You will study one core module:
Over two semesters, you will receive regular one-to-one tutorial teaching, enabling you to develop your compositional technique and a self-reflexive critique of your own work. Composition techniques appropriate to individual needs will be taught and discussed during tutorials. In so doing, you will also be encouraged to broaden your range of compositional practice, and move toward the development of a personal ‘voice’.
Assessment: Composition portfolio
You will also choose three optional modules as follows:
At least one of -
Advanced Studies in Electroacoustic Composition
This module builds on your previous experience at Birmingham or elsewhere. It aims to expand your thinking and musical horizons through theoretical and practical work. The module includes listening, reading, programming, performance training and the use of a large range of audio software and hardware. The module contains six areas of study:
- Sound generating, editing, mixing and processing techniques using proprietary digital audio workstation software, plug-ins, realtime and non-realtime applications
- Source sound recording techniques (studio and field) using conventional and ambisonic techniques
- Approaches to spatialisation; diffusion techniques and the MiniBEAST and BEAST sound systems
- Software critique
- Acoustic Ecology
- Repertoire studies; directed listening and reading
Assessment: A series of class tests, including a composition project
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.
Assessment: A combination of written and practical assignments
Your remaining optional module(s) will be chosen from a range which typically includes:
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, G.W.F 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, Benedetto Croce, 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.
Assessment: Written assignment
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.
Assessment: One or two written assignments, totalling 9,000 words
This module explores the rapidly developing field of laptop ensemble performance. The class will function as an ensemble group, working to develop and prepare repertoire for public concerts. Topics covered will include: techniques for improvisation; networked music performance; live coding; and composition for live electroacoustic ensemble. Works presented in concert will include student and group developed pieces, as well as ‘classics’ from the field. Students should have at least a rudimentary background in a computer music programming environment such as SuperCollider or Max/MSP, but the projects pursued will be selected according to the ensemble’s makeup each year.
Assessment: A series of class tests, including short compositions and a final performance
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.
Assessment: Written assignments and in-class group presentation
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.
Assessment: Written assignments and in-class presentation
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: programming for electroacoustics; a composer study; topics in music analysis; or topics in critical musicology.
Assessment: Written assignment
Please note that the optional module information listed on the website for this programme is intended to be indicative, and the availability of optional modules may vary from year to year. Where a module is no longer available we will let you know as soon as we can and help you to make other choices.