The programme will allow you to have significant directed podium time with University ensembles as well as undertaking singing lessons, sing in Birmingham University Singers, sing in the CBSO Chorus and act as assistant conductor to two University choirs. Additional podium time will be available at the discretion of the Director of Choral Activities.
You will study two core modules:
Music Research Colloquium
You will also choose two optional modules and complete a final recital, which will take the form of a substantial solo recital or a substantial concert of choral repertoire. The recital offers you the opportunity to unite practical and theoretical musicianship, and to demonstrate the ability to plan and independently prepare (with some supervision) a performance at an advanced level.
You will benefit from Conducting Masterclasses in association with Birmingham Conservatoire as well as following follow the work of the CBSO Youth Choruses (3 choirs). You also get the opportunity to observe the choral ensembles in Birmingham (notably Ex Cathedra, Black Voices, Birmingham Opera Company and the local cathedrals) and be examined by a final recital as conductor of either BUS or the University Choir.
You will also have the chance to audition for the conductorship of all UMS ensembles.
The city of Birmingham has been a significant national and international centre of choral excellence for over two hundred years and is the birthplace of works as important as Mendelssohn’s Elijah, Dvorak’s Requiem and Elgar’s The Dream of Gerontius. Vaughan Williams, Britten and Tippett often worked here. More recently, Birmingham has become a hotspot of compositional invention and a world-leader in community and education work.
Choral music is particularly active today and the University, by appointing Simon Halsey (Chorus Director, City of Birmingham Symphony Orchestra/Chief Conductor, Berlin Radio Choir) to the new post of Director of Choral Activities, seeks to take its place at the centre of the city’s vibrant and kaleidoscopic choral culture.
You will study two core modules:
The module introduces you to the techniques and methods of choral conducting, working with consorts, chamber groups and large symphonic choirs, including singing skills and vocal warm up techniques.
Music Research Colloquium
You will attend approximately 14 research seminars, most delivered by invited speakers in the Music Department’s research seminar series. Department staff will lead several review sessions. There will be approximately six seminars on library research skills, information retrieval and music-related software.
You will also choose two optional modules from the following:
Special Study in Music
You will undertake a special study of a particular field of their choice under the direction of the leader of your pathway, which will typically require attendance at an appropriate series of lectures or tutorials as well as independent reading and research. Topics for study might include: vocalists in the Baroque era; topics in music analysis; or topics in critical musicology.
Introduction to Musicology
This module examines issues that are exercising musicologists in the modern discipline, with a view to preparing you to conduct original research and ultimately prepare you for the profession. It is taught as a series of seminars by various members of staff, each introducing a topic related to their own research expertise.
Sound in Society
This module provides an introduction to the field of Sound Studies, including both the conceptual framework as well as practical techniques. We will begin with an overview of the field and its formation in 2004 through a consideration of the work of Trevor Pinch, Karin Bijsterveld and R Murray Schafer. Subsequent weeks will cover topics such as: soundscapes; sound and the animal world; noise and silence in philosophy; the engineering of sound; sound and radio art; and synaesthesia research in cognitive psychology.
British Music Studies
This module takes the broadest perspective on modern British art music, offering case studies in the work of the ‘great composers’ of the tonal idiom such as Elgar, Vaughan Williams and Britten, evaluation of the Anglican choral tradition and the British symphonic tradition, examination of the problematic status of modernism in British music before 1960, and criticism of modernist and postmodernist composition since World War II. Approaches are critical, analytical and sociological, with some reception history as well. The repertory under study is mainly choral, orchestral and chamber music.
Gender and Music
The field of gender studies is a very important area of focus in musicological and ethnomusicological research. This module is divided into two parts: a ten-week seminar on gender studies in general followed by an independent study during which you will apply learned information from the seminar to a chosen essay topic in the discipline of music. The seminar will focus on the interdisciplinary and cross-cultural aspects of gender studies and feminist theories. You will be introduced to a range of theoretical and methodological issues and debates that have characterised the development of gender studies in the twentieth century. You will also be introduced to the ontological, epistemological and methodological issues that arise in feminist scholarship. You will engage with the study of these issues both as analytical categories and approaches within the social sciences. During your independent study, you will meet with an advisor to create an appropriate project that will enable you to apply the general knowledge of gender studies and feminist theories specifically to research in the discipline of music.
Analysis of Music 1770–1910
This module explores major compositions of the Classical and Romantic traditions and explains the main analytical techniques that have been developed for understanding them over the last two decades. These include theories of formal functions (William E. Caplin), ‘dialogic’ form’ (James Hepokoski and Warren Darcy), metrical conflict (Harald Krebs, Richard Cohn), and ‘second practice’ tonality.
Music, Place and Identity
This module is concerned with understanding the relation of music to concepts of place and identity. In addition to a broad theoretical overview of topics related to place (including theories of locality, nationalism, transnationalism, diasporas, and indigeneity) as developed in fields as diverse as history, cultural geography and anthropology, the module will cover seminal ethno/musicological works on how musics inscribe place-based senses of cultural belonging. Topics and examples may include: occupation and cross-cultural collaborations in Palestine/Israel; transnationalism and cultural diplomacy in the Eurovision Song Contest; music and governmentality in the Caribbean; contemporary Native American and First Nations indigenous musics; European art music and colonialism; diasporic South Asian music in the UK; the role of music in the Arab Spring; and music in Birmingham.
This is a module for advanced performers who are approaching a professional standard i.e. who might soon be engaged to give a public performances for a paying audience, including ensemble performances. Performing in an ensemble situation will develop skills necessary for your professional development. You will be required to join attend all rehearsals, dress rehearsals and performances for either 1) a University Music Department Ensemble or University Music Society Ensemble that meets in semester 1 and 2 or, 2) two University Music Department Ensembles or University Music Society Ensembles that meets only one semester.
Studies in Performance Practice
This module combines the disciplines of musicology and performance, introducing you to the main topics in performance practice of western music. Case studies are devoted to Baroque, Classical, Romantic and twentieth-century music. The module will instruct develop the skills necessary for the PhD in Performance Practice. Topics covered may include organology, rhythm and tempo, articulation, pitch and temperaments, notation, the history of recorded performance and debates around ‘authenticity’ in performance.
We charge an annual tuition fee. Fees for 2014/15 are as follows:
Home/EU: £7,140 full-time; £3,570 part-time
Overseas: £14,865 full-time
Learn more about fees and funding
Scholarships and studentships
Scholarships to cover fees and/or maintenance costs may be available. To discover whether you are eligible for any award across the University, and to start your funding application, please visit the University's Postgraduate Funding Database.
International students can often gain funding through overseas research scholarships, Commonwealth scholarships or their home government.
University of Birmingham graduates - including those due to graduate in summer 2014 - may be entitled to a fee reduction through the College of Arts and Law Alumni Bursary scheme.