Articulation. The Conservatoire’s proportion of Scots-domiciled undergraduate entrants recruited with HN qualifications over the last 3 years is as follows: 2013/14 26 21 13 11 39 32 2014/15 16 11 12 8 28 20 Typically, HN entrants join year 1 of their Conservatoire programme. We recognise that that extends the learner journey but we believe (as do our applicants/students) that it is in our HN entrants’ own interests to do so. We begin to create a cohesive and creative learning and artistic community from day 1 and our students co-create (and develop in) that unique environment over a programme’s entire duration. Because of the potential to disrupt the cohesion of the learning community and also because it would be overly challenging for a student to locate and develop her/his artistic personality in a foreshortened timescale it is, generally, not possible to introduce students into that environment beyond year 1. We do, however, on a case by case basis, accept applicants into our programmes through Recognition of Prior Learning, but only in exceptional circumstances. Although the Conservatoire does not offer articulation (except on an ad hoc an individual basis), we do engage with the college sector in a number of ways, most notably through our leadership of the Scottish Drama Training Network (SDTN). The Network (which comprises 16 institutions) has proven to be effective in promoting sectoral cohesion and in promoting the sector to its stakeholders, including industry and the secondary school sector and establishing/securing learner pathways through to higher education and employment. The Conservatoire has significantly increased its intake of home- based HNC and HND students over the past four years (peaking in 2013/14). We believe that that is directly related to the success of the Network and the Conservatoire’s leadership role in it. In 2016/17 our objective will be to: Work with SFC and other partners to secure a sustainable future for the SDTN. According to HESA data, in session 2014/15: 22% of Conservatoire students declared a disability, compared with 8% across the Scottish HE sector; 7% of UK based Conservatoire students are from black and ethnic minority backgrounds, compared with 7% across the Scottish HE sector. Specifically in relation to disability in the current session (2015/16) thus far, 23% of Conservatoire students have declared a disability and 21% of our students have a bespoke learning agreement in respect of their disability. 2013/14 data derived from HESA for other UK Conservatoires, which we have collected for benchmarking purposes, is given below: Royal Conservatoire of Scotland 23 12 Royal Academy of Music 10 5 Royal College of Music 6 3 Royal Central College of Speech and Drama 24 18 We view that data as an endorsement of our approach to the promotion of equality of opportunity in and through our curriculum for students with disabilities. We need to maintain our efforts to increase the proportion of Scottish BME applicants and students – on the basis of current levels of recruitment we are, incrementally, heading in the right direction. We know that there are a number of socio-economic and cultural factors which influence applicant choice of programme and of higher education institution and we are engaged in a number of initiatives to promote the Conservatoire to as wide a demographic as possible e.g. our BA Acting programme takes ▇▇▇▇▇▇▇▇▇▇▇ to schools in Glasgow that have high proportions of BME pupils and our curriculum embraces a wide range of genres, thereby promoting cultural inclusivity. The Equality and Diversity Forum, which includes staff and students, considers strategy in terms of the promotion of BME participation and access. The Conservatoire is content with the gender balance of the student population overall – notwithstanding minor year on year variations, it is evenly balanced. However, composition and jazz have been identified as having a particular imbalance and we are seeking to increase the number of female applicants to, and students in, those areas. We are also developing pre-HE programmes with the specific aim of challenging gender related perceptions in respect of particular programmes e.g. by encouraging young males to participate in dance programmes. In session 2016/17, we will pursue the following objective in relation to specific protected characteristics: Enhance processes to monitor the progress of specified categories of students.
Appears in 1 contract
Sources: Outcome Agreement
Articulation. The Conservatoire’s proportion of Scots-domiciled undergraduate entrants recruited with HN qualifications over the last 3 years is as follows: 2013/14 26 21 13 11 39 32 2014/15 16 11 12 8 28 20 Typically, HN entrants join year 1 of their Conservatoire programme. We recognise that that extends the learner journey but we believe (as do our applicants/students) that it is in our HN entrants’ own interests to do so. We begin to create a cohesive and creative learning and artistic community from day 1 and our students co-create (and develop in) that unique environment over a programme’s entire duration. Because of the potential to disrupt the cohesion of the learning community and also because it would be overly challenging for a student to locate and develop her/his artistic personality in a foreshortened timescale it is, generally, not possible to introduce students into that environment beyond year 1. We do, however, on a case by case basis, accept applicants into our programmes through Recognition of Prior Learning, but only in exceptional circumstances. Although the Conservatoire does not offer articulation (except on an ad hoc an individual basis), we do engage with the college sector in a number of ways, most notably through our leadership of the Scottish Drama Training Network (SDTN). The Network (which comprises 16 institutions) has proven to be effective in promoting sectoral cohesion and in promoting the sector to its stakeholders, including industry and the secondary school sector and establishing/securing learner pathways through to higher education and employment. The Conservatoire has significantly increased its intake of home- home-based HNC and HND students over the past four years (peaking in 2013/14). We believe that that is directly related to the success of the Network and the Conservatoire’s leadership role in it. In 2016/17 our objective will be to: • Work with SFC and other partners to secure a sustainable future for the SDTN. According to HESA data, in session 2014/15: • 22% of Conservatoire students declared a disability, compared with 8% across the Scottish HE sector; • 7% of UK based Conservatoire students are from black and ethnic minority backgrounds, compared with 7% across the Scottish HE sector. Specifically in relation to disability in the current session (2015/16) thus far, 23% of Conservatoire students have declared a disability and 21% of our students have a bespoke learning agreement in respect of their disability. 2013/14 data derived from HESA for other UK Conservatoires, which we have collected for benchmarking purposes, is given below: Royal Conservatoire of Scotland 23 12 Royal Academy of Music 10 5 Royal College of Music 6 3 Royal Central College of Speech and Drama 24 18 We view that data as an endorsement of our approach to the promotion of equality of opportunity in and through our curriculum for students with disabilities. We need to maintain our efforts to increase the proportion of Scottish BME applicants and students – on the basis of current levels of recruitment we are, incrementally, heading in the right direction. We know that there are a number of socio-economic and cultural factors which influence applicant choice of programme and of higher education institution and we are engaged in a number of initiatives to promote the Conservatoire to as wide a demographic as possible e.g. our BA Acting programme takes ▇▇▇▇▇▇▇▇▇▇▇ to schools in Glasgow that have high proportions of BME pupils and our curriculum embraces a wide range of genres, thereby promoting cultural inclusivity. The Equality and Diversity Forum, which includes staff and students, considers strategy in terms of the promotion of BME participation and access. The Conservatoire is content with the gender balance of the student population overall – notwithstanding minor year on year variations, it is evenly balanced. However, composition and jazz have been identified as having a particular imbalance and we are seeking to increase the number of female applicants to, and students in, those areas. We are also developing pre-HE programmes with the specific aim of challenging gender related perceptions in respect of particular programmes e.g. by encouraging young males to participate in dance programmes. In session 2016/17, we will pursue the following objective in relation to specific protected characteristics: • Enhance processes to monitor the progress of specified categories of students.
Appears in 1 contract
Sources: Outcome Agreement
Articulation. The Conservatoire’s proportion of Scots-domiciled undergraduate entrants recruited with HN qualifications over the last 3 4 years is as follows: 2012/13 28 20 14 10 42 30 2013/14 26 21 13 11 39 32 2014/15 16 11 12 8 28 20 Typically, HN entrants join year 1 of their Conservatoire programme. We recognise that that extends the learner journey but we believe (as do our applicants/students) that it is in our HN entrants’ own interests to do so. We begin to create a cohesive and creative learning and artistic community from day 1 and our students co-create (and develop in) that unique environment over a programme’s entire duration. Because of the potential to disrupt the cohesion of the learning community and also because it would be overly challenging for a student to locate and develop her/his artistic personality in a foreshortened timescale it is, generally, not possible to introduce students into that environment beyond year 1. We do, however, on a case by case basis, accept applicants into our programmes through Recognition of Prior Learning, but only in exceptional circumstances. circumstances Although the Conservatoire does not offer articulation (except on an ad hoc an individual basis), we do engage with the college sector in a number of ways, most notably through our leadership of the Scottish Drama Training Network (SDTN). The Network (which comprises 16 institutions) has proven to be effective in promoting sectoral cohesion and in promoting the sector to its stakeholders, including industry and the secondary school sector and establishing/securing learner pathways through sector. Although subject to higher education and employment. The a decline in the current year, over the piece, the Conservatoire has significantly increased its intake of home- home-based HNC and HND students over the past four years (peaking in 2013/14)years. We believe that that is directly related to the success of the Network and the Conservatoire’s leadership role in it. In 2016/17 The Conservatoire’s Postgraduate Certificate in Learning and Teaching in Higher Arts Education, which has had a transformational impact internally, is now available to students from elsewhere and, in session 2014/15, 2 students were recruited from the college sector (Inverness College and Edinburgh College). We intend to build on that level of recruitment and we anticipate that the programme will make a significant contribution to the enhancement of learning and teaching in and for the performing arts in the college sector. We also work with partners in the college sector in the delivery of an arts in social justice programme, details of which are given below. We recruit a significant proportion of our objective Scots domiciled entrants to the BMus from the Junior Conservatoire which is, of course, designed to prepare students for the uniquely challenging environment offered by the Conservatoire and we expect that that conversion rate will be to: Work with SFC replicated in our other subject areas as we extend the scope of the Junior Conservatoire. Although not addressing any issues in relation to length of student journey, our Junior Conservatoire most certainly addresses the effectiveness and other partners efficiency of the learner journey, preparing as it does its students for a conservatoire higher education experience. It also helps us address our access agenda as bursary support of £54,341 is available to secure a sustainable future for the SDTNstudents who need it. According to HESA data, in session 2014/152012/13: 22• 21% of Conservatoire students declared a disability, compared with 8% across the Scottish HE sector; 7• 4% of UK based Conservatoire students are from black and ethnic minority backgrounds, compared with 7% across the Scottish HE sector. Specifically in relation to disability in the current session (2015/162014/15) thus far, 2326% of Conservatoire students have declared a disability and 2125% of our students have a bespoke learning agreement in respect of their disability. 2013/14 data derived from HESA for other UK Conservatoires, which we have collected for benchmarking purposes, is given below: Royal Conservatoire of Scotland 23 12 Royal Academy of Music 10 5 Royal College of Music 6 3 Royal Central College of Speech and Drama 24 18 We view that data as an endorsement of our approach to the promotion of equality of opportunity in and through our curriculum for students with disabilities. We need to maintain our efforts to increase the proportion of Scottish BME applicants and students – on the basis of current levels of recruitment we are, incrementally, heading in the right directionstudents. We know that there are a number of socio-economic and cultural factors which influence applicant choice of programme and of higher education institution and we are engaged in a number of initiatives to promote the Conservatoire to as wide a demographic as possible e.g. our BA Acting programme takes ▇▇▇▇▇▇▇▇▇▇▇ to schools in on the Southside of Glasgow that have high proportions of BME pupils and our curriculum embraces a wide range of genres, thereby promoting cultural inclusivitypupils. The An Equality and Diversity ForumAction Team, which includes staff and students, considers has been formed to consider strategy in terms of the promotion of BME participation and access. The Whilst the Conservatoire is content with the gender balance of the student population overall – notwithstanding minor year on year variationsoverall, it is evenly balanced. However, composition and jazz there are specialist areas that have been identified as having a particular gender imbalance which should be addressed. Specifically, Composition and we are seeking Jazz have been asked to increase the number their recruitment of female applicants tostudents, and students in, those areas. We are also developing pre-HE programmes with the specific aim of challenging gender related perceptions commencing in respect of particular programmes e.g. by encouraging young males to participate in dance programmes2015/16. In session 2016/172015/16, we will pursue the following objective objectives in relation to specific protected characteristicsthe promotion of equality and diversity: Enhance • Through the application and development of our recruitment strategy, to increase the number of BME applicants; • become more effective in our use of data relating to equality and diversity; • continue to work through the curriculum, and particularly the shared first year module Independent Collaborative Practice and Bridge Week, to celebrate equality and diversity; • address gender imbalance in Composition and Jazz; • introduce a BA Performance in British Sign Language and English; and • introduce a choice module in British Sign Language, which will be available to all students. The Conservatoire’s retention rates for undergraduate progression from Year 1 to Year 2 (as derived from HESA) is: The Conservatoire’s overall progression rate (i.e. those eligible to progress or graduating) for Scots domiciled full-time undergraduate students over the past 3 years is: We remain committed to the maintenance of those excellent progression and retention rates, which we view as evidence of an effective and supportive learning environment and will maintain an overall progression and retention rate of at least 95% for 2015/16. Our aim in respect of progression and retention of students from SIMD 20/40 postcodes is the same as for the whole student population i.e. 95%. The Conservatoire participated in the NSS for the first time in session 2012/13 and we achieved 84% for students satisfied with the overall quality of their course of study. In 2013/14, overall satisfaction rose to 89%, which is clearly a step in the right direction, although it is not yet where we would want or expect to be. Both Schools have clear plans and objectives in terms of NSS and we would expect to see our incremental improvement continue in subsequent years. Those objectives include (particularly in the School of Music) focussing on the quality and timeliness of assessment feedback, improving feedback systems generally, adapting our internal evaluative processes to monitor reflect the progress NSS and working closely with programme committees which, of specified categories course, include student representation. The Conservatoire’s provision is unique in Scotland – we are the nation’s only provider of students.conservatoire level education in and for the performing arts. We are also the only Conservatoire in the UK to offer programmes across the entire spectrum of the performing arts - dance, drama, music, production and screen – augmented in 2015/16 with a BA Performance in British Sign Language and English and postgraduate programmes in arts practice and learning and teaching in the Gaelic arts. We will maintain that breadth of provision in 2015/16. As noted above, our leadership of the Scottish Drama Training Network makes a significant contribution to the development and enhancement of drama education across the higher education and college sectors and we will play our part in the National Youth Arts Strategy as it is operationalized. We will also maintain the number of Music Centres at their current level i.e. 10. As also noted above, our Postgraduate Certificate in Learning and Teaching in Higher Arts Education is now open to external applicants
Appears in 1 contract
Sources: Outcome Agreement