We have a wide range of resources and facilities to support your learning and ensure you receive the maximum benefit from studying this programme.
Our facilities in the new £16 million Bramall Music Building include the Dome room, which is regularly used for readings, rehearsals, and concerts, and the 450 seat Elgar Concert Hall, which is arguably the best space of its kind in any University in the UK, with flexible acoustics designed by renowned acoustician and architect Nicolas Edwards (Symphony Hall Birmingham, Symphony Centre Dallas, Royal Shakespeare Theatre). The entire building is wired with state of the art audio systems which allow for the recording of student works.
By studying this pathway you have the opportunity to write works for the Birmingham Contemporary Music Group (our ‘Ensemble in Association’) the Department’s New Music Ensemble, as well as other departmental ensembles such as the orchestras. As well, we regularly offer workshops with visiting performers (e.g. the Hermes Ensemble, Darragh Morgan, Carla Rees, and Joby Burgess in recent years). All this combined with excellent equipment (computers, microphones, recorders) and library resources, and the opportunity to interact with distinguished guest artists in our COMPASS Forum seminar series, makes for an exciting and creative environment.
You will study four core modules:
Advanced Studies in Instrumental/Vocal Composition
The module contains four main areas of study: musical form (micro and macro); advanced studies in notation; repertoire studies; and relevant strands of advanced music theory. Topics covered will include proper editing and preparation of materials at a professional level, recent stylistic developments in contemporary music (e.g. post-spectralism, post-minimalism), and computer assisted composition techniques.
Issues in Contemporary Music
For this module you are required to attend the Music Department's COMPASS Forum series of seminars. This includes presentations by invited speakers on a variety of topics related to issues within the field of contemporary music. You will be required to write reports/critical responses for three of these presentations, and to give a short conference length presentation on your own research or a related topic. Additional information will come from a prescribed reading list consisting of key and secondary texts in the field, which will serve to inform your written work and presentations.
Information Skills and Resources in Music
This module helps you to identify and access appropriate bibliographical resources, archives, and other sources of relevant information; describe in detail the process of bibliographical research and justify it; and execute a critical survey of the existing literature on a research topic.
Introduction to Music Research
This module introduces you to contemporary issues, methods, techniques and debates in music, in such areas as source studies (manuscript, printed, electronic), historical performance practice, reception history, and genre studies.
You will also choose one optional module from the following:
Special Study in Music
You will undertake a special study of a particular field of your 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.
Aesthetics and the Philosophy of Art
This module consists of a critical examination of topics in aesthetics and the philosophy of art. It considers subjects such as: art and the nature of aesthetic experience; beauty, ugliness and the sublime; symbolism and allegory; the aesthetics of modernism. At its core is an overview of the German aesthetic tradition, involving a close reading of foundational texts by Immanuel Kant, Georg Hegel and their contemporaries in the early 19th century. It will also consider work by a range of subsequent authors, such as, for example, Walter Benjamin, John Dewey, Ernst Bloch, Maurice Merleau-Ponty, Theodor Adorno and Martin Heidegger. Attention will be paid not only to the conceptual arguments put forward by the thinkers in question, but also to the ways in which their theoretical tenets have underpinned the interpretation and criticism of works of art, music and literature.
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.
Contemporary Music Studies
This module studies the explosion of musical expression that characterises 20th-century and contemporary music, focusing on key movements (serialism, minimalism, etc) and concerns (tonality/atonality, aleatoric principles, etc). Starting from the musical ‘crisis’ of the early years of the 20th century, the course will address issues such as the separation of ‘art’ and ‘popular’ music, the impact of technology and the presumption of postmodernism at the start of the 21st century. The marked shift in aesthetics and music’s ‘function’ will also be discussed.
We charge an annual tuition fee. Fees for 2014/15 are as follows:
Home / EU: £5,940 full-time; £2,970 part-time
Overseas: £13,665 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.