|Location||United Kingdom, Birmingham|
|Type||Master courses, full-time|
|Nominal duration||1 year|
|Tuition fee||To be confirmed|
Undergraduate diploma (or higher)
At least a Bachelor degree or postgraduate diploma from a UK university or equivalent. The degree must be in a relevant subject
The entry qualification documents are accepted in the following languages: English.
Often you can get a suitable transcript from your school. If this is not the case, you will need official translations along with verified copies of the original.
Upload documents in original language and translations. Take originals along when you go to study.
IELTS : Score 6.5 with no less than 6.0 in any band. Or Cambridge English(CAE): Advanced Minimum overall score of 176, with no less than 169 in any component.
Please note: TOEFL IBT test will not be accepted for September 2015 entry.
At least 2 reference(s) should be provided.
Two academic references (or if appropriate to the programme applied for, one could be from your employer).
The Musicology pathway introduces you to the diverse and rapidly developing discipline of musicology in the 21st century, and provides you with traditional technical skills: historical, analytical, source-critical. You will also become familiar with recent and present debates and subdisciplines, including political and sociological approaches, performance practice, performance studies and reception theory
The Music Department at Birmingham has a distinguished record in musicology, with international experts on the staff in most areas in Western music history and in analysis and criticism.
You will study two core modules:Introduction to Musicology Music Research Colloquium
You will also choose two optional modules and complete a 15,000-word musicology dissertation.
You will study these two core modules:
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.
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 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.
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.
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.
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.
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.
Advanced Studies in Medieval and Renaissance Music
This module will provide the technical and theoretical background for working in this period and equip you with the skills necessary to proceed to a PhD in Medieval or Renaissance Music. Through a series of case studies, you will be shown a variety of analytical models to provide you with different ways of engaging with the music as well as of talking and thinking about it. You will also examine complex and controversial issues of performance practice
Over the past five years, 96% of Music postgraduates were in work and/or further study six months after graduation. Whilst some graduates pursue music-related careers, others choose to use their transferable skills to follow career paths in fields including finance, the media and the public sector.
Employers that graduates have gone on to work for include:
Arts Council England;
Birmingham Contemporary Music Group;
Coventry City Council Performing Arts Service;
National Opera Studio;
and Royal Northern College of Music.