Thanks Stephen , will take all of those things into account.Stephen Kenyon wrote: ↑Thu Sep 07, 2017 1:09 pmI think most people in the business would say that aside from any other factors, the Royal Academy would overall be considered no. 1.
But its not as simple as that because things like, who the tutors are, whether one would necessarily have access to the best tutors, and other things play a part. For instance, I went to Trinity (long before the Laban Conservatoire stuff) specifically for the tutor, and didn't even audition anywhere else. Folks with connections to particular regions may find it helpful to stay there, for example to save money on accommodation. Other considerations would include opportunities to study or participate in other areas of work, the programme of performances that is available, access to orchestras for concerti, recording facilities, training in teaching (most of us end up there! - and often had no help whatsoever when in education ourselves), or other professional development curricula.
In other words, one needs to take the picture in the round, after all, all these different options exist for good reasons, and not just because not everybody can get into RAM.
I agree totally. Professor Allan Neave runs the harp and guitar department at the RCS: amazing teacher, musician, guitarist, and cellist.
I think Stephen makes an excellent point here. I know many of the tutors at the conservatoires you're looking at, and they are all good players, but really I think you want to consider which players/tutors are most likely to inspire you personally. There is a slight risk to this, as there's no guarantee that a particular tutor will stay at a particular conservatoire. I had this issue when I first started studying guitar making - the tutor when I started was Dave Whiteman, and I admired his work very much, but he left after the first term of my first year, and was (eventually) replaced by a steel-string maker who knew little about classical guitars. I ended up going on to study at Newark with Tony Johnson, who I hadn't heard of at the time, but who makes great guitars, and became a great inspiration over the next two years.
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