Music
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Goldsmiths’ Department of Music, with its varied academic interests, active performing tradition, and proximity to London’s resources, offers a stimulating environment for students. Performance opportunities range from the symphony orchestra and choir to specialist groups for contemporary music, jazz and world music; performers and composers are strongly encouraged to become involved in departmental concerts. The Department has many varied facilities, including fully equipped composer-studios, workstations with music software, a recording studio, performance analysis equipment, a Recital Room with video recording facilities, and a networked computer room with Sibelius music software.
Prerequisites: for all Year 2 courses there is a general prerequisite of two years’ college-level study of music. You should have studied both theory and practice. For popular music courses you should be familiar with Jazz and Popular Music traditions both through practical and academic study. For all other courses you should have paid major attention to the Western Classical tradition and be able to read and write musical notation.
In the Summer term you can choose to do 2 additional credits of project work related to courses studied in the Spring term. This work is negotiated individual study supported by some tutorial guidance. You should inform your home university and the Student Recruitment and International Office at Goldsmiths of the agreed topic once it has been confirmed. When you tell your International Liaison tutor the topics you are interested in studying, they can consider appropriate tutorial guidance arrangements. You should aim to confirm these details by week 6 of the Spring term.
| Undergraduate Year | Description |
|---|---|
|
Year 1 |
a course for which you do not need any previous experience |
| Year 2 |
assumes that you have had some experience |
| Year 3 |
assumes a specialist knowledge of the |
Year 1 - Department of Music courses
MU51026A
London – the World’s Musical Capital
(4 credits, Autumn; 4 credits, Spring; )
This course engages you in music making in London, arguably the most active and diverse musical city in the world. You are introduced to a range of musical activities, from the O2 Arena to the wealth of musical events on London’s South Bank, as well as a number of smaller alternative venues. Visits to events in the city are discussed and put in context in seminar groups in the following week. New course: subject to validation.
London – the World’s Musical Capital
(4 credits, Autumn; 4 credits, Spring; )
This course engages you in music making in London, arguably the most active and diverse musical city in the world. You are introduced to a range of musical activities, from the O2 Arena to the wealth of musical events on London’s South Bank, as well as a number of smaller alternative venues. Visits to events in the city are discussed and put in context in seminar groups in the following week. New course: subject to validation.
MU51016A
Folk and Urban Musics
(4 credits, Autumn; 4 credits, Spring; 10 credits, Full year;)
This course provides a foundation for understanding the key creative elements common in many forms of popular music. Term one focuses on roots of popular style in US and European folk music, stressing the importance of orality, song form, interaction/improvisation, modality, standard progressions, rhythm and the role of social processes in shaping music. Terms two and three focus on the creative concepts at the heart of 20th-century popular music in the Western world – for example, riffs, repetition, cycle of fifths, fragmentation, recycling/sampling, lyrics and use of new technologies.
Folk and Urban Musics
(4 credits, Autumn; 4 credits, Spring; 10 credits, Full year;)
This course provides a foundation for understanding the key creative elements common in many forms of popular music. Term one focuses on roots of popular style in US and European folk music, stressing the importance of orality, song form, interaction/improvisation, modality, standard progressions, rhythm and the role of social processes in shaping music. Terms two and three focus on the creative concepts at the heart of 20th-century popular music in the Western world – for example, riffs, repetition, cycle of fifths, fragmentation, recycling/sampling, lyrics and use of new technologies.
MU51017A
Analytical and Contextual Studies in Pop Music
(4 credits, Spring)
This course looks at three key issues: the social, cultural and musical contexts within which music is made; the musical past and its legacies (and how we understand various histories); and different approaches to analysis, criticism and writing about music. Case studies focus on significant genres and artists in the history of popular music. You will be encouraged to evaluate the significance of various artistic developments whilst acquiring an understanding of the conceptual frameworks and cultural contexts within which such changes have been understood.
Analytical and Contextual Studies in Pop Music
(4 credits, Spring)
This course looks at three key issues: the social, cultural and musical contexts within which music is made; the musical past and its legacies (and how we understand various histories); and different approaches to analysis, criticism and writing about music. Case studies focus on significant genres and artists in the history of popular music. You will be encouraged to evaluate the significance of various artistic developments whilst acquiring an understanding of the conceptual frameworks and cultural contexts within which such changes have been understood.
MU51018A
Practical Popular Music Studies
(4 credits, Autumn; 10 credits, Autumn and Spring; )
Practical Popular Music Studies allows you to develop your practical skills in the broadest sense via a weekly performance class and individual vocal/instrumental lessons. It provides instruction in all areas of practical musicianship including aural skills, transcription, sight-reading and improvisation as well as ensemble playing and performance. You will be given supporting classes in performance technology (how to use PA, Mics etc) and other issues relating to rehearsal, practice and presentation.
Practical Popular Music Studies
(4 credits, Autumn; 10 credits, Autumn and Spring; )
Practical Popular Music Studies allows you to develop your practical skills in the broadest sense via a weekly performance class and individual vocal/instrumental lessons. It provides instruction in all areas of practical musicianship including aural skills, transcription, sight-reading and improvisation as well as ensemble playing and performance. You will be given supporting classes in performance technology (how to use PA, Mics etc) and other issues relating to rehearsal, practice and presentation.
MU51019A
Composition
(4 credits, Autumn; 4 credits, Spring; 10 credits, Full year;)
This course allows you to develop an understanding of 20th/21stcentury compositional techniques, and to apply them in your own original creative work. Creative strategies actively explored include experimental notation, visualisation and improvisation. You consider a range of structural methods as evidenced in music from the early 20th century onwards (such as serialism, isorhythm, block form, process-based form). You explore a number of techniques with respect to pitch (linear/harmonic), rhythm and texture. You work individually on three projects; a set of brief technical experiments, and two compositions (for duo and small ensemble). You also participate in a group assessed project.
Composition
(4 credits, Autumn; 4 credits, Spring; 10 credits, Full year;)
This course allows you to develop an understanding of 20th/21stcentury compositional techniques, and to apply them in your own original creative work. Creative strategies actively explored include experimental notation, visualisation and improvisation. You consider a range of structural methods as evidenced in music from the early 20th century onwards (such as serialism, isorhythm, block form, process-based form). You explore a number of techniques with respect to pitch (linear/harmonic), rhythm and texture. You work individually on three projects; a set of brief technical experiments, and two compositions (for duo and small ensemble). You also participate in a group assessed project.
MU51020A
Performance and Critical Listening
(4 credits, Autumn; 4 credits, Spring; 10 credits, Autumn and Spring; )
This course seeks to develop not only practical performance skills but also critical listening and interpersonal skills. It begins with four weeks of lectures on performance-related issues (‘performance anxiety’, ‘critical listening’ etc). You are given the opportunity for a short solo performance in term 1, with feedback provided by the course leader and the student peer group. In term 2 you are divided into groups and use the resources available to put on a concert of chamber music. The projects/concerts are performed and assessed, with marks awarded according to performance competence and overall contribution.
Performance and Critical Listening
(4 credits, Autumn; 4 credits, Spring; 10 credits, Autumn and Spring; )
This course seeks to develop not only practical performance skills but also critical listening and interpersonal skills. It begins with four weeks of lectures on performance-related issues (‘performance anxiety’, ‘critical listening’ etc). You are given the opportunity for a short solo performance in term 1, with feedback provided by the course leader and the student peer group. In term 2 you are divided into groups and use the resources available to put on a concert of chamber music. The projects/concerts are performed and assessed, with marks awarded according to performance competence and overall contribution.
MU51021A
Introduction to Music Technology
(4 credits, Autumn; 4 credits, Spring; 10 credits, Full year;)
This is an opportunity for you to become familiar with a range of music technology applications, including score processing, analogue-digital recording, computer-based production and sequencing. You will develop a basic working knowledge of three software packages, acquiring core skills in computer music and furthering your understanding of its potential practical applications. You will also have the opportunity to work in a recording studio, developing a knowledge of good practice in this environment, including an ability to collaborate effectively.
Introduction to Music Technology
(4 credits, Autumn; 4 credits, Spring; 10 credits, Full year;)
This is an opportunity for you to become familiar with a range of music technology applications, including score processing, analogue-digital recording, computer-based production and sequencing. You will develop a basic working knowledge of three software packages, acquiring core skills in computer music and furthering your understanding of its potential practical applications. You will also have the opportunity to work in a recording studio, developing a knowledge of good practice in this environment, including an ability to collaborate effectively.
MU51022A
Tonal Harmony and Form
(4 credits, Full year)
Prerequisite: Some previous knowledge of musical theory.
The course aims to consolidate and extend your understanding of tonal harmony and to introduce you to
historical and analytical study of music c1750-c1830, concentrating on sonata form movements and their context. The first half of the course uses the music of JS Bach to focus study of chord identification, harmonic progressions, cadences, melodic structure and the simple tonal forms (binary, ternary and rondo). The second half focuses on the music of the common-practice period through a study of sonata form and its development from Haydn to Beethoven. Issues covered include the understanding of formal, thematic and tonal structures in sonata form, and their relationship to theoretical and cultural conceptions of the nature and meaning of the form.
Tonal Harmony and Form
(4 credits, Full year)
Prerequisite: Some previous knowledge of musical theory.
The course aims to consolidate and extend your understanding of tonal harmony and to introduce you to
historical and analytical study of music c1750-c1830, concentrating on sonata form movements and their context. The first half of the course uses the music of JS Bach to focus study of chord identification, harmonic progressions, cadences, melodic structure and the simple tonal forms (binary, ternary and rondo). The second half focuses on the music of the common-practice period through a study of sonata form and its development from Haydn to Beethoven. Issues covered include the understanding of formal, thematic and tonal structures in sonata form, and their relationship to theoretical and cultural conceptions of the nature and meaning of the form.
MU51023A
Western Art Music: Development and Repertoire
(4 credits, Autumn)
The aim of this introductory survey course is to familiarise you with significant and varied examples of Western Art Music, presented in chronological order. It also develops a critique of the ways in which traditions are constructed and works become canonised. Through a study of particular works you will come to understand: [a] the range of languages and techniques available in the Western art-music tradition; [b] why music was composed and performed differently in past communities; [c] patterns of influence and points of innovation in the development of music; [d] the origins of the musical practices we employ today; [e] the evidence, investigative methods and value systems that have induced us to construe the musical past in particular ways.
Western Art Music: Development and Repertoire
(4 credits, Autumn)
The aim of this introductory survey course is to familiarise you with significant and varied examples of Western Art Music, presented in chronological order. It also develops a critique of the ways in which traditions are constructed and works become canonised. Through a study of particular works you will come to understand: [a] the range of languages and techniques available in the Western art-music tradition; [b] why music was composed and performed differently in past communities; [c] patterns of influence and points of innovation in the development of music; [d] the origins of the musical practices we employ today; [e] the evidence, investigative methods and value systems that have induced us to construe the musical past in particular ways.
MU51024A
Approaches to 20th-century Music
(4 credits, Spring)
The aim of this course is to introduce you to the skills you will require, the repertoire you will encounter and the debates you will need to consider when studying musics of the twentieth century. Via concrete examples and case studies it introduces the specific skills required for analysing music, engaging in critical reasoning, conducting research and presenting written arguments, along with an awareness of the key issues of debate in contemporary musicology. The course encourages you to gain an understanding of the perspectives, methods and orientations of musicologists.
Approaches to 20th-century Music
(4 credits, Spring)
The aim of this course is to introduce you to the skills you will require, the repertoire you will encounter and the debates you will need to consider when studying musics of the twentieth century. Via concrete examples and case studies it introduces the specific skills required for analysing music, engaging in critical reasoning, conducting research and presenting written arguments, along with an awareness of the key issues of debate in contemporary musicology. The course encourages you to gain an understanding of the perspectives, methods and orientations of musicologists.
MU51025B
Popular Music: History, Style, Technique
(4 credits, Autumn)
Through discussion of issues related to the performance, recording, production, composition and documentation of Western popular music, this course aims to enhance critical listening skills. It aims to provide a foundation for skills and understanding developed later in the programme, introducing topics such as: standard song forms and structures; instrumental and vocal tone, texture and style; approaches to recording and production; genres and generic markers; the role of arrangement.
Popular Music: History, Style, Technique
(4 credits, Autumn)
Through discussion of issues related to the performance, recording, production, composition and documentation of Western popular music, this course aims to enhance critical listening skills. It aims to provide a foundation for skills and understanding developed later in the programme, introducing topics such as: standard song forms and structures; instrumental and vocal tone, texture and style; approaches to recording and production; genres and generic markers; the role of arrangement.
MU51047A
Music Computing 1
(4 credits, Autumn and Spring)
Introduces the overarching themes of music computing: how computers listen and analyse sound and music, how they can generate musical and sonic processes and structures, and how they can render these patterns as sound and music. You develop an understanding of the origins of computer-aided composition and computer-based electronic music, presented in a short series of repertoire-based case studies.
Music Computing 1
(4 credits, Autumn and Spring)
Introduces the overarching themes of music computing: how computers listen and analyse sound and music, how they can generate musical and sonic processes and structures, and how they can render these patterns as sound and music. You develop an understanding of the origins of computer-aided composition and computer-based electronic music, presented in a short series of repertoire-based case studies.
Year 1 - Department of Professional and Community Education courses
MU41048A
Music and Culture
(4 credits, Autumn; 4 credits, Spring; 2 credits, Summer; )
This course comprises a broad look at music in contemporary culture, and investigates music both in terms of style and genre and as a cultural phenomenon. It focuses mainly on popular music but includes perspectives on classical, traditional and global music. Through listening, lectures, seminars and discussions it explores music and its cultural processes and promotes an understanding of musical expression in a range of contemporary
societies and subcultures.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Music and Culture
(4 credits, Autumn; 4 credits, Spring; 2 credits, Summer; )
This course comprises a broad look at music in contemporary culture, and investigates music both in terms of style and genre and as a cultural phenomenon. It focuses mainly on popular music but includes perspectives on classical, traditional and global music. Through listening, lectures, seminars and discussions it explores music and its cultural processes and promotes an understanding of musical expression in a range of contemporary
societies and subcultures.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41052A
Songwriting Workshop
(4 credits, Autumn; 4 credits, Spring; 2 credits, Summer; )
A workshop for aspiring and more seasoned songwriters wanting to learn more about what makes a good song, and wanting to hone skills and try out ideas. You will learn about hooks, bridges and middle 8s, the right mood, tone and structure and, most important of all, how to make your songs ring true. The workshop includes demo performances with expert guidance and constructive feedback.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Songwriting Workshop
(4 credits, Autumn; 4 credits, Spring; 2 credits, Summer; )
A workshop for aspiring and more seasoned songwriters wanting to learn more about what makes a good song, and wanting to hone skills and try out ideas. You will learn about hooks, bridges and middle 8s, the right mood, tone and structure and, most important of all, how to make your songs ring true. The workshop includes demo performances with expert guidance and constructive feedback.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Year 2: Department of Music Courses
MU52013A
Musical Style and Historical Culture
(4 credits, Autumn)
An exploration of musical styles and their relation to historical cultures, institutions and communities. You learn about specific historical musical networks, such as those existing in 16th-century London, Renaissance Venice, or late 19th-century Vienna. You also consider the difficulties in relating particular musical styles to complex cultures, and the potential distinctions between shared musical styles and shared musical techniques.
Musical Style and Historical Culture
(4 credits, Autumn)
An exploration of musical styles and their relation to historical cultures, institutions and communities. You learn about specific historical musical networks, such as those existing in 16th-century London, Renaissance Venice, or late 19th-century Vienna. You also consider the difficulties in relating particular musical styles to complex cultures, and the potential distinctions between shared musical styles and shared musical techniques.
MU52014A
Music and Modernism
(4 credits, Autumn)
This course explores the development of musical trends in the first half of the 20th century, and considers their relationship to the modernist ideas evolving in Western culture at this time. Particular attention is given to the music of Debussy, Stravinsky and the composers of the Second Viennese School.
Music and Modernism
(4 credits, Autumn)
This course explores the development of musical trends in the first half of the 20th century, and considers their relationship to the modernist ideas evolving in Western culture at this time. Particular attention is given to the music of Debussy, Stravinsky and the composers of the Second Viennese School.
MU52016A
Culture, Media and the Music Industries
(4 credits, Spring)
The central concern of this course is the commodification of music. Drawing from political economy, sociology and business studies, it provides an introduction to key issues and debates, and the role of various industries and technologies in music making. It discusses: the occupations, work, structures and dynamics inside record companies; the range of different businesses that have a vested interest in music making; the way music has become ever more significant for corporate promotion and branding; the importance of copyright and the legal regulation of rights, identities and authorship; the global relations of popular music production and circulation; the way music making has been understood in theoretical debates.
Culture, Media and the Music Industries
(4 credits, Spring)
The central concern of this course is the commodification of music. Drawing from political economy, sociology and business studies, it provides an introduction to key issues and debates, and the role of various industries and technologies in music making. It discusses: the occupations, work, structures and dynamics inside record companies; the range of different businesses that have a vested interest in music making; the way music has become ever more significant for corporate promotion and branding; the importance of copyright and the legal regulation of rights, identities and authorship; the global relations of popular music production and circulation; the way music making has been understood in theoretical debates.
MU52018A
Russian Music Traditions
(4 credits, Spring)
Examines Russian music from the 16th century onwards with a particular emphasis on the 19th century, including areas such as the legacy of folk music, sacred music, music education and theory, and the political and social contexts in which all of these were found. The unique archive collections of the Centre for Russian Music at the College, and the special collection room, will be made available for students, allowing you to engage with some of the primary sources relevant to the study of Russian music of this period.
Russian Music Traditions
(4 credits, Spring)
Examines Russian music from the 16th century onwards with a particular emphasis on the 19th century, including areas such as the legacy of folk music, sacred music, music education and theory, and the political and social contexts in which all of these were found. The unique archive collections of the Centre for Russian Music at the College, and the special collection room, will be made available for students, allowing you to engage with some of the primary sources relevant to the study of Russian music of this period.
MU52020A
Music, Communication and Identity
(4 credits, Autumn)
For many years music has been associated with different social groups and specific cultural identities: from the close connections between the emergent bourgeoisie and the critical appreciation and canonisation of absolute music in the eighteenth and nineteenth century, through the importance of blues, jazz, soul and hip hop for changing notions of black identity up the present day. Composers, songwriters and musicians have quite consciously used their art to communicate a sense of individual and collective experience. The course examines how music has been used to affirm a sense of collective identity and as a means of asserting difference.
Music, Communication and Identity
(4 credits, Autumn)
For many years music has been associated with different social groups and specific cultural identities: from the close connections between the emergent bourgeoisie and the critical appreciation and canonisation of absolute music in the eighteenth and nineteenth century, through the importance of blues, jazz, soul and hip hop for changing notions of black identity up the present day. Composers, songwriters and musicians have quite consciously used their art to communicate a sense of individual and collective experience. The course examines how music has been used to affirm a sense of collective identity and as a means of asserting difference.
MU52022A
Music and Postmodernism
(4 credits, Spring)
This course examines how certain music of the 20th and 21st centuries developed in the context of particular postmodernist trends. The period between 1960 and the present provides the focus for the course, which pays particular attention to the music of composers such as Berio, Cage, Kagel, Adams and Zorn.
Music and Postmodernism
(4 credits, Spring)
This course examines how certain music of the 20th and 21st centuries developed in the context of particular postmodernist trends. The period between 1960 and the present provides the focus for the course, which pays particular attention to the music of composers such as Berio, Cage, Kagel, Adams and Zorn.
MU52023A
Composition: Creative Strategies
(4 credits, Autumn)
Prerequisite: Previous experience of composition.
This course encourages you to experiment with a number of creative and technical strategies for composition and sound art practice. You undertake a series of creative tasks to explore different strategies for making work, whether technical or intuitive. Examples include: pitch/rhythmic organisation, graphic notation, working with images/text-based/aural sources, and working with chance operations and performer choice.
Composition: Creative Strategies
(4 credits, Autumn)
Prerequisite: Previous experience of composition.
This course encourages you to experiment with a number of creative and technical strategies for composition and sound art practice. You undertake a series of creative tasks to explore different strategies for making work, whether technical or intuitive. Examples include: pitch/rhythmic organisation, graphic notation, working with images/text-based/aural sources, and working with chance operations and performer choice.
MU52024A
Studio Techniques
(4 credits, Autumn)
Prerequisite: competence in composition using music technology
This course enables you to acquire fundamental skills in the use of studio equipment and software which are relevant to experimental electronic music and electroacoustic composition. These include recording techniques, sound editing and mixing, digital audio processing and use of MIDI. You will also be introduced to a range of experimental electronic/electroacoustic repertoire and associated compositional approaches. Maximum of five students.
Studio Techniques
(4 credits, Autumn)
Prerequisite: competence in composition using music technology
This course enables you to acquire fundamental skills in the use of studio equipment and software which are relevant to experimental electronic music and electroacoustic composition. These include recording techniques, sound editing and mixing, digital audio processing and use of MIDI. You will also be introduced to a range of experimental electronic/electroacoustic repertoire and associated compositional approaches. Maximum of five students.
MU52025A
Music, Technology and Production
(4 credits, Autumn)
Prerequisite: competence in composition using music technology
Highlights a range of recording techniques and music technology, focusing on sequencing, sampling, multi-track recording, use of a mixing desk, audio and digital effects and microphones. The course also introduces the key aesthetic concepts which underlie contemporary production techniques and emphasises the creative importance of recording and technology in popular music. Maximum of five students.
Music, Technology and Production
(4 credits, Autumn)
Prerequisite: competence in composition using music technology
Highlights a range of recording techniques and music technology, focusing on sequencing, sampling, multi-track recording, use of a mixing desk, audio and digital effects and microphones. The course also introduces the key aesthetic concepts which underlie contemporary production techniques and emphasises the creative importance of recording and technology in popular music. Maximum of five students.
MU52026A
Music Aesthetics
(4 credits, Autumn)
Considers the problems of defining music and of its ability to express and be ‘meaningful’. The main aim of the course is not to settle on the ‘right’ answers (they may not exist), but to help you think in logical and consistent ways about the principles by which you might begin to negotiate and evaluate the many present (and future) musics of the world.
Music Aesthetics
(4 credits, Autumn)
Considers the problems of defining music and of its ability to express and be ‘meaningful’. The main aim of the course is not to settle on the ‘right’ answers (they may not exist), but to help you think in logical and consistent ways about the principles by which you might begin to negotiate and evaluate the many present (and future) musics of the world.
MU52028A
Studio Composition
(4 credits, Spring)
Prerequisite: competence in composition using music technology.
Following Studio Techniques (MU52024A), this course explores the experimental creative possibilities of the studio. Historical and current directions in computer music and sonic art are considered, including acousmatic music, phonography, text-sound composition, algorithmic composition and plunderphonics,
with reference to aesthetic issues, historical and cultural contexts and most importantly compositional
techniques. You are introduced to non-real time software for analysing and transforming sound, including Audio Sculpt, Sound Hack and Metasynth. You are encouraged to develop your understanding and technical skills in the production of one substantial composition and a reflective commentary about one pivotal work by an established composer/sound artist.
Studio Composition
(4 credits, Spring)
Prerequisite: competence in composition using music technology.
Following Studio Techniques (MU52024A), this course explores the experimental creative possibilities of the studio. Historical and current directions in computer music and sonic art are considered, including acousmatic music, phonography, text-sound composition, algorithmic composition and plunderphonics,
with reference to aesthetic issues, historical and cultural contexts and most importantly compositional
techniques. You are introduced to non-real time software for analysing and transforming sound, including Audio Sculpt, Sound Hack and Metasynth. You are encouraged to develop your understanding and technical skills in the production of one substantial composition and a reflective commentary about one pivotal work by an established composer/sound artist.
MU52031A
History of Performance
(4 credits, Spring)
This course encourages you to examine changing performance contexts for Western music since the Middle Ages. This is undertaken in two ways: through the interpretation of historical documents and artefacts (including musical sources, treatises and instrument) and via the analysis of recordings. Some consideration will be given to the ‘period-instrument’ movement and to the broader issues that this has raised concerning the role of the performer. Although the course does not require you to perform, you are encouraged to bring your own practical experience to bear on their study.
History of Performance
(4 credits, Spring)
This course encourages you to examine changing performance contexts for Western music since the Middle Ages. This is undertaken in two ways: through the interpretation of historical documents and artefacts (including musical sources, treatises and instrument) and via the analysis of recordings. Some consideration will be given to the ‘period-instrument’ movement and to the broader issues that this has raised concerning the role of the performer. Although the course does not require you to perform, you are encouraged to bring your own practical experience to bear on their study.
MU52032A
Classical Performance
(4 credits, Autumn; 4 credits, Spring; 10 credits, Full year;)
Prerequisite: instrumental or vocal skills in classical performance.
Builds on the musical performance skills acquired at Year 1 level, and develops not only practical performance skills but also critical listening skills and interpersonal skills. Individual tuition is provided by expert visiting staff. You will give several unassessed performances as part of Tutor-led performance seminars, as well as assessed mid-term and end-of-year recitals. You will also work with a composer during the second term on a new work for your instrument or voice, the premiere of which will also form part of your assessment.
Classical Performance
(4 credits, Autumn; 4 credits, Spring; 10 credits, Full year;)
Prerequisite: instrumental or vocal skills in classical performance.
Builds on the musical performance skills acquired at Year 1 level, and develops not only practical performance skills but also critical listening skills and interpersonal skills. Individual tuition is provided by expert visiting staff. You will give several unassessed performances as part of Tutor-led performance seminars, as well as assessed mid-term and end-of-year recitals. You will also work with a composer during the second term on a new work for your instrument or voice, the premiere of which will also form part of your assessment.
MU52034A
Romanticism and Musical Structures
(4 credits, Autumn)
This course takes a primarily analytical approach to music from Beethoven to Brahms. The major analytical techniques employed will be those developed by Schenker and Schoenberg, since these remain the most appropriate and penetrating tools for the analysis of harmony, tonality and thematic structure in this repertoire. You will produce analyses of a range of 19th-century works, demonstrating your insight into and understanding of the structures and meaning of these works.
Romanticism and Musical Structures
(4 credits, Autumn)
This course takes a primarily analytical approach to music from Beethoven to Brahms. The major analytical techniques employed will be those developed by Schenker and Schoenberg, since these remain the most appropriate and penetrating tools for the analysis of harmony, tonality and thematic structure in this repertoire. You will produce analyses of a range of 19th-century works, demonstrating your insight into and understanding of the structures and meaning of these works.
MU52036A
The Language of Jazz
(4 credits, Autumn)
This course provides an introduction to the harmonic and melodic vocabulary of jazz and commercial music. It studies: tonality, standard chord progressions, chord/scale relationships, modes, extended chords, dissonance and reharmonisation. You are also instructed in the conventions of jazz and popular music notation, including the presentation of lead sheets and full scores.
The Language of Jazz
(4 credits, Autumn)
This course provides an introduction to the harmonic and melodic vocabulary of jazz and commercial music. It studies: tonality, standard chord progressions, chord/scale relationships, modes, extended chords, dissonance and reharmonisation. You are also instructed in the conventions of jazz and popular music notation, including the presentation of lead sheets and full scores.
MU52037A
Music in Film
(4 credits, Autumn)
This course will introduce a number of perspectives on the use and function of music in (primarily) narrative film. This will include an overview of practices from the so-called 'silent era' through to contemporary mainstream Hollywood cinema, and to those in world cinemas; a discussion of technological developments and how this influenced film music practice; distinctions between the deployment of dramatic scoring and pre-existing musics/songs/recordings; the position of music in film's narrative apparatus; and the interaction between music and other elements of the 'soundtrack'. Key concepts and theorists in film music and film sound scholarship will be introduced, and the course will be supported by significant articles to supplement each lecture. Case studies will be drawn from a range of nominated films, taken from across the history of cinema.
Music in Film
(4 credits, Autumn)
This course will introduce a number of perspectives on the use and function of music in (primarily) narrative film. This will include an overview of practices from the so-called 'silent era' through to contemporary mainstream Hollywood cinema, and to those in world cinemas; a discussion of technological developments and how this influenced film music practice; distinctions between the deployment of dramatic scoring and pre-existing musics/songs/recordings; the position of music in film's narrative apparatus; and the interaction between music and other elements of the 'soundtrack'. Key concepts and theorists in film music and film sound scholarship will be introduced, and the course will be supported by significant articles to supplement each lecture. Case studies will be drawn from a range of nominated films, taken from across the history of cinema.
MU52039A
Classical Orchestration and Arrangement
(4 credits, Autumn)
Prerequisite: knowledge of music theory
This course aims to familiarise you with the principles of orchestration found in scores from the Classical period through to the turn of the 20th century. The course will discuss how instrumentation and techniques of orchestration developed over this time, and examine issues of transcription from piano music to orchestra. It also aims to provide a foundation of knowledge in orchestration technique that might later be applied in your own composition work. You will complete a portfolio of short preliminary exercises, alongside transcriptions for orchestral forces of a short piano piece.
Classical Orchestration and Arrangement
(4 credits, Autumn)
Prerequisite: knowledge of music theory
This course aims to familiarise you with the principles of orchestration found in scores from the Classical period through to the turn of the 20th century. The course will discuss how instrumentation and techniques of orchestration developed over this time, and examine issues of transcription from piano music to orchestra. It also aims to provide a foundation of knowledge in orchestration technique that might later be applied in your own composition work. You will complete a portfolio of short preliminary exercises, alongside transcriptions for orchestral forces of a short piano piece.
MU52040A
Arranging: Jazz and Commercial Music
(4 credits, Spring)
Prerequisite: competence in jazz harmony
This course introduces you to a range of techniques common in jazz and commercial music, and provides an opportunity to apply harmonic knowledge acquired in The Language of Jazz. You will gain an understanding of standard brass and reed instrumentations, conventional scoring and chord voicing techniques, and standard approaches to arrangement structure. You will be expected to complete some preliminary exercises before the completion of a fully scored arrangement for a medium to large ensemble.
Arranging: Jazz and Commercial Music
(4 credits, Spring)
Prerequisite: competence in jazz harmony
This course introduces you to a range of techniques common in jazz and commercial music, and provides an opportunity to apply harmonic knowledge acquired in The Language of Jazz. You will gain an understanding of standard brass and reed instrumentations, conventional scoring and chord voicing techniques, and standard approaches to arrangement structure. You will be expected to complete some preliminary exercises before the completion of a fully scored arrangement for a medium to large ensemble.
MU52041B
Performance: Ensemble
(4 credits, Autumn)
Prerequisite: performance proficiency in popular music (instrument or voice)
Guides you through a range of repertoire to develop enhanced stylistic awareness and both individual and group musicianship skills. By participating in a weekly ensemble class, you experience a variety of learning situations from full notation and lead sheets to working purely by ear or verbal instructions. In addition, you will be encouraged to evolve performance in the broadest sense, developing awareness of the effects of personal physicality, how to use the performance space, and other issues of presentation.
Performance: Ensemble
(4 credits, Autumn)
Prerequisite: performance proficiency in popular music (instrument or voice)
Guides you through a range of repertoire to develop enhanced stylistic awareness and both individual and group musicianship skills. By participating in a weekly ensemble class, you experience a variety of learning situations from full notation and lead sheets to working purely by ear or verbal instructions. In addition, you will be encouraged to evolve performance in the broadest sense, developing awareness of the effects of personal physicality, how to use the performance space, and other issues of presentation.
MU52043A
Songwriting
(4 credits, Spring)
Prerequisite: performing experience on keyboards or guitar.
This course explores many dimensions of songwriting, including standard (and non-standard) song conventions, lyric writing, strategies and sources for inspiration, sound and identity. The course explores differences in the work of composer-songwriters and singer-songwriters, together with related issues such as the influence of commerce, authorship, and interpretation. You have the opportunity to ‘show and tell’ drafts of songs in workshops, and to present your work live at the end of the course.
Songwriting
(4 credits, Spring)
Prerequisite: performing experience on keyboards or guitar.
This course explores many dimensions of songwriting, including standard (and non-standard) song conventions, lyric writing, strategies and sources for inspiration, sound and identity. The course explores differences in the work of composer-songwriters and singer-songwriters, together with related issues such as the influence of commerce, authorship, and interpretation. You have the opportunity to ‘show and tell’ drafts of songs in workshops, and to present your work live at the end of the course.
MU52046A
Music of Africa and Asia
(4 credits, Spring)
The course introduces the diverse musical traditions of Africa and Asia. It concentrates on traditional musical practices, although some attention is also given to newly created styles. Geographical areas covered include Southern Africa, West Africa, North Africa, Central Asia, South Asia, Southeast Asia (mainland and island), Oceania and East Asia. You are expected to become familiar with the sounds of the music of these areas, and to understand something of their underlying structural principles and the social and cultural contexts in which they are performed.
Music of Africa and Asia
(4 credits, Spring)
The course introduces the diverse musical traditions of Africa and Asia. It concentrates on traditional musical practices, although some attention is also given to newly created styles. Geographical areas covered include Southern Africa, West Africa, North Africa, Central Asia, South Asia, Southeast Asia (mainland and island), Oceania and East Asia. You are expected to become familiar with the sounds of the music of these areas, and to understand something of their underlying structural principles and the social and cultural contexts in which they are performed.
MU52047A
Music Computing 2
(4 credits, Autumn; 8 credits, Autumn and Spring; )
Introduces advanced concepts in music computing as applied to analytic study and creative practice. Methods, concepts and wider implications of music information retrieval and computer-based musicology are explored with reference to notated scores, MIDI data and audio. We also explore the application of artificial intelligence (AI) to music, improvised performance and live DSP. You develop your expertise in a music programming language, and learn how to interface audio systems with AI modules. A key concern is the interaction between users and performers and computer music systems in a real-life setting. You develop an understanding of practical and aesthetic issues in the production and presentation of such work.
Music Computing 2
(4 credits, Autumn; 8 credits, Autumn and Spring; )
Introduces advanced concepts in music computing as applied to analytic study and creative practice. Methods, concepts and wider implications of music information retrieval and computer-based musicology are explored with reference to notated scores, MIDI data and audio. We also explore the application of artificial intelligence (AI) to music, improvised performance and live DSP. You develop your expertise in a music programming language, and learn how to interface audio systems with AI modules. A key concern is the interaction between users and performers and computer music systems in a real-life setting. You develop an understanding of practical and aesthetic issues in the production and presentation of such work.
MU52029C
Media Composition
(4 credits, Spring)
Prerequisite: Competence in composition using music technology.
The course develops the awareness acquired in the course 'Music in Film' on music's function in relation to other media, through practical composition work. It will introduce a number of technical and creative approaches to the composition of music for media such as film, video, games, working with music technology software including Logic and Sibelius. This will include an overview of core concepts such as the role of synchronisation and illustration, awareness of genre, and how elements combine in multimedia forms, as well as of composition strategies in creating music for other media - for example, using thematic organisation, role models, orchestration/arrangement/production, and when working to tight instruction. Case studies will be drawn from a number of prescribed films and works. The course will be delivered through alternating lectures and group seminars/workshops, built around a set of practical exercises, from which a portfolio/showreel is to be prepared for final submission, accompanied by an explanatory and reflective essay.
Media Composition
(4 credits, Spring)
Prerequisite: Competence in composition using music technology.
The course develops the awareness acquired in the course 'Music in Film' on music's function in relation to other media, through practical composition work. It will introduce a number of technical and creative approaches to the composition of music for media such as film, video, games, working with music technology software including Logic and Sibelius. This will include an overview of core concepts such as the role of synchronisation and illustration, awareness of genre, and how elements combine in multimedia forms, as well as of composition strategies in creating music for other media - for example, using thematic organisation, role models, orchestration/arrangement/production, and when working to tight instruction. Case studies will be drawn from a number of prescribed films and works. The course will be delivered through alternating lectures and group seminars/workshops, built around a set of practical exercises, from which a portfolio/showreel is to be prepared for final submission, accompanied by an explanatory and reflective essay.
Year 2 - Department of Professional and Community Education courses
MU40009A
Performance Ensemble (Jazz and Pop) - Pop/Rock/Blues
(4 credits, Autumn)
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Performance Ensemble (Jazz and Pop) - Pop/Rock/Blues
(4 credits, Autumn)
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU40010A
Performance Ensemble (Jazz and Pop) - Latin Rhythm
(4 credits, Spring)
This is an ideal opportunity to perform a wide variety of rock and popular music with groups in mixed line-ups. The course covers the practical application of arranging, composing skills, rhythm section/horn section interaction, ensemble playing and improvisation. It is arranged in two 10-week terms covering two general styles and/or influences: popular/rock/blues and Latin rhythm.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Performance Ensemble (Jazz and Pop) - Latin Rhythm
(4 credits, Spring)
This is an ideal opportunity to perform a wide variety of rock and popular music with groups in mixed line-ups. The course covers the practical application of arranging, composing skills, rhythm section/horn section interaction, ensemble playing and improvisation. It is arranged in two 10-week terms covering two general styles and/or influences: popular/rock/blues and Latin rhythm.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU40012A
Musicianship for Jazz and Popular Music
(10 credits, Full year)
This course develops your musicianship skills and creative techniques. It aims to give you a thorough grounding in the broad range of skills required for work as a professional musician. The course includes repertoire, practical aural training, theory, tonal, popular and jazz harmony, rhythmic studies, score reading, dictation and transcription skills, keyboard skills, arranging, scoring and composing.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Musicianship for Jazz and Popular Music
(10 credits, Full year)
This course develops your musicianship skills and creative techniques. It aims to give you a thorough grounding in the broad range of skills required for work as a professional musician. The course includes repertoire, practical aural training, theory, tonal, popular and jazz harmony, rhythmic studies, score reading, dictation and transcription skills, keyboard skills, arranging, scoring and composing.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41014A
Musicianship for Classical Music
(10 credits, Full year)
This course covers the study of harmony, counterpoint and analytic technique. Aural training is an essential aspect of the course and this class aims to develop the recognition and dictation of rhythmic, melodic and harmonic musical events.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Musicianship for Classical Music
(10 credits, Full year)
This course covers the study of harmony, counterpoint and analytic technique. Aural training is an essential aspect of the course and this class aims to develop the recognition and dictation of rhythmic, melodic and harmonic musical events.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41022B
Composing and Arranging for Jazz and Contemporary Styles
(4 credits, Autumn; 4 credits, Spring; )
This course studies the theory behind jazz and popular music’s use of harmony: scales, extended chords, chord progressions and substitutions. It also covers aspects such as instrument ranges and transpositions, rhythm section notation and score layout. The course culminates with the completion of your own arranging project.
Composing and Arranging for Jazz and Contemporary Styles
(4 credits, Autumn; 4 credits, Spring; )
This course studies the theory behind jazz and popular music’s use of harmony: scales, extended chords, chord progressions and substitutions. It also covers aspects such as instrument ranges and transpositions, rhythm section notation and score layout. The course culminates with the completion of your own arranging project.
MU41023A/B/C
Performance Ensemble
(4 credits, Spring; 4 credits, Summer; )
An ideal opportunity for instrumentalists and singers to perform in a wide array of genres, from the Renaissance to the present day. We initially focus on achieving authentic, quality performances of the historic idioms (eg madrigals, sonatas, Concerti grossi, arias and recitatives, Lieder, wind and string quartets to octets) as employed by composers from Monteverdi to Schoenberg. You also participate in the performance of contemporary music, such as the experimentalism of John Cage, aleatorism of Lutosławski, minimalism of Steve Reich, American and European Jazz (from Swing to fusion) and popular music from around the world.
Performance Ensemble
(4 credits, Spring; 4 credits, Summer; )
An ideal opportunity for instrumentalists and singers to perform in a wide array of genres, from the Renaissance to the present day. We initially focus on achieving authentic, quality performances of the historic idioms (eg madrigals, sonatas, Concerti grossi, arias and recitatives, Lieder, wind and string quartets to octets) as employed by composers from Monteverdi to Schoenberg. You also participate in the performance of contemporary music, such as the experimentalism of John Cage, aleatorism of Lutosławski, minimalism of Steve Reich, American and European Jazz (from Swing to fusion) and popular music from around the world.
MU41024A
Analysis for Composition
(4 credits, Autumn; 4 credits, Spring; )
This course takes as its basis the study of short works from the 20th-century repertoire, and aims to relate technical and aesthetic matters arising from this to your own compositional development. Issues of line, counterpoint, harmony, rhythm, texture and form are explored from a number of stylistic viewpoints. Teaching is mainly by seminar, with regular workshops and the possibility of individual tutorials. At the end of the course, there is the opportunity to hear your work performed by professional musicians.
Analysis for Composition
(4 credits, Autumn; 4 credits, Spring; )
This course takes as its basis the study of short works from the 20th-century repertoire, and aims to relate technical and aesthetic matters arising from this to your own compositional development. Issues of line, counterpoint, harmony, rhythm, texture and form are explored from a number of stylistic viewpoints. Teaching is mainly by seminar, with regular workshops and the possibility of individual tutorials. At the end of the course, there is the opportunity to hear your work performed by professional musicians.
MU41027A
Piano Performance Workshop
(4 credits, Autumn; 6 credits, Summer; )
A piano course designed to enhance your performing skills, develop repertoire and increase your confidence as a player in an informal workshop situation. You are encouraged to explore repertoire in a wide range of styles in discussion with the tutor and according to your individual needs.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Piano Performance Workshop
(4 credits, Autumn; 6 credits, Summer; )
A piano course designed to enhance your performing skills, develop repertoire and increase your confidence as a player in an informal workshop situation. You are encouraged to explore repertoire in a wide range of styles in discussion with the tutor and according to your individual needs.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41046A
Contemporary Jazz Piano
(4 credits, Autumn; 4 credits, Spring; )
One of the longest running and most acclaimed jazz piano courses in London, this course covers the technical, historical and expressive basis of contemporary jazz piano over the past 60 years. The practical approach, using two pianos for duet as well as solo playing, will enable you to start or (if you already improvise) develop as a creative contemporary jazz pianist.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Contemporary Jazz Piano
(4 credits, Autumn; 4 credits, Spring; )
One of the longest running and most acclaimed jazz piano courses in London, this course covers the technical, historical and expressive basis of contemporary jazz piano over the past 60 years. The practical approach, using two pianos for duet as well as solo playing, will enable you to start or (if you already improvise) develop as a creative contemporary jazz pianist.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41052A
Unplugged – Songwriting Workshop
(4 credits, Autumn; 4 credits, Spring; )
A workshop for songwriters wanting to learn more about what makes a good song. and wanting to hone their skills and try out ideas. You will learn about hooks, bridges and middle 8s, the right mood, tone and structure and, most important of all, how to make your songs ring true. The workshop includes demo performances with expert guidance and constructive feedback.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Unplugged – Songwriting Workshop
(4 credits, Autumn; 4 credits, Spring; )
A workshop for songwriters wanting to learn more about what makes a good song. and wanting to hone their skills and try out ideas. You will learn about hooks, bridges and middle 8s, the right mood, tone and structure and, most important of all, how to make your songs ring true. The workshop includes demo performances with expert guidance and constructive feedback.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41071A
Latin Piano
(4 credits, Spring)
This course develops a practical, working knowledge of the main Latin styles as applied to the piano. Afro-Cuban and Afro-Brazilian styles are covered, including Salsa, Samba and Guajira as well as the Argentinian Tango. You do not need much knowledge of theory and harmony, as the course concentrates on rhythm, style and interpretation.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Latin Piano
(4 credits, Spring)
This course develops a practical, working knowledge of the main Latin styles as applied to the piano. Afro-Cuban and Afro-Brazilian styles are covered, including Salsa, Samba and Guajira as well as the Argentinian Tango. You do not need much knowledge of theory and harmony, as the course concentrates on rhythm, style and interpretation.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41076A
Plugged In (Jazz & Pop Performance Ensemble) Pop/Rock/Blues
(4 credits, Autumn)
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Plugged In (Jazz & Pop Performance Ensemble) Pop/Rock/Blues
(4 credits, Autumn)
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41076B
Plugged In (Jazz & Pop Performance Ensemble) Latin Rhythm
(4 credits, Spring)
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Plugged In (Jazz & Pop Performance Ensemble) Latin Rhythm
(4 credits, Spring)
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41076C
Plugged In (Jazz & Pop Performance Ensemble) Jazz
(2 credits, Summer)
Open to both instrumentalists (any instruments) and singers, this is an ideal opportunity to perform a wide variety of jazz and popular music with groups in mixed line-ups. You should be competent on your instrument and/or voice and have reasonable fluency in reading melody and bass lines and chord charts. The course covers the practical application of arranging, composing skills, rhythm section/horn section interaction, ensemble playing and improvisation. It is arranged in three 10-week terms covering three general styles and/or influences: popular/rock/blues, Latin rhythm, and jazz. You can enroll for all three terms or each term individually.[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Plugged In (Jazz & Pop Performance Ensemble) Jazz
(2 credits, Summer)
Open to both instrumentalists (any instruments) and singers, this is an ideal opportunity to perform a wide variety of jazz and popular music with groups in mixed line-ups. You should be competent on your instrument and/or voice and have reasonable fluency in reading melody and bass lines and chord charts. The course covers the practical application of arranging, composing skills, rhythm section/horn section interaction, ensemble playing and improvisation. It is arranged in three 10-week terms covering three general styles and/or influences: popular/rock/blues, Latin rhythm, and jazz. You can enroll for all three terms or each term individually.[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU41135A
Compose and Perform 2
(4 credits, Autumn; 4 credits, Spring; )
The course explores a variety of musical techniques and concepts, with the emphasis on their practical application through exercises and more extended compositions. Regular workshops give you the opportunity to hear your work and gain experience in part-preparation, direction, and so on. The course also aims to develop aesthetic and critical awareness, and you will be invited to respond to a wide range of music, as well as bringing your own music for discussion. The course is also open to non-performers.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Compose and Perform 2
(4 credits, Autumn; 4 credits, Spring; )
The course explores a variety of musical techniques and concepts, with the emphasis on their practical application through exercises and more extended compositions. Regular workshops give you the opportunity to hear your work and gain experience in part-preparation, direction, and so on. The course also aims to develop aesthetic and critical awareness, and you will be invited to respond to a wide range of music, as well as bringing your own music for discussion. The course is also open to non-performers.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
MU42005A
Music History and Analysis
(4 credits, Autumn; 4 credits, Spring; 2 credits, Summer; )
This course develops your skills in aural and visual recognition, and in analysis of the styles, structures and compositional techniques of music from the western classical tradition. Techniques such as fugue and structures such as sonata form will be examined from works including Corelli trio sonatas and Haydn’s string quartets.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Music History and Analysis
(4 credits, Autumn; 4 credits, Spring; 2 credits, Summer; )
This course develops your skills in aural and visual recognition, and in analysis of the styles, structures and compositional techniques of music from the western classical tradition. Techniques such as fugue and structures such as sonata form will be examined from works including Corelli trio sonatas and Haydn’s string quartets.
[Department of Professional and Community Education (PACE) courses taught in the evening between 6pm and 9pm]
Year 3 - Department of Music courses
MU53009A
Minimalism and Postminimalism
(4 credits, Autumn)
Assesses the history, techniques and aesthetics of musical minimalism in the context of contemporary cultural practice. The period covered ranges from its prehistory in the output of composers such as Satie, through its early maturity in the work of Young, Riley, Reich and Glass, to some of the manifestations of their heritage in the music of younger composers such as Pärt, Branca and Skempton.
Minimalism and Postminimalism
(4 credits, Autumn)
Assesses the history, techniques and aesthetics of musical minimalism in the context of contemporary cultural practice. The period covered ranges from its prehistory in the output of composers such as Satie, through its early maturity in the work of Young, Riley, Reich and Glass, to some of the manifestations of their heritage in the music of younger composers such as Pärt, Branca and Skempton.
MU53012A
Soviet Music and Beyond
(4 credits, Autumn)
This course offers lectures on Soviet and post-Soviet developments in Russian music, and on current issues in Russian culture and history. The main areas discussed are the impact of State control on Soviet artistic output and life, and the developments after Stalin’s death in 1953. There is a focus on prominent composers such as Prokofiev, Shostakovich, Schnittke and Gubaidulina.
Soviet Music and Beyond
(4 credits, Autumn)
This course offers lectures on Soviet and post-Soviet developments in Russian music, and on current issues in Russian culture and history. The main areas discussed are the impact of State control on Soviet artistic output and life, and the developments after Stalin’s death in 1953. There is a focus on prominent composers such as Prokofiev, Shostakovich, Schnittke and Gubaidulina.
MU53017B
Composition for Visiting Ensemble
(4 credits, Spring)
Prerequisite: competence in composition.
This course offers you the opportunity to compose a work for the Department’s Visiting Ensemble. The course structure consists of one lecture and two seminars in which you study recent relevant repertoire, alongside appropriate technical compositional strategies. These sessions are followed up with individual tutorials to discuss the development of your composition. A workshop is organised during the course for you to meet the ensemble and hear your work-in-progress. There is a further workshop in the following term, once your composition is complete, in which your piece is rehearsed, recorded and discussed. Please note: these workshops will take place outside of the timetabled slot for this course.
Composition for Visiting Ensemble
(4 credits, Spring)
Prerequisite: competence in composition.
This course offers you the opportunity to compose a work for the Department’s Visiting Ensemble. The course structure consists of one lecture and two seminars in which you study recent relevant repertoire, alongside appropriate technical compositional strategies. These sessions are followed up with individual tutorials to discuss the development of your composition. A workshop is organised during the course for you to meet the ensemble and hear your work-in-progress. There is a further workshop in the following term, once your composition is complete, in which your piece is rehearsed, recorded and discussed. Please note: these workshops will take place outside of the timetabled slot for this course.
MU53018A
Phonography
(4 credits, Autumn)
Prerequisite: experinece using music technology.
The art of phonography is regarded by some as a recent phenomenon. However, the recording, editing and juxtaposing of ‘real world’ sounds within an artistic context can be claimed to be as old as the technology it utilises. There are as many aesthetic approaches to working with such materials as there are composers working within this genre. This compositional course creatively explores the domain of The art of phonography is regarded by some as a recent phenomenon. However, the recording, editing and juxtaposing of ‘real world’ sounds within an artistic context can be claimed to be as old as the technology it utilises. There are as many aesthetic approaches to working with such materials as there are composers working within this genre. This compositional course creatively explores the domain of field recording, including the use of recorded sounds in documentary, acoustic ecology and sound art. It theoretically and practically tackles the salient issues and simultaneously builds up the technical skills required in the practice of phonography.
Phonography
(4 credits, Autumn)
Prerequisite: experinece using music technology.
The art of phonography is regarded by some as a recent phenomenon. However, the recording, editing and juxtaposing of ‘real world’ sounds within an artistic context can be claimed to be as old as the technology it utilises. There are as many aesthetic approaches to working with such materials as there are composers working within this genre. This compositional course creatively explores the domain of The art of phonography is regarded by some as a recent phenomenon. However, the recording, editing and juxtaposing of ‘real world’ sounds within an artistic context can be claimed to be as old as the technology it utilises. There are as many aesthetic approaches to working with such materials as there are composers working within this genre. This compositional course creatively explores the domain of field recording, including the use of recorded sounds in documentary, acoustic ecology and sound art. It theoretically and practically tackles the salient issues and simultaneously builds up the technical skills required in the practice of phonography.
MU53024A
Analysis and New Music
(4 credits, Spring)
This course explores music from c1970 to c2000, considering issues in structure and interpretation of a range of styles and composers, including Boulez, Stockhausen, Ferneyhough, minimalism, Andriessen, Cage, Birtwistle, Carter, and Rihm. Some popular music styles may also be studied. Because appropriate analytical techniques are elusive for much of this music, you are encouraged to develop and apply analytic approaches suitable to individual works, drawing on models presented to you in lectures.
Analysis and New Music
(4 credits, Spring)
This course explores music from c1970 to c2000, considering issues in structure and interpretation of a range of styles and composers, including Boulez, Stockhausen, Ferneyhough, minimalism, Andriessen, Cage, Birtwistle, Carter, and Rihm. Some popular music styles may also be studied. Because appropriate analytical techniques are elusive for much of this music, you are encouraged to develop and apply analytic approaches suitable to individual works, drawing on models presented to you in lectures.
MU53026A
Advanced Classical Performance
(4 credits, Autumn; 4 credits, Spring; 2 credits, Summer; )
Prerequisite: high-level skills in classical performance
This course seeks to further develop practical performance skills, critical listening skills and interpersonal skills. You are given the opportunity for several (unassessed) short solo performances in tutor-led seminars at various times throughout the course; you receive feedback both from the tutor and your peers on these performances. Each performer also presents a lunchtime or evening recital (unassessed) throughout the course. You will be paired with ‘an assistant’, or a ‘concert manager’ (a fellow student), who should also review your concert, and upload the review on learn.gold’s Concert Review webpage.
Advanced Classical Performance
(4 credits, Autumn; 4 credits, Spring; 2 credits, Summer; )
Prerequisite: high-level skills in classical performance
This course seeks to further develop practical performance skills, critical listening skills and interpersonal skills. You are given the opportunity for several (unassessed) short solo performances in tutor-led seminars at various times throughout the course; you receive feedback both from the tutor and your peers on these performances. Each performer also presents a lunchtime or evening recital (unassessed) throughout the course. You will be paired with ‘an assistant’, or a ‘concert manager’ (a fellow student), who should also review your concert, and upload the review on learn.gold’s Concert Review webpage.
MU53030A
Aesthetics of Performance
(4 credits, Spring)
This course engages with ideas and approaches established within music aesthetics and applies them to issues of musical performance. First it will examine the justification for having a separate category of so-called performing arts, and ask whether performances can be works of art. Second, it will look at the identity and status of ‘transient’ musics that appear to exist only in performance. Third, it will consider the complex relationship between musical texts and the strategies of the performer. Fourth, it will explore possible modes of performance and the notion that ‘performativity’ might be an end in itself. Finally, it will consider the evaluation of performances, and the ethical and artistic responsibilities of performers.
Aesthetics of Performance
(4 credits, Spring)
This course engages with ideas and approaches established within music aesthetics and applies them to issues of musical performance. First it will examine the justification for having a separate category of so-called performing arts, and ask whether performances can be works of art. Second, it will look at the identity and status of ‘transient’ musics that appear to exist only in performance. Third, it will consider the complex relationship between musical texts and the strategies of the performer. Fourth, it will explore possible modes of performance and the notion that ‘performativity’ might be an end in itself. Finally, it will consider the evaluation of performances, and the ethical and artistic responsibilities of performers.
MU53033A
Narrative, Representation and Popular Song
(4 credits, Autumn)
This course aims to engage with theories of representation and narrative in order to understand how the popular song uses words and music to convey information about, comment upon and tell stories about the world. It will be concerned with fiction as much as realism; social intervention as much as imaginative escapism. The course combines theoretical reflection with detailed case studies. The main focus is on songs composed over the past seventy years, but it will also consider various historical legacies. The course is concerned with analysing how lyrics and music work together, and you will be expected to draw from theoretical perspectives including discourse theory, music semiotics, musicology, literary theory and theories of realism.
Narrative, Representation and Popular Song
(4 credits, Autumn)
This course aims to engage with theories of representation and narrative in order to understand how the popular song uses words and music to convey information about, comment upon and tell stories about the world. It will be concerned with fiction as much as realism; social intervention as much as imaginative escapism. The course combines theoretical reflection with detailed case studies. The main focus is on songs composed over the past seventy years, but it will also consider various historical legacies. The course is concerned with analysing how lyrics and music work together, and you will be expected to draw from theoretical perspectives including discourse theory, music semiotics, musicology, literary theory and theories of realism.
MU53034A
Mozart’s Operas: Advanced Music History Sources/Documents
(4 credits, Spring)
Provides an opportunity for you to develop musicological skills by exploring an aspect of music history not only through secondary sources – such as modern textbooks and printed scores – but also by reviewing the primary historical sources and documents on which modern accounts and editions are based. The course demonstrates how documents from the past might be used to write narrative and explanatory types of history, and the kinds of decisions and assumptions that make such processes possible.
Mozart’s Operas: Advanced Music History Sources/Documents
(4 credits, Spring)
Provides an opportunity for you to develop musicological skills by exploring an aspect of music history not only through secondary sources – such as modern textbooks and printed scores – but also by reviewing the primary historical sources and documents on which modern accounts and editions are based. The course demonstrates how documents from the past might be used to write narrative and explanatory types of history, and the kinds of decisions and assumptions that make such processes possible.
MU53037A
Applied Composition and Songwriting
(4 credits, Autumn)
Prerequisite: previous experience of composition or songwriting courses.
The course allows you to produce a portfolio of work in either mixed-media composition or songwriting, providing an opportunity to apply and extend techniques and understanding acquired in Level II courses in Songwriting and Film Music. The course is taught through lectures/seminars on techniques and approaches arising out of case study examples, and there are creative assignments from which you construct a short portfolio of songs or pieces, submitted in recorded form.
Applied Composition and Songwriting
(4 credits, Autumn)
Prerequisite: previous experience of composition or songwriting courses.
The course allows you to produce a portfolio of work in either mixed-media composition or songwriting, providing an opportunity to apply and extend techniques and understanding acquired in Level II courses in Songwriting and Film Music. The course is taught through lectures/seminars on techniques and approaches arising out of case study examples, and there are creative assignments from which you construct a short portfolio of songs or pieces, submitted in recorded form.
MU53040A
Improvisation
(4 credits, Spring)
Prerequisite: Previous experience of music improvisation.
By engaging with some of the key ideas on improvisation, which range from the highly technical to the purely spiritual, you are introduced to the concepts of spontaneous creativity. Lectures and workshops present improvisation in many forms from completely free improvisation to creativity housed within more restricted musical parameters. You can choose to focus on one style of improvisation on which to be assessed.
Improvisation
(4 credits, Spring)
Prerequisite: Previous experience of music improvisation.
By engaging with some of the key ideas on improvisation, which range from the highly technical to the purely spiritual, you are introduced to the concepts of spontaneous creativity. Lectures and workshops present improvisation in many forms from completely free improvisation to creativity housed within more restricted musical parameters. You can choose to focus on one style of improvisation on which to be assessed.
PS53036A
Psychological Approaches to Music
(4 credits, Autumn)
This is an introduction to the study of music psychology. Lectures focus on the perception, cognition and neural basis of musical understanding, the perception of musical structure, and emotions and theories about music’s evolutionary roots. The scientific methods used in research are explored in a lab-based class. Student evaluation is done on the basis of a written assignment selected from a pool of questions. This course is offered in collaboration with the Department of Psychology.
Psychological Approaches to Music
(4 credits, Autumn)
This is an introduction to the study of music psychology. Lectures focus on the perception, cognition and neural basis of musical understanding, the perception of musical structure, and emotions and theories about music’s evolutionary roots. The scientific methods used in research are explored in a lab-based class. Student evaluation is done on the basis of a written assignment selected from a pool of questions. This course is offered in collaboration with the Department of Psychology.
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