Core Modules

Term 1

• Global perspectives and academic practice 1

  Global Perspectives and Academic Practice provides a survey of world history that identifies key events and ideas from the Enlightenment to the present day through an examination of a range of issues related to the broad theme of globalisation. The unit takes a broadly chronological approach to the core issues but considers the overarching theme of globalisation from innovative and interesting angles such as the experience and participation of women, the significance of black, ethnic minority or third world perspectives, contributions and experiences, and the role of science as a driver of global interdependence.

  The seminars and workshops take the core academic themes covered in the lectures as their starting point but centre around the development of academic skills that will enable transition, ‘upskilling’, confidence building and effective participation in the academic practices associated with humanities disciplines. This is complimented by weekly tutorials provided by your dedicated CeDAS personal tutor, a suite of skills workshops delivered by the Library, and fortnightly personal tutorials within your chosen academic department.

• Cultures of reading

  ‘Cultures of Reading’ is an exciting re-evaluation of what it means to read critically, and for the purposes of academic study. From Homer to Audre Lorde, William Shakespeare to Maya Angelou, this course explores a diverse selection of source materials from various historical periods in order to challenge our perception of how we read, why we read, and what we read. Can you ‘read’ a body? How should we read history? How is meaning generated? The course will pay attention to historical and political contexts, introduce philosophical concepts, and explore how meaning changes when texts are employed and re-employed in differing forms and genres.

• Cultures of looking

  This course will explore critical approaches to and analysis of a wide range of visual media, including (but not limited to) paintings, films and photography. It will highlight and hinge on relevant historical contexts, such as the evolution of the printed press (c19th) and digital media (late c20th) as well as the impact of social/economic history on the consumption and production of visual arts more broadly from the mid c18th – the present day. After focussing upon key genres, comparative readings and analyses form a key part of the course, you will be introduced to comparative considerations of topics such as the landscape and environment through to portraiture from Classical times to the age of Instagram.

Term 2

• Global perspectives and academic practice 2

  Global Perspectives and Academic Practice provides a survey of world history that identifies key events and ideas from the Enlightenment to the present day through an examination of a range of issues related to the broad theme of globalisation. The unit takes a broadly chronological approach to the core issues but considers the overarching theme of globalisation from innovative and interesting angles such as the experience and participation of women, the significance of black, ethnic minority or third world perspectives, contributions and experiences, and the role of science as a driver of global interdependence.

  The seminars and workshops take the core academic themes covered in the lectures as their starting point but centre around the development of academic skills that will enable transition, ‘upskilling’, confidence building and effective participation in the academic practices associated with humanities disciplines. This is complimented by weekly tutorials provided by your dedicated CeDAS personal tutor, a suite of skills workshops delivered by the Library, and fortnightly personal tutorials within your chosen academic department.

• Objects and rituals

  How do we shape our understanding of the world around us through our interaction with material objects? How do we give greater meaning to our lives through performing and repeating particular social practices? This unit takes a close look at these two questions, inviting you to challenge your assumptions about the ordinary. No matter the degree you are going on to study, our deep dive into ideas surrounding material culture and social practices will enhance your capacity to think critically about the world around you. The course will explore the critical uses of ‘material culture’ and ‘ritual’ as terms and tools of analysis; examine objects and rituals from different periods, and also how the body, the built environment, and spatial aesthetics, all exemplify social practices. We'll encounter coffee cups, Cuban dancing, and carnival - among other topics - not to mention a few ghosts that haunt the buildings of Royal Holloway itself. Along the way you will develop critical and creative skills that will allow you to deliver effective poster presentations (an increasingly popular form of assessment in many Humanities degree pathways).

• Digital Cultures

  ‘Digital Cultures’ explores the intersection between the digital revolution of the past fifty years and the study of humanities in Higher Education, in order to consider the implications of this ‘encounter’ of the digital with the humanities. With the decline in public and private support for the humanities in full swing, this module questions whether the digital is a necessary ally to ensure that the humanities are continuing to communicate with, and adapt to, the needs of our contemporary, digitalised society. It will frame this ‘encounter’ by turning to moments in history where similar scientific advancements have reshaped the humanities.

Term 3

• Department based project

You will choose one of the following modules. If you have less than Grade 5-level ABRSM theory, you will need to take the Music Theory from Scratch module.

• Music Theory from Scratch
• Sources and Methods for Studying Music

Year 1

Please note: MU1111: Fundamentals of Music Theory will only be a core module in your first year if you join the course via Intensive Theory entry.

• Theory and Analysis

  This course aims: 1. to develop basic music-analytical literacy, 2. to introduce basic concepts concerning counterpoint, harmony, melody and form that underpin the analysis of music, 3. to put these concepts into practice in the analysis of pieces from a variety of repertories. The course addresses the contrapuntal, melodic, harmonic and formal elements of tonal music. Weekly lectures, in which students are introduced to analytical concepts and then practise deploying them, through listening, score study and the completion of practical exercises, are supplemented by private study based on Moodle and recommended readings, to consolidate concepts learnt in the lectures and provide further opportunities to practise new skills.

• Fundamentals of Music Theory

  The aim of this course is to develop students' awareness of music theory through practical exercises and musical analysis. Through practical exercises that focus on musical literacy as well as aural awareness, students develop the ability to identify and analyse the musical parameters of metre, rhythm, pitch, harmony, counterpoint and form. In-class exercises may focus on listening, whereas exercises for self-study or small-group work may include written exercises. Tasks set for private study between classes provide a basis for students to continue their own practical training throughout their musical careers.

• Introduction to Composing with Music Technology

  This module will provide the opportunity to develop skills in working with music technology, write music to a brief and develop skills in. independent creative work. The topics taught will include a selection from: introduction to media, film and game music composition; introduction to non-linear compositional techniques; the basics of digital audio; composing to a brief; interpreting images; and audio engines for games.

Year 2

• Studies in Composition

  This module will: develop your knowledge of a range of fundamental techniques of musical composition with particular focus on structure, harmonic control and the manipulation of rhythmic and melodic material provide an opportunity to practise the art of musical composition and to develop skills in creative work. Developing on areas covered in first-year Composition modules, this module will provide a framework in which you will be introduced to a number of techniques from diverse schools of composition in order to encourage you to explore and develop your own creativity. Key works from the past few decades will be studied and used as models or springboards for your own musical invention. You will create a portfolio of technical exercises and a short composition written in response to a given brief.

• Studies in Music, Media and Technology

  This module explores ways that electronic media and technology have brought about change in and opened up new possibilities for musical production, consumption, sounds, practices, experience, contexts and meanings. It considers the role of electronic media and technology in preserving and documenting musical culture as well as in changing it, and it examines how developments in electronic media and technology have affected and continue to affect dynamics of power in musical production and consumption across the world. The module explores the effects of electronic media and technology on popular, traditional and classical musics and introduces concepts and techniques for the study of the interaction of music, media and technology. It also encourages a deeper and more critical understanding of music, music making and musical culture through study in both familiar and unfamiliar cultures and contexts. The module will introduce students to a range of ways in which electronic media and technology have affected and transformed musical cultures across the world through their fundamental ability to: record and store musical sound; create new sounds, new ways of combining sounds and new ways of synching sound with other media; turn musical sound into a commodity; separate musical sound from live performance context; amplify music; mass produce music; mass disseminate music; and greatly alter dynamics of power in the production and consumption of music. The module will cover a range of key phenomena and issues in contemporary musical culture that are inextricably linked to electronic media and technology. Exact topics will vary, but may include: popular and mass-mediated music; recorded music; electronic music; the impact of technology on compositional practices; music industries; piracy; film music, video and multimedia; music and the Internet; globalisation; debates on the value of mass mediated music; and questions of power and representation.

• Sound Art and Design

  This module will explore the practices of the 20th Century Modernist Avant Garde within a digital environment. Whilst there may be some pre-digital analogue elements delivered within the module, the curriculum will focus predominantly on the digital creative outcomes produced whilst working within Logic Pro X. The module will examine the role of sound within abstract film, radio broadcast and gallery installation. Having completed this part of the module, you will have gained both a practical and an entry level theoretical understanding of the creative use of sound within predominantly non-visual media. The module will also practically explore the use of designed sound within an industry focussed, post-production context, including the relationship between the picture editor and the sound designer. The module will examine the technical demands of the bespoke DAW (Digital Audio Workstation) in recording, track laying and mixing in stereo and binaural stereo.

   

• Composing with Technology 1

Year 3

• Composing with Technology 2
• Creative Sound Design

  This module will examine, through the employment of practical methodologies, the work of significant avant-garde sound/noise practitioners throughout the 20th century analogue and digital eras. It will examine the relationship between significant artworks and the technology of the era. For example, in the acoustic era of music capture, before the electrification of the signal in 1925 that allowed electro-magnetic microphones and soundboard input mixing, the capture of sound was facilitated through a static condensing horn. In order to create a mix balance, the musicians would physically move closer or further away from the horn. We call this kinetic mixing. One of the first exercises will be to recreate this process and then develop the concept digitally, within an installation paradigm, employing a multichannel sound source and a range of Bluetooth speakers, allowing the different sounds to be physically moved within a defined space – 21st Century kinetic mixing.

   

• Special Study Composing with Music Technology

Optional Modules

There are a number of optional course modules available during your degree studies. The following is a selection of optional course modules that are likely to be available. Please note that although the College will keep changes to a minimum, new modules may be offered or existing modules may be withdrawn, for example, in response to a change in staff. Applicants will be informed if any significant changes need to be made.

Foundation Year

Year 1

You must choose 90 credits, including up to 30 credits from Media Arts. Modules offered typically include:

Music

• Fundamentals of Music Theory

  The aim of this course is to develop students' awareness of music theory through practical exercises and musical analysis. Through practical exercises that focus on musical literacy as well as aural awareness, students develop the ability to identify and analyse the musical parameters of metre, rhythm, pitch, harmony, counterpoint and form. In-class exercises may focus on listening, whereas exercises for self-study or small-group work may include written exercises. Tasks set for private study between classes provide a basis for students to continue their own practical training throughout their musical careers.

• Creative Composition Techniques

  This course introduces students to some fundamental techniques of music composition. The precise topics taught may change depending on the research interests of the staff responsible for teaching the course, but typically include:

  • Soundworlds and scale formations

  • The vertical dimension: chords and simultaneities

  • The horizontal dimension: melody and voice leading

  • Developments in rhythm

  • Developments in harmonic vocabulary and tonalities

  • Form in contemporary composition

  • Acoustic timbre and texture

• A Very Short History of Music

  This course introduces a wide range of repertories within the history of music. It stimulates students to relate features of musical compositions and performances to their wider historical contexts and gives students a fundamental knowledge of specific musical cultures. It provides students with opportunities to develop skills in research and information retrieval and in critical reading of primary and secondary literature, to receive formative feedback on those skills, and to build a foundation for higher-level study. The course will offer students a conceptual map of musical styles, composers and practices by introducing them to a wide chronological range of repertories, from early music to music of the twentieth century. It will emphasise questions of change, interaction and transmission through the study of specific forms and repertories in their historical context. Lectures will be designed around major repertorial moments (e.g. Stravinsky in 1910) or problems (e.g. the post-Beethovenian symphony), to bring together questions of form, style, performing practice and historical context.

• Introduction to Historical Musicology

  This course introduces concepts underlying the historical and critical study of music. It enables students to begin thinking critically about the priorities that underlie historical texts from different intellectual traditions and stimulates them to relate features of musical compositions and performances to wider historical contexts. It provides students with opportunities to develop skills in research and information retrieval and in critical reading of primary and secondary literature, to receive formative feedback on those skills, and to build a foundation for higher-level study. This course introduces students to the different kinds of historical question that we can ask about music, and interrogates some of the terminology and categories frequently used in the secondary literature (e.g. canonisation, reception, tradition, nationalism, exoticism, the work concept). Case-studies are used to illuminate specific topics and problems in the historiography of a wide variety of musics.

• Introduction to World Music

  This course introduces students to the socio-cultural contexts, functions, philosophies, techniques, and organising principles of a variety of musics of the world; musics from at least three continents will be studied. These musical traditions will be approached from both theoretical and practical perspectives, also giving a variety of opportunities for hands-on experience. Course content will vary from year to year according to staff interests, availability of musicians to provide workshops, and to ensure freshness of approach. A typical curriculum might cover the following regions and theoretical themes:

  • World Music - Introduction (culture, contact & concepts)
  • South America: Andes to Amazon (exchange)
  • Africa: Jaliya and Mbira (the musician)
  • Indonesia: Sundanese Gamelan (temporal organisation)
  • North India: The Classical Tradition (improvisation)
  • Papua New Guinea: The Kaluli (music and ecology)
  • Iran: The Persian Classical Tradition (music & religion).
• Contemporary Debates in Music

  This course introduces students to a range of key debates and issues in contemporary musicology and to a range of key issues concerning music in the contemporary world. It encourages students to think about music’s relation to social and cultural contexts and introduces them to unfamiliar musical styles and repertoires as well as broaden understanding of those closer to home. It hones students’ skills in reading a wide variety of critical and theoretical writing about music. This course will survey some of the key contemporary issues in music that have arisen from the changes of the modern world, as well as contemporary debates in musicology. The twentieth century in particular has seen a transformation of musical cultures across the world, and this course looks at a range of the issues and controversies that have emerged as a result. The study of music has broadened to include many more social, cultural and political. This course will introduce students to truly contemporary ways of studying music, combining approaches and issues traditionally associated with musicology, ethnomusicology and popular music studies, divisions which are becoming increasingly blurred. Lecture topics may include:

  • Ideas of ‘authenticity’ in music

  • Value judgements about music

  • Protection and preservation of music

  • Heritage and revivals

  • Music and tourism

  • New forms of fusion and hybridity

  • The idea of ‘world music’.

  • Music and identity

  • Music and gender

  • Music and race

  • Music and nationalism

Media Arts

• Film and Television History 1

  In this module you will develop an understanding of film, television and digital media history. You will look at how and where digital media intersect and converge with these moving image forms, examining media from the late 19th century through to the present. You will consider how even 'old' technologies were 'new' at some point, and analyse the relationship between technological, social and aesthetic developments in new media forms.

• Critical Theory and Textual Analysis

  In this module you will develop an understanding of the key debates in critical theory. You will look at a range of different methods in studying film, television and digital media, including artistic achievement and critical interpretation, close textual analysis, ideological analysis, national cinema, and psychoanalysis. You will examine the relationship between the intentions of individual film and programme-makers and wider processes. You will consider films and television programmes in close detail, analysing the relationship between how something is achieved and what it means.

• Digital Storytelling

  This module provides a history of the innovations in digital storytelling that have developed over the last several decades, and teaches you the technical skills to produce your own innovative digital stories. From hypertext novels to contemporary video games, we look at how storytelling has changed since the invention of the internet. Then, we learn the skills needed to produce several forms of digital narratives including text-based games, interactive video, location-based experiences and social media storytelling. Students develop a portfolio of both creative and written work.

• Screen Narrative: Theory and Practical

  In this module you will develop an understanding of a variety of narrative strategies and structures in audio-visual media, in particular, film and television. You will look at narrative form, structure and cultural context, and examine the principles of narrative screenwriting. You will analyse a range of primary and secondary audio-visual and written sources, and create your own short original screenplay, applying relevant formal and presentation conventions.

Year 2

You can choose 45 credits worth of Music optional modules, typically including:

• Issues in Sound, Music and the Moving Image
• Music and Video Games
• Silent Film Performance
• The ‘Classical’ Canon and ‘Popular' Culture since 1945
• Popular Music and Musicians in Post-War Britain and North America
• Creative Project in Composition, Performance and Technology
• Telling Stories with Music (Collaborative Module)
• Studying Music with Digital Tools

As part of your 45 optional module credits, you can include up to 30 credits of suitable ‘open’ modules offered to students from other departments.

Year 3

You can choose 45 credits worth of Music optional modules, typically including:

• Practical and Creative Orchestration
• The Music Film
• Issues in Sound, Music and the Moving Image
• Music and Video Games
• Silent Film Performance
• The ‘Classical’ Canon and ‘Popular' Culture since 1945
• Popular Music and Musicians in Post-War Britain and North America
• Special Study: Dissertation

  In this module you will carry out independent research providing specialist insights into a topic of your choice from the field of ethnomusicology, film studies, historical musicology, performance studies, or theory and analysis. You will look at digital sources, secondary literature, and archive material on your chosen theme, and critically engage with new thinking in musicology. You will be guided by a supervisor who will advise on the planning, organisation, development and presentation of your dissertation, which will be between 13,000 and 15,000 words in length.

• Special Study: Composition

  This module develops students' knowledge of advanced compositional techniques with particular focus on structure, harmonic control and the manipulation of rhythmic and melodic material. It provides opportunities to practise the art of musical composition and to develop skills in independent creative work and increases students' awareness, knowledge and understanding of issues related to contemporary composition practice in a variety of contexts. Developing on areas covered in MU2213 Composition Portfolio, the module will provide a framework for you to further explore the possibilities in your own compositional method. You will complete a structured portfolio that will properly demonstrate your increased awareness, knowledge and understanding of contemporary art music and related compositional issues. You will be assisted in acquiring a deeper confidence in experimenting with a range of compositional methods and techniques whilst being encouraged to explore the possibilities of your own compositional voice in the hope that this trend will continue into your professional life. During workshops you will be given the opportunity to have your work rehearsed and recorded by professional musicians. It is hoped that through these workshops you will discover more about the possibilities of instrumentation and the many practical compositional issues facing composers today. You should also seek to develop your own opportunities for the performance of your music in order to develop your confidence and professional activity.

• Creative Project in Composition, Performance and Technology
• Digital Tools for Music

As part of your 45 optional module credits you can include up to 30 credits of suitable ‘open’ modules offered to students from other departments.