MusM Music (Musicology)

In this course unit students prepare a programme for live performance in January (25-30 mins), designed to explore a particular aspect of their chosen repertoire. The performance will be given in their chosen main or joint study instrument/voice, and in any genre, according to relevant experience and subject to approval by the course unit director.  

The performance is complemented by a written essay with reflective commentary. Students identify specific challenges or a thematic focus and formulate a contextualised approach, through practical strategies, embodied technique, interpretative approaches, and theoretical perspectives which focus on areas of  context.

Examples could include specific interpretative challenges posed by one or more of the chosen songs/pieces, historical approaches to interpretation or stylistic features, techniques, or any other related topic as agreed with their supervisor.  

• To enable students to experience preparing, rehearsing, and performing works related to their main study, in a historically and/or professionally informed way
• To provide students with the opportunity to investigate a specific aspect of historical or contemporary performance through a combination of practical and intellectual engagement with their chosen material
• To assess the relationships between practice and theory of performance
• To introduce students to research techniques that can be applied when writing about a defined aspect of historical or contemporary performance  

The student's coursework project is developed in individual tutorials arranged via the course-unit director (maximum 6 x 30-minute sessions).

For the practical element of the course-unit students receive individual tuition on their instrument/voice in order to prepare for their performance (maximum 11 x 1-hour classes).

Course documentation, bibliographies and practical guides are provided on Canvas.  

• Demonstrate advanced understanding of the intellectual contexts in which music is performed, concentrating on a specific aspect of either historical or contemporary repertory
• Show a well-developed ability to assess and discuss the relationships between practice and theory of performance 

• Demonstrate the ability to apply research techniques that enable them to investigate a clearly defined aspect of their performance
• Show skills in applying theoretical understanding of issues in musical performance to practical interpretation in performance 

• Demonstrate advanced technical skills on one instrument or voice
• Show sensitive and historically appropriate artistry and musicianship in performance
• Demonstrate the ability to communicate with the audience with strong projection and expression appropriate to the chosen repertory 

• Produce high-quality performances with a disciplined approach to time management, self-motivation and critical self-awareness
• Show the ability to work under self-direction on a research project of their choice 

A recital or a lecture-recital on the students’ chosen instrument/voice, presenting a programme designed to explore a specific aspect of either historical performance or contemporary performance;  

An essay discussing a challenge or problem specific to the recital programme;

Recital (summative) - 70%

Essay (summative)  - 30%

Re- sit assessment - as above.

Feedback method  / Formative or Summative

Verbal feedback will be provided throughout the semester by vocal/instrumental/conducting tutors - Formative

Written feedback for the end-of-year recital will be provided at the end of Semester 2- Summative

Verbal feedback is provided by the supervisor on the coursework topic proposal - Formative

One-to-one verbal feedback is provided by the supervisor on work in progress on the coursework project - Formative

Additional one-to-one feedback may be provided during the consultation hour or by making an appointment - Formative

Written feedback is provided on the completed coursework project - Summative 

Since the written assignments undertaken by students for MUSC 60131/2/0 vary widely in scope and content, it is not possible to produce a single bibliography for the course. However, the following provides a basic indicative list:  

General (Classical):  

Rink, John (ed.), Musical Performance: A Guide to Understanding, ed. John Rink, Cambridge, 2002.

Rink, John (ed.), The Practice of Performance: Studies in Musical Interpretation, Cambridge, 2005.

Historical Classical Performance:

Brown, Clive, Classical and Romantic Performing Practice, 1750-1900, Oxford, 1999.  

Butt, John, Playing with History: The Historical Approach to Musical Performance, Musical Performance and Reception, Cambridge, 2002.  

Davies, Stephen, Musical Works and Performances: a Philosophical Exploration, Oxford, 2001.

Lawson, Colin and Robin Stowell, The Cambridge History of Musical Performance, Cambridge, 2012.

Lawson, Colin and Robin Stowell, The Historical Performance of Music: An Introduction, Cambridge Handbooks to the Historical Performance of Music, Cambridge, 1999.