Music final year modules
Module details
For those students taking 80 credits of Music:
- Independent Study (compulsory)
- Special Subject (optional)
- Optional Modules (from the list of second or final year optional modules)
For those students taking 60 credits of Music:
- Independent Study (compulsory, unless taken in Modern Languages or Maths)
- Special Subject (optional)
- One or two Optional Modules (from the list of second or final year optional modules)
For those students taking 40 credits of Music:
- Independent Study (optional)
- One or two Optional Modules (from the list of second or final year optional modules)
Module descriptions
Independent Study Modules
Musicology Dissertation (20 credits)
- This module may be taken with Special Subject - Musicology provided that the fields of enquiry are contrasted.
The student will, with supervision from a designated tutor, research and write a short dissertation on an aspect of Musicology of their choosing (but in an area which can be adequately supervised by a member of the academic staff). The dissertation may be historical in nature, focusing, for example, on a composer or a group of composers, on a genre, form or style, or on a musical institution or patron. Alternatively, it may be analytical, or discuss performance practice, or comprise an editorial project. The module will build on the skills acquired in musicological modules taken in Years 1 and 2 and may draw on the knowledge acquired but will emphasise the application of skills to a field of enquiry wholly or mainly new to the student.
Studio Composition (20 credits)
- Prerequisite: Successful completion of the Year 2 Studio Composition optional module.
The module builds on the skills acquired in the Studio Composition modules offered in Years 1 and 2, i.e. the composition of original electroacoustic music via the medium of computer-based technology. Following an initial recording session to gather individual source sound materials, classes (of 2 hours most weeks in Semester 1) provide a thorough grounding in the resources available in Studio 6, focusing on digital sound editing, processing and mixing techniques in the Macintosh environment and consolidating skills learned in earlier Studio Composition courses. More advanced and elaborate signal processing software than that used in B11 is then introduced. Classes will also include discussion of compositional and aesthetic issues, with the learning process significantly informed by guided reading and listening - attendance at the weekly MiniBEAST listening sessions (11.30-12.30 on Wednesdays throughout Semesters 1 and 2) and at BEAST events in Birmingham are compulsory components of the course, for which students are required to keep a diary containing critical notes on the works presented; they should therefore avoid scheduling instrumental lessons or committing to any other activities at these times. In Semester 2, attention shifts to the composition of individual pieces by each student; scheduled class times provide an opportunity for the tutor to monitor and give feedback on the progress of each student’s piece as it develops.with the class tutor focus on the specific material and compositional ideas of each person.
Paper Composition (20 credits)
- Prerequisite: Successful completion of the Year 2 Paper Composition optional module.
The module seeks to build on the skills and knowledge acquired in the Paper Composition modules offered in Years 1 and 2 with a view to enabling the student to produce a portfolio of compositions using a mixture of traditional music notation and its modern extensions, and which can be performed successfully by a group of specified instrumentalists/vocalists.
Semester 1: Issues in Contemporary Music: 5 weekly seminars on a variety of substantial and influential works, analysis, aesthetic and perceptual issues and aspects of performance. The course requires extensive listening. Tutorials follow.
Semester 2: A tutorial course intended to monitor the preparation of the composition folio, of which at least 50% must be original composition. Final Compositions will be played through by New Music Ensemble in the first week of the Summer Term: see Department Diary for details of deadlines relating to this element of the course.
Additional seminars, workshops and concerts with BCMG (Birmingham Contemporary Music Group) are an integral and quality part of the course. Attendance is required (10% of the final mark) and one mark will be subtracted for each unjustified absence. Bona fide membership of New Music Ensemble so as to develop an understanding of twentieth century performance practices is also required.
Special Subject Modules
Musicology (40 credits)
The student will, with supervision from a designated tutor, research and write a dissertation on an aspect of Musicology of their choosing. Areas of investigation will result in a prose dissertation, but this may include analysis, editing, or performance, if approved and appropriate. Attendance at the Department’s Musicology Research Seminar series (selected Tuesdays at 5 pm) is compulsory.
Studio Composition (40 credits)
- Prerequisite: Successful completion of the Year 2 Studio Composition optional module.
Semester 1: Seminars (of 2 hours most weeks) to ensure that students are thoroughly familiar with all the available Studio resources. Starting from a group recording session to gather individual source sound materials, the course builds on and consolidates techniques learned in course B11 Studio Composition, focusing on digital sound editing, processing and mixing. More advanced and elaborate signal processing software than that used in B11 is also introduced. Guided reading and listening, along with discussion of compositional and aesthetic issues, will inform the learning process. This is aided by attendance at BEAST events in Birmingham and by weekly listening sessions throughout Semesters 1 and 2, curated by staff and postgraduate composers, using the Elgar Room MiniBEAST system. Attendance at these sessions (11.30-12.30 on Wednesdays) is part of the course, with students keeping a diary of attendance and critical notes on the works presented; 322 students should avoid committing to any other activity at this time. Towards the end of Semester 1, classes will be replaced by individual tutorials to establish the specific materials for each student’s piece and the best methods of developing that material for the compositional aims of each person.
In Semester 2, attention shifts almost completely to the composition of individual pieces by each student. To support this, fortnightly individual tutorials with the class tutor focus on the specific material and compositional ideas of each person.
Paper Composition (40 credits)
- Prerequisite: Successful completion of the Year 2 Paper Composition optional module.
The course comprises three strands:
Semester 1: Issues in Contemporary Music: weekly seminars on a variety of substantial and influential works, analysis, aesthetic and perceptual issues and aspects of performance. The course requires extensive listening. Tutorials follow on and initial compositional ideas are work-shopped by NME towards the end of term.
Semester 2: A tutorial course intended to monitor the preparation of the composition folio, of which at least 50% must be original composition. Final Compositions will be played through by BCMG in the first week of the Summer Term: see Diary for details of deadlines relating to this element of the course.
Additional seminars, workshops and concerts with BCMG are an integral and quality part of the course. Attendance is required (10% of the final mark) and one mark will be subtracted for each unjustified absence. Bona fide membership of NME so as to develop an understanding of twentieth century performance practices is also required.
Solo Performance (40 credits)
- Attainment of 60% in the first study assessment of second year Performance module is a prerequisite for admission to this module.
- The Examiners for this module will comprise a panel of three members of the salaried staff from within the Department.
Instrumentalists and Vocalists: Regular individual tuition (20 hours in total) and practice; occasional seminars on programming, presentation and other general matters.
Conductors: As above, but including conducting the University Chamber Orchestra and a specially constituted vocal ensemble.
Accompanists: As for instrumentalists, but focused on the role of accompanist rather than soloist.