Music - 2012 entry

Course content

As our courses are reviewed regularly, course content and module choices may change from the details given here.

Students studying for the MA/PG Dip in Music are required to complete the following two compulsory modules (40 credits each):

Key Concepts and Methods in Research
Provides a grounding in the skills, methodologies and theoretical approaches for work in music at postgraduate level. Training is provided in the following: the use of bibliographic databases and internet-based resources specific to the study of Music; identifying sources and the use of libraries and archives; writing skills. The module also features a series of sessions devoted to developing students' awareness of recent debates within musical scholarship. These sessions are designed to bring together musicologists and composers from across our pathways in fruitful debate.

Dissertation / Major Project

An in-depth project in independent study or creativity, taken at the end of the course, enabling students to deploy skills, knowledge and understanding gained during the course in producing a substantial piece of written work, or practice-based outputs. This can be a critical examination, through independent study and extended written work of an appropriate musicological topic, theme or issue. Alternatively, a portfolio of practice-based work is also acceptable, presented and documented as appropriate to feature an agreed combination of compositions, installations, site based work, live electronic applications.

You will then take two of the following modules depending on your chosen specialism (40 credits each):

 Composition and Sonic Art Practice
This module provides an opportunity for you to enhance your technical and analytical skills, building upon previous experience. Working with an appropriate supervisor within the areas of composition and sonic art practice, you will fhave the opportunity to focus on acoustic composition, electro-acoustic composition and sound art, and will explore the importance of site and context. You will develop your own conceptual concerns and expand your vocabulary of technical skills relating to your creative practice. You will develop a body of practical research - to include scores and recordings - and reflect upon this through seminar feedback sessions. In addition, you pursue a research topic that explores contemporary practice; for instance through the analytical study of the work of a composer or group of composers, or a detailed consideration of a particular conceptual or technical issue.

Electroacoustic and Live Electronic Composition
This module gives you the opportunity to focus on electroacoustic composition and live electronic composition, including interactive computer music. You will enhance your technical and analytical skills, building upon your previous experience of composition. You will  develop a body of research that might include recordings, software patches and installations - and reflect upon this through seminar feedback sessions. You also pursue a research topic that explores Electroacoustic or Live-Electronic composition; for instance through the analytical study of the work of a composer or group of composers, or a detailed consideration of a particular conceptual or technical issue.

Approaches to Popular Music
An examination of the methodological issues and traditions in the study of popular music. Although the module can include reference to any repertory  including jazz, focus will be on the song-based lineages of American country and British folk music, American blues and gospel music, and the trans-national languages of pop, rock, and rap. However, in addition, reference will be made to non-Anglophone repertory. Musicological approaches are practised through active listening to selected recordings and live performances. Finally forms of writing are examined and discussed, in which popular music is seen within the context of sociology and politics, literary study, cultural and media studies, aesthetics and critical theory.

Approaches to Film Music
This module takes as a starting point the role of music in film, seeking to explore in detail a number of scholarly and creative perspectives on that role. The purpose of the module is not to trace the history of music in film, but rather to survey recent critical thinking about music in film: how music is thought to clarify, confuse or contradict the expressive or informative content of the image track; how music is understood to generate impressions of time, space, character, mood, scene. Sessions will involve group discussion of weekly readings, as well as student presentations on specific films and themes.

Approaches to Opera
This module explores recent critical thinking about the creation, performance and reception of opera and about operas as dramatic and musical texts. You will focus upon debates about the following issues: the social and aesthetic contexts that have shaped operas; the representation of political concerns in opera; gender and sexuality on the operatic stage; operatic institutions and audiences; the staging and interpretation of operas; critical responses to opera; opera’s place in the musical canon; and the role of opera in 21st-century society. Other forms of music theatre may also be discussed. Sessions will involve group discussion of weekly readings, as well as student presentations on specific operas and themes.

Approaches to 19th Century Music
The study of 19th-century music is currently one of the most vibrant areas of historical musicology, inspiring many of the perspectives developed by  'new' and post-modern musicology. This module explores the music of the 'long' nineteenth century, from late Haydn to early Schoenberg, in its historical and disciplinary contexts and from a range of current perspectives, bringing together cultural studies, history, literature and the arts in an interdisciplinary and transnational approach. Topics explored include the ideology of genius and the rise of the work concept; music in the salon and the market place; popular music of the 19th century; women as performers, patrons and composers; music and the beginnings of mass media; virtuosity and the cult of celebrity; music and the ‘Gothic’; music and national identity; the rediscovery of early music and historicism.

Independent Study
A critical examination through independent study and extended research of an appropriate music-based topic, theme or issue. This will result in an extended piece of written work or a portfolio of compositions/practice-led outcomes. You will be required to produce a detailed plan of study leading to a learning contract agreed between the student, the supervisor and the course leader.

Faculty

Faculty of Technology, Design and Environment

Department

School of Arts

Course length

Full-time: 12 months
Part-time: 24 months

Teaching location

Headington Campus, Headington Hill

Start date

September 2012

UKPASS code

P038305

Entry requirements

Applicants should normally have an upper second class degree or above (not necessarily in Music). However, if you do not meet the standard entry requirement it may be possible to consider your application based on evidence of other relevant personal and professional experience, the support of your referees and examples of written work.

Decisions are made based on your application and an interview. Applicants from overseas may be offered a telephone interview.

Scholarships and funding

For general sources of financial support, see:

• funding for students from the UK and EU
• funding for students from outside the EU

Why Oxford is a great place to study Music

 Oxford is the ideal city in which to study music at postgraduate level, with its thriving research culture and world-class libraries. Because Oxford is one of the world's great academic cities, it is a key centre of debate and hosts regular conferences and seminars in music and associated disciplines. Music students have access to the Bodleian Library and its satellite libraries in Oxford as well as to the first-rate libraries and research facilities here at Oxford Brookes.

 Oxford boasts a vibrant and varied musical culture; from professional classical music by international artists, through to a lively jazz scene and an established gigging circuit. There are plenty of venues both large and small which host professional and student concerts and there are numerous opportunities to get involved in performance here at Brookes and yet more in the city of Oxford itself.

Support for students studying Music

 Module leaders are available to provide advice and guidance relating to the specific modules that they teach. Further advice on matters such as module choice, dissertation topic and future employment may be sought from any member of Music staff as well as student support co-ordinators. If you experience personal problems that are affecting your academic performance, you can also seek advice from the course leader, teaching staff and Student Services.

Representation
 A course committee is responsible for the day-to-day running of the MA in Music programme in the School of Arts. The committee, which has a meeting every semester, deals with long and short term academic planning, and any changes to the programme are first discussed in forum. The committee includes the course leader, course tutors, the Head of School, the subject librarian and student representatives.

Student representation on the committee is important and is the most effective way in which you can make your views known about the running of the course. An election for postgraduate student reps takes place at the beginning of Semester 1 and reps normally serve for the duration of their time at the university.

Course evaluation
Evaluation offers you the opportunity to voice your opinions directly to those who teach you. It is therefore an important vehicle for student representation within the university. At the end of each module students have the opportunity to complete a module questionnaire. Student feedback is taken seriously by Music staff and often leads to changes in the content and delivery of modules.

How Brookes supports postgraduate students

Supporting your learning

From academic advisers and support co-ordinators to specialist subject librarians and other learning support staff, we want to ensure that you get the best out of your studies.

Personal support services

We want your time at Brookes to be as enjoyable and successful as possible. That's why we provide all the facilities you need to be relaxed, happy and healthy throughout your studies.

Departmental research highlights

Composer Dr Paul Whitty’s collaborative Vauxhall Pleasure project with Anna Best consisted of a site event at Vauxhall Cross, London; an installation at the Museum of Garden History as part of their Tempered Ground exhibition; and two performances at Tate Britain. The latest phase of the project has been funded by the AHRC. In summer 2011 Paul also collaborated with novelist Roma Tearne on a film entitled The Swimmer that was exhibited at the Venice Biennale.

Dr Alexandra Wilson’s monograph The Puccini Problem: Opera, Nationalism, and Modernity was recently awarded the American Musicological Society’s Lewis Lockwood Award for an outstanding work of music scholarship. Her most recent publications are a second book, Opera: A Beginner’s Guide, and an article on Italian press criticism in the 1890s in 19th-Century Music Review. This year she will give an invited paper at the Institute of Musical Research, and conference papers at the annual meetings of the American Musicological Society and the Royal Musical Association.

Dr Barbara Eichner is completing a monograph entitled Music, History and the Construction of German National Identity on the interaction of music, historical myths and German national identities. She has recently presented a conference paper at the ex-monastery Irsee in Swabia, southern Germany and will speak at this year’s Royal Musical Association annual conference.

Researchers in Composition and Sonic Art have been joined by AHRC Fellow Max Eastley who will be exploring Aeolian Devices during his three-year Fellowship, whilst the Sonic Art Research Unit's project Wired has been released by NMC and featured at the Sound and Music Cutting Edge Series and on BBC Radio 3.

The Popular Music Research Unit recently hosted a very successful conference entitled ‘Shifting Ground: A Symposium on Music and Publishing’, funded by the Royal Musical Association. Over 40 delegates, including academics, journalists and publishers, attended to discuss issues relating to publishing of and publishing on music. The opera research unit (OBERTO) will host a conference in September 2011 entitled ‘Beyond Press Cuttings: New Approaches to Reception in Opera Studies’.
 

Research excellence

Music at Oxford Brookes provides a vibrant environment for research in Historical Musicology, Popular Music Studies, Composition and Sonic Art. The Research Assessment Exercise (RAE 2008) identified 'world-leading' research in Opera and Operatic Studies, Popular Music, and the interdisciplinary territory of Sonic Art. Recent research funding successes include the award of an AHRC Fellowship in the Creative and Performing Arts for Sound Artist Max Eastley.

Research areas and clusters

Departmental research interests in music at Oxford Brookes range from music in sixteenth-century nunneries to the work of Radiohead, and from nineteenth- and twentieth-century opera to the Sonic Archaeology of urban sites.

Research interests are supported by our three research units:

The Opera Research Unit (OBERTO) provides a forum for the investigation of opera in all its interdisciplinary richness. We explore the history, performance and reception of opera; opera’s political, social and cultural contexts; and critical debates about opera both historical and contemporary.
http://ah.brookes.ac.uk/oberto/

The Sonic Art Research Unit provides a forum for dialogue between the fields of Composition and Sound Art; including acousmatic, collaborative, electroacoustic, experimental, interdisciplinary and site-specific practices alongside engagement with field recording, and soundscape studies.
http://ah.brookes.ac.uk/saru

The Popular Music Research Unit provides a forum to investigate both contemporary and historical issues in the field of Popular Music. This incorporates both practice-led research and more traditionally disseminated textual research, touching on areas of musical analysis, critical musicology, performance, composition and songwriting.
http://ah.brookes.ac.uk/pmru

Students also have the opportunity to join a number of cross-faculty, interdisciplinary research clusters.