstracts of the RCPCH Conference–Online, 15 June 2021–17 June 2021. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2021. http://dx.doi.org/10.1136/archdischild-2021-rcpch.669.

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Layman, Shoshana, Elke Reunis, Katherine Crombie, Emma Blamey, Hannah Cooper, Emily Botcher, Catherine Beatty, Shona Brothwell, Helen Moore, and Laura Kelly. "1301 Music, photos & lots of banter: bringing the wider paediatric family together through virtual quiz nights during the COVID-19 pandemic." In Royal College of Paediatrics and Child Health, Abstracts of the RCPCH Conference–Online, 15 June 2021–17 June 2021. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2021. http://dx.doi.org/10.1136/archdischild-2021-rcpch.541.

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Pavel, Andreea M., Farah Abu Dhais, Caoimhe Howard, John M. O’Toole, Elena Pavlidis, Daragh Finn, Vicki Livingstone, Anna Powell, Eugene M. Dempsey, and Geraldine B. Boylan. "GP252 The effect of music therapy on the electroencephalogram (EEG) and heart rate variability (HRV) of premature infants during routine painful procedures." In Faculty of Paediatrics of the Royal College of Physicians of Ireland, 9th Europaediatrics Congress, 13–15 June, Dublin, Ireland 2019. BMJ Publishing Group Ltd and Royal College of Paediatrics and Child Health, 2019. http://dx.doi.org/10.1136/archdischild-2019-epa.311.

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Dare, Eleanor, and Libby Heaney. "Royal College of Art." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.77.

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Tsakok, F. H. M., P. Liauw, and S. L. Yu. "Royal College of Obstetricians and Gynaecologists." In First International Scientific Meeting. WORLD SCIENTIFIC, 1992. http://dx.doi.org/10.1142/9789814538350.

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"The Application of Multicultural Music in College Music Education." In 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.072.

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Li, Qingxun. "Application of Regional Music Culture in College Music Teaching." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.401.

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"The Application of MIDI Music Production in College Music Teaching." In 2018 International Conference on Social Sciences, Education and Management. Francis Academic Press, 2018. http://dx.doi.org/10.25236/socsem.2018.105.

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Reports on the topic "Royal College of Music"

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Baptist, Martin, Alma de Groot, and Marlies Baart. Book of Abstracts NCK days 2017, 15 – 17 March, Royal Netherlands Naval College (KIM) – Den Helder. Netherlands: Netherlands Centre for Coastal Research, 2017. http://dx.doi.org/10.18174/410129.

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Rob, Rafael, and Joel Waldfogel. Piracy on the High C's: Music Downloading, Sales Displacement, and Social Welfare in a Sample of College Students. Cambridge, MA: National Bureau of Economic Research, November 2004. http://dx.doi.org/10.3386/w10874.

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Dezateux, C., D. Colson, P. Brocklehurst, and P. Elias. ‘LIFE AFTER LIFE STUDY’ Report of a Scientific Meeting held at The Royal College of Physicians 14th January 2016. Life Course Epidemiology and Biostatistics/ UCL Institute of Child Health, 2016. http://dx.doi.org/10.14324/000.rp.1485681.

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Mason, J. C., and M. G. Cox. Proceedings of the International Conference on Algorithms for Approximation (2nd) Held in Royal Military College of Science, Shrivenham, England on July 1988. Part 1. Fort Belvoir, VA: Defense Technical Information Center, January 1989. http://dx.doi.org/10.21236/ada269034.

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Chiavaroli, Neville, Kate Reid, Pru Mitchell, and Jenny Trevitt. Systematic review of the literature on professional education accreditation. Australian Council for Educational Research, 2020. http://dx.doi.org/10.37517/978-1-74286-711-3.

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This report is a critical and systematic review of the literature on professional education accreditation models, associated methods, and the effectiveness and impact of each model. The review was conducted to inform a review and update of the Royal College of Veterinary Surgeons (RCVS) standards of accreditation for veterinary degrees. The purpose of the study was to rapidly appraise the evidence for the effectiveness, impact, and feasibility of different accreditation approaches, in order to inform best practices for the accreditation of professional education programs. The study focused on accreditation for programs which produce practice-ready graduates, including for veterinary programs. The authors searched several databases for articles published from 2000 to 2020, using search terms identified during a scoping phase, and applied a rapid review methodology in line with contextual, time, and resource requirements. The full-text review included 32 articles, from which a clear transition in the literature was seen from input- and process-based models (pre- and early 2000s) to outcomes-based models (in the 2000s and early 2010s). Continuous quality improvement and targeted models (including risk-based and thematic) represent more recent approaches in accreditation practice. However the review identified limited empirical evidence for the relative effectiveness of different accreditation approaches in professional education, although evidence for the more recent accreditation approaches is emerging.
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McIntyre, Phillip, Susan Kerrigan, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.
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Adebayo, Oliver, Joanna Aldoori, William Allum, Noel Aruparayil, Abdul Badran, Jasmine Winter Beatty, Sanchita Bhatia, et al. Future of Surgery: Technology Enhanced Surgical Training: Report of the FOS:TEST Commission. The Royal College of Surgeons of England, August 2022. http://dx.doi.org/10.1308/fos2.2022.

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Over the past 50 years the capability of technology to improve surgical care has been realised and while surgical trainees and trainers strive to deliver care and train; the technological ‘solutions’ market continues to expand. However, there remains no coordinated process to assess these technologies. The FOS:TEST Report aimed to (1) define the current, unmet needs in surgical training, (2) assess the current evidence-base of technologies that may be beneficial to training and map these onto both the patient and trainee pathway and (3) make recommendations on the development, assessment, and adoption of novel surgical technologies. The FOS:TEST Commission was formed by the Association of Surgeons in Training (ASiT), The Royal College of Surgeons of England (RCS England) Robotics and Digital Surgery Group and representatives from all trainee specialty associations. Two national datasets provided by Health Education England were used to identify unmet surgical training needs through qualitative analysis against pre-defined coding frameworks. These unmet needs were prioritised at two virtual consensus hackathons and mapped to the patient and trainee pathway and the capabilities in practice (CiPs) framework. The commission received more than 120 evidence submissions from surgeons in training, consultant surgeons and training leaders. Following peer review, 32 were selected that covered a range of innovations. Contributors also highlighted several important key considerations, including the changing pedagogy of surgical training, the ethics and challenges of big data and machine learning, sustainability, and health economics. This summates to 7 Key Recommendations and 51 concluding statements. The FOS:TEST Commission was borne out of what is a pivotal point in the digital transformation of surgical training. Academic expertise and collaboration will be required to evaluate efficacy of any novel training solution. However, this must be coupled with pragmatic assessments of feasibility and cost to ensure that any intervention is scalable for national implementation. Currently, there is no replacement for hands-on operating. However, for future UK and ROI surgeons to stay relevant in a global market, our training methods must adapt. The Future of Surgery: Technology Enhanced Surgical Training Report provides a blueprint for how this can be achieved.
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Medical Emergencies in Eating Disorders - what you need to know. ACAMH, November 2022. http://dx.doi.org/10.13056/acamh.21546.

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This webinar looked at 'Medical Emergencies in Eating Disorders (MEED)' the new guidance, produced by the Royal College of Psychiatrists and endorsed by the Academy of Medical Royal Colleges, with perspectives from clinicians, paediatricians, dieticians, parents/carers, and lived experience. It was organised by the London and South East ACAMH Branch.
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Engaging Young People in Conversations Exploring the Impact of Their Online Use on Mental Health. ACAMH, July 2023. http://dx.doi.org/10.13056/acamh.24528.

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Young people have better access to the internet than ever before, with those under 18 accounting for one in three internet users globally. Recently, The Royal College of the Psychiatrists in the UK advised that social media and online use should be considered in assessing risk of all young people they meet. However, it is currently unclear whether this advice has been implemented in practice.
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