Inside the Contemporary Conservatoire

Colin Lawson was Director of the Royal College of Music from 2005 to 2024. He has an international profile as a period clarinettist and has published widely on performance and performance practice.Diana Salazar is Director of Programmes at the Royal College of Music. A conservatoire trained flautist and composer, her research interests combine practice research in electroacoustic composition with exploration of conservatoire pedagogies and technology-enhanced learning in higher music education. She is a founder of the Global Conservatoire consortium.Rosie Perkins is Professor of Music, Health, and Social Science at the Royal College of Music. She leads the RCM’s Master of Science in Performance Science programme and has published extensively on music and mental health and musicians’ well-being.

• AcknowledgementsList of contributorsList of abbreviationsForewordPreface: conservatoire as communityPART I: Rethinking conservatoire identities and values 1 Introduction: tracing conservatoire values past, present, and future Colin LawsonPerspective: Chapter 1James Gandre2 Personal realities I: what makes an artist?Ivan Hewett, Jonathan Cole, and Andrew ZolinskyPerspective: Chapter 2Sarah Connolly3 Personal realities II: how does the conservatoire link with the profession?Stephen Johns and Janis KellyPerspective: Chapter 3James Williams4 Reassessing musical excellenceMiranda Francis, Vanessa Latarche, and Aaron WilliamonPerspective: Chapter 4Afa Sadykhly Dworkin5 Philanthropy at the Royal College of Music: shaping the future of music educationLily Harriss and Rachel HarrisPerspective: Chapter 5Susan Madden6 Integrating regulation and creativityKevin PorterPerspective: Chapter 6Martin PrchalPART II: Evolving the teaching and learning of music in a conservatoire7 Reimagining the one-to-one studioChristina Guillaumier, Gabrielle Lester, and Diana SalazarPerspective: Chapter 7Helena Gaunt8 The musician in the digital age: technology in the conservatoireThom Gilbert and Diana SalazarPerspective: Chapter 8Peter Maniura9 Dialogues with musical histories: learning from the pastIngrid PearsonPerspective: Chapter 9Lisa Colton and Ruth K. Minton10 Cultivating research culturesRichard Wistreich and Rosie PerkinsPerspective: Chapter 10Wendy Heller11 The healthy musicianGeorge Waddell, David Hockings, and Aaron WilliamonPerspective: Chapter 11Emma Redding12 Lifelong creative careersGary Ryan and Diana RobertsPerspective: Chapter 12Michelle PhillipsPART III: Conservatoires of the future13 The physical and virtual spaces of the conservatoireColin Lawson and Talia HullPerspective: Chapter 13Lucy Noble14 Towards the civic conservatoireDave Camlin, Hayley Clements, and Rosie PerkinsPerspective: Chapter 14Brydie-Leigh Bartleet15 Diversifying musical practices: how to address the need for change within conservatoire trainingFlorence Ambrose and Wiebke ThormählenPerspective: Chapter 15Roger Wilson16 The global conservatoireTania Lisboa and Diana SalazarPerspective: Chapter 16Joachim Junghanss17 What next for conservatoires?Rosie Perkins, Diana Salazar, and Colin LawsonIndex

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