MMus-MD Course Guide 2013-2014

7/30/2019 MMus-MD Course Guide 2013-2014

1/102

Master of Musicpathway

Music Designcourse guide

2013-2014


2/102

Master of Music pathway Music Design

course guide 2013-2014

This course guide is intended as a reference for students and lecturers at the Schoolof Music and Technology, Master of Music, pathway Music Design. You can findinformation about the curriculum, the structure of the organisation, policies andprocedures, facilities and personnel. If you have any questions that are not answeredin this document, please contact mrs Elsje Dicke ([email protected])

HKU, University of the Arts Utrechtschool of Music and Technologylocation Hilversumvisiting address: Oude Amersfoortseweg 131, 1212AA Hilversummailing address: PO Box 2471, 1200 CL HilversumT +31 - 35 - 683 6464F +31 - 35 - 683 6480


3/102

content.............................................................................................................................Welcome 5

......................................................................................................................................Program 5

............................................Studying at the HKU/School of Music and Technology 6....................................................................................HKU, University of the Arts Utrecht 6

...........................................................................................School of Music and Technology 6

........................................................................Master of Music pathway Music Design 6

...................................Aims of the Master of Music Programme pathway Music Design 7

.......................................................................................................................Didactic concept 7

........................................................................................................................Fields of interest 8

........................................................................................................................Aer graduation 8

...................................................................................................................Study program 9

........................................................................................................................................Strands 9

...............................................................................................................................Components 9

......................................................................................Artist in Residence (AiR)# 9

..............................................................................................................Study plan# 10

...........................................................................................Summary Sheets PDP# 11

......................................................................................Projects and workgroups# 13

..................................................................................................Contextualisation# 13

............................................................................................................................Modules 14

...................................................................Composition Projects & Supportive Studies I 14

.................................................................Composition Projects & Supportive Studies II 17

................................................................Composition Projects & Supportive Studies III 20

................................................................Composition Projects & Supportive Studies IV 23

..........................................................Music Production Projects & Supportive Studies I 26

........................................................Music Production Projects & Supportive Studies II 28

.......................................................Music Production Projects & Supportive Studies III 31

........................................................Music Production Projects & Supportive Studies IV 33

.........................................................Music Technology Projects & Supportive Studies I 35

........................................................Music Technology Projects & Supportive Studies II 38

......................................................Music Technology Projects & Supportive Studies III 41

.......................................................Music Technology Projects & Supportive Studies IV 43

.................................................................Sound Design Projects & Supportive Studies I 45

................................................................Sound Design Projects & Supportive Studies II 47

..............................................................Sound Design Projects & Supportive Studies III 50

..............................................................Sound Design Projects & Supportive Studies IV 52

..................................................................................Module Research Methods & Skills I 55

................................................................................Module Research Methods & Skills II 57

..............................................................................Module Research Methods & Skills III 59

...............................................................................Module Research Methods & Skills IV 61

.................................................................Professional Development Plan I: Orientation 63

......................................................Professional Development Plan II: Focus and Vision 65

................................................................Professional Development Plan III: Deepening 67


4/102

..........................................................Professional Development Plan IV: Dissemination 69

................................................................................Assessment protocols and criteria 71

.................................................................................................................Grading scales 94

.........................................................................................................Artistry and proficiency 94

..............................................................................................................Reflective Practioner 96

..........................................................................Professional and entrepreneurial outlook 97

......................................................................................................................Final conclusion 98

.........................................................................................................Research programs 99

..........................................................Interfaculty Project Fund & Profileringsfonds 99

..............................................................................................................List of lecturers 100

........................................................................................................Student Counselor 100

............................................................................................................Annual schedule 101

........................................................................................................................Addresses 102


5/102

Welcome

A word of welcome to all students of the Master of Music program! In this guide youwill find information on the Master of Music program, pathway Music Design. Thisprogram is taught at the HKU, University of the Arts Utrecht, location Hilversum. The

various chapters deal with general information, program information, the structure ofyour course of study, the curriculum, supervision, projects and individual studyactivities. As in previous years, we are welcoming a large number of internationalstudents, as well as many Dutch students, which is why this guide is in English. All ofthe courses offered in our Masters program are taught in English in the event they areattended by international students.

Program

Our Master of Music program includes components such as projects, research,reflection and writing. These are typical elements of a Masters program. By writingyour professional development plan (PDP) under guidance of your supervisor, and have

it approved by a panel, it is up to you to determine what to focus on in relation to yourforeseen future, and what to develop in order to become a well-equipped professional.We hope you will enjoy the program, projects and activities and wish you the best ofluck with your music studies!

Jeroen van Iterson, MPhilhead Master of Music

Jeroen Jagercoordinator Master of Music

Elsje Dickestudent counselor Master of Music

5


6/102

Studying at the HKU/School of Music and Technology

HKU, University of the Arts Utrecht

HKU, University of the Arts Utrecht is an institution based in the Netherlands with abroad and multi-facetted profile. It is one of the largest specialised Dutch institutionsof professional higher arts education. HKU offers undergraduate, postgraduate,coursework and research degrees and diplomas in a multidisciplinary environment:Visual Arts and DesignArt, Media and TechnologyMusicTheatreArt andEconomics. HKU aims to create an environment that encourages students in theexploration of their talents through an approach of tutoring and coaching, bothindividually and in groups. Learning by doing and contact and connection with theprofessional field are integrated in all study programs. In addition to this, HKU offersits students and lecturers a culturally diverse environment as well as the opportunity togain international experience, through study visits, internships, practical trainingabroad and master classes. It also collaborates with various other international

institutions, organising exchange programs for students and lecturers and in developingand setting up joint training programs. The HKU offers a Master of Music pathwayPerformance, and a Master of Music pathway Music Design. The Music Designpathway is based in Hilversum at the school of Music and Technology. The pathwayPerformance is based at the Utrecht Conservatoire.

School of Music and Technology

The School of Music and Technology is part of the HKU and based at locationHilversum. It offers numerous courses at the intersection of music and technology,where technology and creative ideas come together: Audio Design, CompositionElectronic Music, Composition for the Media, Composition and Music Production,Composition and Music Technology, Composition and Sound Design for AdaptiveSystems, Music Production and Performance, Music Technology and Performance andSound Design. Next to the bachelor courses the School offers various masterprogrammes: Master of Arts in Creative Design for Digital Cultures, Master of Music-pathway Music Design, and a Master of Philosophy program.In all these courses technology is the means, not the goal. Due to the combination oftechnical disciplines and creativity students are highly sought after by companies in thecreative industries.

Master of Music pathway Music Design

The Master of Music pathway Music Design (MMus-MD) is a 2-year programmetaught at the School of Music and Technology, location Hilversum. This Mastersdegree is designed for graduates with a Bachelors degree in music or art andtechnology, and professionals working in the wide field of music and technology whowish to explore the boundaries of their profession. MMus-MD is unique in providingindividualized programmes in music and technology, and integrating expertise incomposition, music production, sound design and music technology.

6


7/102

Aims of the Master of Music Programme pathway Music Design

The program aims at preparing Music Design professionals for the creative industries,such as composers, sound designers, music producers, software developers and musictechnologists. Students are expected to have established a certain degree of autonomy

in their approach of and vision on professional life in their previous course of study.Students are stimulated and encouraged to develop and deepen their artistic andprofessional vision and focus, presuming they maintain a pronounced interest ingeneral areas such as musical, technological and cultural/economical backgrounds. TheMMus program aims at facilitating artistic and professional development and focus,within each individual and in each of the chosen fields of specialisation.

The MMus course is a two-year curriculum programme (120 ECTS, 60 credits per year,each credit comprising 28 hours of study) for which each student has to write andnegotiate a study plan (called a Professional Development Plan, or PDP) at the start ofhis course of study. Reaching depth in artistry demands a personal customised routethat is described by each student in his study plan and serves as a basis for the desireddevelopment in vision and focus. Inseparably related thereto, the Music Designstudent has to develop skills and knowledge to become an active participant in thiscontemporary professional field. Given the fact that the major part of music is createdthrough teamwork in multi-disciplinary projects in varying contexts, a Music Design-student is expected to develop the competencies needed for this type of projects indiverse contexts. The MMus in Music Design is a very individual pathway that thestudent designs with the help of a supervisor and other lecturers. Basis of this is the socalled study plan that is based on four principle questions:

1 - what's your actual position from a professional and artistic point of view?2 - what's the position you would like to have in let's say three or five years?3 - how to get there? what kind of 'experiences' you have to encounter to get there?think about certain projects, forms of collaboration, etc.

4 - how to use the two years of study?

Didactic concept

The work forms and study activities used within the programme are all geared towardsexposure, evaluation and reflection within the context current at that moment.The work forms can vary:-from individual coaching, in which the student is confronted with his professionaldevelopment. During these discussions, the professional performance is evaluated andquestions are addressed such as How do I transform personal characteristics intoprofessional competencies?, How do I develop and maintain a personal, artisticagenda? and What variety of methods can I use to incorporate my personal artistic

vision in my professional field? How can I create the circumstances in which I cancontinue to develop my qualities and capacities? Furthermore lecturers are available byappointment for individual supervision on projects, research and the related processes.-to workgroups meetings, at which students conduct research into and reflection oncontext, repertoire, process and product from the professional field, as well as on thework of fellow students.

Activities vary, ranging from projects to research, and from guest lectures to knowledgetransfers:

from complex professional projects in the professional field, during which theknowledge, insights, attitudes and skills acquired must be deployed to the maximum.

to research in the form of experiments, workshops, internships and artist-in-residence and other projects. The students have a concrete end objective in this

7


8/102

respect, namely researching combinations of the following aspects: process, product,context and repertoire.

from guest lecturers & guest supervisors: based on their plans MMus-students canapproach guest lecturers or guest supervisors, especially when this suits more thanone MMus-plan and the students join forces to prepare for their particular guest.

to knowledge transfer: the MMus student has to be able to transfer her/hisknowledge to others. For example: a student who specializes in composition ofelectronic music can be asked to do some repertoire classes for 2nd year students onelectronic music.

Fields of interest

The study program of the School of Music & Technology covers a very broad areafrom music for media to electronic music and sound for installations, from sounddesign for film to audio games for blind children, etc.

At HKU location Hilversum in specific, we collaborate with the two other schools(Art & Technology, Media & Technology) that are active in game design, interaction

design, digital media design but also traditional media like animation, documentaryand fiction film. Collaboration takes place most of the time during the fourth year ofour Bachelor program and in our MA-program.

You will find sound designers that will do 'traditional' sound design for films,commercials, animation, etc. but also people who are active in the area of composingwith sound and applying this in very different contexts like traditional concert stage,for exhibitions in museums, installations in public space and specific soundinterfaces for blind and visually disabled people. There are also a lot of students thatstart composing from 'sound' itself so they use a variety of synthesis techniques andprogramming skills to design their own sounds and compositions.

On the other end of the spectrum you will find composers who compose for acousticensembles in traditional contexts like concert stage, but you'll also find singer/songwriters and composers for the media(film, tv, advertisement). And you'll findmusic producers, studio and live audio engineers, musical software programming andsystem design.

After graduation

The programme prepares you particularly for self-sustaining independent initiativesand companies that are able to design and adapt their organisational and financialmodels to their artistic needs. When graduated, you will be able to produce work in adiversity of creative contexts all over the world. Contexts include: music industry,media companies, composition practice, theatre, game context, organizations in and onthe edges of several domains such as: media, education, science, health, and business.In the MMus-MD course you will strengthen your creative and business aspects and

extend your working relationships and networks. All in all, HKU, location Hilversumis known as a very fertile location for all kind of forms of multidisciplinarycollaboration.

8


9/102

Study program

Master of Music-pathway Music Design (MMus-MD) prepares you to design, produceand manage a broad range of musical projects, from composition and music productionto game audio and art installations. You are involved in intensive teamwork, often

within multi disciplinairy groups. You learn to engage with a variety of audiences andcontexts (culture, media, music industry, science, health, etc.). MMus-MD is a projectbased programme with taught elements.

Strands

The Music Design pathway consists of four strands: Composition, Sound Design,Music Production and Music Technology.

Musicians in the strand composition are composers who can relate to the present-daycontexts of music and are capable of transforming their music and related designprocesses from one context to another. A strong artistic identity, awareness of design

processes, reflective and research skills are needed to become a successful andinnovative composer in contexts like film, dance, theatre, games, advertisement andthe stage.

Musicians in the strand sound design are designers distinguishing themselves throughtheir awareness and knowledge of the design possibilities of sound. This ranges fromdesigning sounds themselves to designing with sound, within various contexts likeinstallations, games, the stage and film.

Musicians in the strand music production are producers with an awareness andknowledge of different music design processes and music production processes. Theyapply their knowledge and skills in various contexts leading to various outcomes likeCD- and DVD-productions, musical material for educarial for educational purposesand cross media-publications of musical content.

Musicians in the strand music technology are technologists with distinguishingresearch and development skills and knowledge of musical contexts. They are apotential source for innovation on the cutting edge of music and technology bydesigning new instruments or music systems for various uses like composition, sounddesign, music production, industrial use of sound of music, specific applications for theblind, or specific applications for music education or research.

Components

Your study is partly based on components you contribute yourself: the projects and

related research you develop and underpin in your study plan (ProfessionalDevelopment Plan (PDP), also called study plan). Next to your own projects you canincorporate lectures and projects of the School of Music and Technology, and of otherSchools at HKU, in your study plan. The study plan is the main thread during yourstudy, and is therefore carefully reviewed by a supervisor, and a panel. Next to theactivities you describe in your study plan you participate in several obligatory activities,such as workgroups and an Artist in Residence project.

Artist in Residence (AiR)

The first activity in your study is the obligatory Artist in Residence (AiR) project. Thistakes several weeks, in which you work intensively on the first version of your studyplan (PDP). After the AiR you present your study plan to a committee of internal and

9


10/102

external experts. Every semester, as a follow up students work on their study plan withtheir supervisor.

Study plan

Every semester students work on their Professional Development Plan (PDP). In thisplan, students describe their ambitions and planned actions for the coming semester.This plan should be considered as an integral development plan to focus the technical,artistic, contextual and professional profile of the student. This plan is also part of theintegral assessment that takes places at the end of each semester.

The PDP is composed of two elements.

First, students write a study plan (with a maximum of 3 pages) whereby theyarticulate their professional ambitions for the semester to come.

Second, a summary of this study plan (one page, according to a prescribed format),whereby the student focuses on four specific elements in this ambition. Thesummary can of course be of help in writing the study plan.

A sequence in terms of focus has been identified for the four study plans, one for eachsemester. In the first one, students write about the different skills they want to acquire.The last PDP focuses on vision & strategy, context, artistic profile and professionalprofile.

The following matrix demonstrates the sequence in terms of articulated focus:

PDP1 PDP2 PDP3 PDP4

Skills 2 1

Artistic Profile 1 1 1 1

Context 1 1 1

Professional Profile &Entrepreneurship

1 1 1(specifically ondissemination)

1(specifically ondissemination)

Vision & Strategy 1 1

At the start of each semester the portfolio supervisor will coach the students in settingand achieving ambitions. The supervisor acts as a critical friend, inquiring and posingsuggestions.

Four weeks after the start of a semester, the final version of the PDP for that semesterhas to be agreed upon by the supervisor. On the Summary PDP form the supervisorputs his paragraph to show that he has seen the final version. This sheet should beuploaded in the kmtweb documentation tool.

10


11/102

Summary Sheets PDP

Professional Development Plan

Your PDP acts as an important tool for reflection and assessment during the integral

assessments. It is used to communicate about and providence for your professional

growth.Assessors (of which one is an external) at the exams need to have a clear and quick

picture about the essence or focus of your development in a semester. Therefore you

need to extract information from your PDP study plan into the summary sheet (one A4

size).

SMART

Try to describe your ambitions as SMART as possible.

This means that you describe your goals as if you already attained them, so the

assessors can hear or see the result.

SMART stands for Specific, Measurable, Acceptable, Realizable and Time bounded.

e.g. skill goal :In the project portfolio for the next six months work I will compose three musical works

for a complex audio environment (e.g. Nicolai Church) and for an orchestra of at least

15 musicians.

e.g. artistic profile goal:

In six months I am able to demonstrate three examples of innovative methods for sound

design, contextualised both through research and expert reviews.

e.g. context goal:

In the project work I am able to demonstrate to make musical compositions suitable for

a specific type of festival.

e.g. professional profile & entrepreneurship :

I will relate my own project work to 5 competitive types of products in the professionalfield and will formulate two possible opportunities for marketing and dissemination.

I will deliver a professional portfolio and website which clearly defines myself as a

sound designer, including an description of my artistic signature and sound design

approach, describing and targeting future clients.

e.g. vision and strategy:

I will deliver a description of my professional career in 5 years and will articulate the

necessary steps and actions to pursue this career, taking into account strengths,

weaknesses, opportunities and threats.

11


12/102

Name student: Name supervisor.. Paragraph supervisor ..

PDP Semester

1/2/3/4

Skills Skills Artistic Profile Professional Profile

and

entrepreneurship

Baseline

(knowledge, skills at

the start of the

semester)

Ambition

(SMART if possible)

Actions

Expected results

Means for

verification

12


13/102

Projects and workgroups

By doing projects you work on your portfolio. This portfolio reflects your developmentboth artistically and professionally, and may exist of a variety of elements, ranging fromperformances to recordings, and from games to installations. Also any research done to

support projects is considered part of your portfolio, as for instance the setting up of abusiness. Your projects must be included in your study plan, and approved by yoursupervisor. During regular meetings with you supervisor you discuss your progress andreflect on your projects. Next to that you participate in workgroups, in which youexchange knowledge and experience with you peers, and study topics under theguidance of a lecturer.

Contextualisation

Your portfolio as a whole, all the (research) activities surrounding it, and your artisticand professional vision, are considered part of your (starting) professional practice.Being in a master program, you have to be able to thoroughly reflect on thisprofessional practice, and formulate this reflection. Therefore you are required to

contextualise your practice in a paper of approximately 3000-5000 words, to bepresented at the final exam. The purpose of this paper is research of theory, contextand repertoire in order to design and contextualise your own professional practice.Writing of the paper is supervised by your supervisor.

13


14/102

Modules

Every semester consists of three modules: Projects & Supportive Studies, ResearchMethods and Skills, and Professional Development Plan. These modules are assessedduring the examination that takes place at the end of each semester, respectively:

midyear assessment (first year, first semester), end year assessment (first year, secondsemester), midyear assessment (second year, first semester) and final exam (second year,second semester). The modules cover the various Master of Music competencies whichyou address in your study plan. Every semester you develop these competencies furtherby working on your projects and supportive study, working on the contextualisation ofyour professional practice in a written paper, writing your PDP, and doing research.

Composition Projects & Supportive Studies I

Module Description

This module contains two related strands: Composition Projects, and Supportive Studies. In the

strand Composition Projects students participate in monodisciplinary and multidisciplinarycomposition projects offered by the MMus-programme or initiated by themselves. In the strandSupportive Studies the student obtains new insights in the theory of composition throughstudies on repertoire and literature, and compositional skills and techniques in relation to theirprojects through:

classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer.

Aims and Objectives

Composition Projects strand: To provide a context for exploration and expanding the students talent through

external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods

and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging

their ability to create creative space while working within set boundaries.Supportive Studies strand:

To enable students to obtain new insights with regard to different theories, models andmethods for composition.

To enable students to broaden their vocabulary of compositional techniques. To challenge students to develop a critical attitude and awareness in relation to these

theories, models, methods and techniques.

Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom compositions for performing ensembles till applied music for TV-programmes, games andsocial applications.To enable projects, the research programmes have developed long term co-operations with allkind of representatives of the creative industry (broadcasting companies, cultural andeducational institutions, music ensembles, dance companies, etc.) and other sectors like health,

cultural heritage and education. Students may also initiate projects themselves.

14


15/102

The projects and related Supportive Studies have to be in line with students personaldevelopment plan which has to be approved by the MMus-programme. All projects (work-in-progress, related processes and outcomes) are supervised, discussed and reviewed in specialproject groups, in study groups and through individual supervision.

Theres a large and varied offer in classes on different theoretical topics within the domain ofcomposition theory. Repertoire and theory is studied through reading, listening and analysis.Students join one (ore more) study groups of the MMus-programme. In meetings throughoutthe year (every two weeks), students get individual assignments to exercise specific skills andtechniques. The content of the assignments is related to the profile and the personaldevelopment plan of the student in question. The outcomes are reviewed by peers and thesupervising lecturer. Next to these study groups, students have individual meetings withsupervising lecturers of the MMus-programme. In these meetings, small assignments andexercises (which are in line with the actual project(s) of the student) are handed out.

Syllabus

Examples of projects are: e-LIVE: composition for instrument, electronics and church acoustics (Nicolai Church),

project in collaboration with UC; SoundTrack Cologne: composition and sound design for film, a collaborative

participation in the European Talent Competition.

Examples are classes on: Advanced Harmony Notation (of contemporary multidisciplinary music) 20th Century Music History Film Music

Methods of Composition Electronic Music (Virtual) Orchestration Music Cognition World Music Orientation and History

Examples are supportive studie exercises in the domain of: Minimal Music Songwriting Serialism Electronic music Film music Klangfarbenmusik Algorithmic composition

Learning outcomes

On successful completion of the module a student will be able to:start the production phase of a project with a well balanced concept that is realistic enough

to be realised;define a project result in co-operation with (multidisciplinary) team members while

maintaining an individual contribution;determine the appropriate compositional techniques and methods;

fulfil a responsible task in a collaborative design and production process;

15


16/102

critically reflect on diversions relative to the outcomes of the pre-production;communicate project progress to both mid term evaluation committee, course leader and

possible external commissioner;reflect on personal contribution, in collaborative learning environment;

reflect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the field; show progression in compositional methods, insights and skills and the ability to use

those skills, if necessary, in forthcoming projects; reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes. Intensifying artistry.

Assessment criteriaThe student will be assessed on:

the level of the final product(s) related to the context in question;the level of reflection on product and process that includes amongst others the level of

communication (e.g. presentation) and collaboration during the process.

16


17/102

Composition Projects & Supportive Studies II

Module Description




Aims and Objectives

Composition Projects strand:

To provide a context for exploration and expanding the students talent throughexternal professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods


their ability to create creative space while working within set boundaries. To ensure students develop the abilities to bring to resolution a project of self-directed

work.Supportive Studies strand:




Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom compositions for performing ensembles till applied music for TV-programmes, games andsocial applications.To enable projects, the research programmes have developed long term co-operations with all

kind of representatives of the creative industry (broadcasting companies, cultural andeducational institutions, music ensembles, dance companies, etc.) and other sectors like health,cultural heritage and education. Students may also initiate projects themselves.The projects and related Supportive Studies have to be in line with students personaldevelopment plan which has to be approved by the MMus-programme. All projects (work-in-progress, related processes and outcomes) are supervised, discussed and reviewed in specialproject groups, in study groups and through individual supervision.

Theres a large and varied offer in classes on different theoretical topics within the domain ofcomposition theory. Repertoire and theory is studied through reading, listening and analysis.Students join one (ore more) study groups of the MMus-programme. In meetings throughoutthe year (every two weeks), students get individual assignments to exercise specific skills and

techniques. The content of the assignments is related to the profile and the personal

17


18/102

development plan of the student in question. The outcomes are reviewed by peers and thesupervising lecturer. Next to these study groups, students have individual meetings withsupervising lecturers of the MMus-programme. In these meetings, small assignments andexercises (which are in line with the actual project(s) of the student) are handed out.

Syllabus

Examples of projects are: World Composition Project: composition for non-Western instruments in close

collaboration with performers, research in non-Western musical cultures, project incollaboration with UC;

Nederlands Film Festival/Film Museum: annual project on composition andperformance for silent movies on the Dutch national filmfestival;

Composer in Residence, compositions for a variety of ensembles to be performed at theVredenburg Concert Hall and to be supervised by a composer-in-residence, project incollaboration with UC.

Examples are classes on: Advanced Harmony Notation (of contemporary multidisciplinary music) 20th Century Music History Film Music Methods of Composition Electronic Music (Virtual) Orchestration Music Cognition World Music Orientation and History


Learning outcomes



maintaining an individual contribution;determine the appropriate compositional techniques and methods;fulfil a responsible task in a collaborative design and production process;critically reflect on diversions relative to the outcomes of the pre-production;communicate project progress to both mid term evaluation committee, course leader and

possible external commissioner;reflect on personal contribution, in collaborative learning environment;reflect on the entire pre-production and production process;

identify key representatives dealing with relevant theory in the field;

18


19/102

show progression in compositional methods, insights and skills and the ability to usethose skills, if necessary, in forthcoming projects;

reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Intensifying artistry; Communication.

Assessment criteria

The student will be assessed on:the level of the final product(s) related to the context in question;the level of reflection on product and process that includes amongst others the level of


19


20/102

Composition Projects & Supportive Studies III

Module Description




Aims and Objectives


Demonstrate the students ability to detect and critically apply relevant knowledge,methods and skills in order to support and inform their creative practice. Demonstrate the students ability to bring to resolution a project of self-directed work. To ensure students are able to conduct self-directed creative work supported through

research in the relevant field of study. To ensure students are able to develop an individual, artistic vision on

(multidisciplinary) projects, the related design and production processes and theiroutcomes.

Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and

methods for composition. To enable students to broaden their vocabulary of compositional techniques. To challenge students to develop a critical attitude and awareness in relation to these


Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom compositions for performing ensembles till applied music for TV-programmes, games andsocial applications.To enable projects, the research programmes have developed long term co-operations with all


Theres a large and varied offer in classes on different theoretical topics within the domain ofcomposition theory. Repertoire and theory is studied through reading, listening and analysis.Students join one (ore more) study groups of the MMus-programme. In meetings throughoutthe year (every two weeks), students get individual assignments to exercise specific skills and

techniques. The content of the assignments is related to the profile and the personal

20


21/102


Syllabus

Examples of projects are: e-LIVE: composition for instrument, electronics and church acoustics (Nicolai Church),

a project in collaboration with UC; Composition, Improvisation and Performance-project by Marc van Vugt: intensive high

pressure cooker workshop for composers and performers, a project in collaborationwith UC;

Collaboration project with Vietnamese Conservatories and Academies for Theatre &Cinema: composition and sound design for new audiovisuals based on Vietnamesecultures;



Learning outcomes

On successful completion of the module a student will be able to:See Module Composition Projects & Supportive Studies I and IImanage all aspects of one or more individual projects;develop appropriate projects in relation to a personal MMus-development plan;expand and explore personal boundaries in technical and creative ability;position the process of making in a musical, cultural and technological context.

These learning outcomes relate specifically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes. Communicating;

Assessment criteria

21


22/102


communication (e.g. presentation) and collaboration during the process;

the ability to participate in complex multidisciplinary and cross cultural projects;the level of reflection on the function of the project in question in relation to the personalMMus-trajectory.

22


23/102

Composition Projects & Supportive Studies IV

Module Description




Aims and Objectives


Demonstrate the students ability to detect and critically apply relevant knowledge,methods and skills in order to support and inform their creative practice. Demonstrate the students ability to conduct self-directed creative work supported

through research in the relevant field of study. Demonstrate the students ability to bring to resolution a project of self-directed work. Demonstrate the students individual, artistic vision on (multidisciplinary) projects, the

related design and production processes and their outcomes.Supportive Studies strand:




Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom compositions for performing ensembles till applied music for TV-programmes, games andsocial applications.To enable projects, the research programmes have developed long term co-operations with allkind of representatives of the creative industry (broadcasting companies, cultural and

educational institutions, music ensembles, dance companies, etc.) and other sectors like health,cultural heritage and education. Students may also initiate projects themselves.The projects and related Supportive Studies have to be in line with students personaldevelopment plan which has to be approved by the MMus-programme. All projects (work-in-progress, related processes and outcomes) are supervised, discussed and reviewed in specialproject groups, in study groups and through individual supervision.

Theres a large and varied offer in classes on different theoretical topics within the domain ofcomposition theory. Repertoire and theory is studied through reading, listening and analysis.Students join one (ore more) study groups of the MMus-programme. In meetings throughoutthe year (every two weeks), students get individual assignments to exercise specific skills andtechniques. The content of the assignments is related to the profile and the personal

development plan of the student in question. The outcomes are reviewed by peers and the

23


24/102

supervising lecturer. Next to these study groups, students have individual meetings withsupervising lecturers of the MMus-programme. In these meetings, small assignments andexercises (which are in line with the actual project(s) of the student) are handed out.

SyllabusExamples of projects are: Blind Date: a annual and intensive workshop with composers (USMT). choreographers

(Dance Unlimited) and stage designers (Minerva Academy Groningen); Composer in Residence, compositions for a variety of ensembles to be performed at the

Vredenburg Concert Hall and to be supervised by a composer-in-residence, project incollaboration with UC.

World Composition Project: composition for non-Western instruments in closecollaboration with performers, research in non-Western musical cultures, project incollaboration with UC;

Community Composition Project: composition of mini-operas based on stories ofpeople located in homes for the elderly.



Learning outcomes

On successful completion of the module a student will be able to:See Module Composition Projects & Supportive Studies I and IImanage all aspects of one or more individual projects;develop appropriate projects in relation to a personal MMus-development plan;expand and explore personal boundaries in technical and creative ability;position the process of making in a musical, cultural and technological context.reflect on the entire pre-production and production process formulating revised personal

learning objectives for forthcoming projects.

These learning outcomes relate specifically to the MMus intended learning outcomes: The ability to realize artistic, musical productions;

Intensifying artistry;

24


25/102

Communicating; Community responsibility.

Assessment criteria


communication (e.g. presentation) and collaboration during the process;the ability to participate in complex multidisciplinary and cross cultural projects;the level of reflection on the function of the project in question in relation to the personal

MMus-trajectory.

25


26/102

Music Production Projects & Supportive Studies I

Module Description

This module contains two related strands: Music Production Projects, and Supportive Studies.

In the strand Music Production Projects students participate in monodisciplinary andmultidisciplinary music production projects offered by the MMus-programme or initiated bythemselves. In the strand Supportive Studies the student obtains new insights in the theory ofmusic production through studies on repertoire and literature, and production skills andtechniques in relation to their projects through:


Aims and Objectives

Music Production Projects strand:




To enable students to obtain new insights with regard to different theories, models andmethods for production.

To enable students to broaden their vocabulary of production techniques. To challenge students to develop a critical attitude and awareness in relation to these


Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom music production for singer/songwriters, bands and ensembles till distributed musicproduction or new ways for publishing music in the broadest sense of the word.To enable projects, the research programmes have developed long term co-operations with allkind of representatives of the creative industry (broadcasting companies, cultural andeducational institutions, music ensembles, dance companies, etc.) and other sectors like health,

cultural heritage and education. Students may also initiate projects themselves.The projects and related Supportive Studies have to be in line with students personaldevelopment plan which has to be approved by the MMus-programme. All projects (work-in-progress, related processes and outcomes) are supervised, discussed and reviewed in specialproject groups, in study groups and through individual supervision.

Theres a large and varied offer in classes on different theoretical topics within the domain ofmusic production theory. Repertoire and theory is studied through reading, listening andanalysis. Students join one (ore more) study groups of the MMus-programme. In meetingsthroughout the year (every two weeks), students get individual assignments to exercise specificskills and techniques. The content of the assignments is related to the profile and the personaldevelopment plan of the student in question. The outcomes are reviewed by peers and the

supervising lecturer. Next to these study groups, students have individual meetings with

26


27/102

supervising lecturers of the MMus-programme. In these meetings, small assignments andexercises (which are in line with the actual project(s) of the student) are handed out.

Syllabus

Examples of projects are: Producing The Band: a collaborative music production project that aims at specific useof music technology in music production processes;

Band in a Barn: a high pressure cooker project that aims at researching varied ways ofmusic production.

Examples are classes on: Music production methods and strategies .

Examples are supportive studie exercises in the domain of: Music production techniques; Mixing techniques; Arranging; Mastering.

Learning outcomes



maintaining an individual contribution;determine the appropriate productional techniques and methods;

fulfil a responsible task in a collaborative design and production process;critically reflect on diversions relative to the outcomes of the pre-production;communicate project progress to both mid term evaluation committee, course leader and

possible external commissioner;reflect on personal contribution, in collaborative learning environment;reflect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the field; show progression in productional methods, insights and skills and the ability to use



Assessment criteria



27


28/102

Music Production Projects & Supportive Studies II

Module Description




Aims and Objectives









Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom music production for singer/songwriters, bands and ensembles till distributed musicproduction or new ways for publishing music in the broadest sense of the word.To enable projects, the research programmes have developed long term co-operations with all


Theres a large and varied offer in classes on different theoretical topics within the domain ofmusic production theory. Repertoire and theory is studied through reading, listening andanalysis. Students join one (ore more) study groups of the MMus-programme. In meetingsthroughout the year (every two weeks), students get individual assignments to exercise specific

skills and techniques. The content of the assignments is related to the profile and the personal

28


29/102


Syllabus

Examples of projects are: Singer/songwriter-projects: production of tracks in close collaboration with singer/

songwriters; Publishing Package: a research based project on new ways for the publication of music

in the broadest sense of the word.



Learning outcomes


to be realised;research musical, cultural and technological contexts relevant to the project;

define a project result in co-operation with (multidisciplinary) team members whilemaintaining an individual contribution;determine the appropriate music productional techniques and methods;fulfil a responsible task in a collaborative production process;apply research outcomes and concept to a production process;compose music in a multidisciplinary environment (sometimes together with fellow

composers);critically reflect on diversions relative to the outcomes of the pre-production;communicate project progress to both mid term evaluation committee, course leader and

possible external commissioner;reflect on personal contribution, in collaborative learning environment;evaluate and reflect upon music productional processes in multidisciplinary environments; identify key representatives dealing with relevant theory in the field; show progression in productional methods, insights and skills and the ability to use


These learning outcomes relate specifically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Intensifying artistry; Communication.

Assessment criteria

29


30/102



30


31/102

Music Production Projects & Supportive Studies III

Module Description




Aims and Objectives


Demonstrate the students ability to detect and critically apply relevant knowledge,methods and skills in order to support and inform their creative practice. Demonstrate the students ability to bring to resolution a project of self-directed work. To ensure students are able to conduct self-directed creative work supported through

research in the relevant field of study. To ensure students are able to develop an individual, artistic vision on

(multidisciplinary) projects, the related design and production processes and theiroutcomes.

Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and

methods for production. To enable students to broaden their vocabulary of production techniques. To challenge students to develop a critical attitude and awareness in relation to these


Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom music production for singer/songwriters, bands and ensembles till distributed musicproduction or new ways for publishing music in the broadest sense of the word.To enable projects, the research programmes have developed long term co-operations with all


Theres a large and varied offer in classes on different theoretical topics within the domain ofmusic production theory. Repertoire and theory is studied through reading, listening andanalysis. Students join one (ore more) study groups of the MMus-programme. In meetingsthroughout the year (every two weeks), students get individual assignments to exercise specific


31


32/102


Syllabus

Examples of projects are: Band-projects: production of tracks in close collaboration with bands; Distributed Music Production: a research based project on distributed music production

processes; Collaboration project with Vietnamese Conservatories and Academies for Theatre &

Cinema: music productions based on Vietnamese cultures.



Learning outcomes

On successful completion of the module a student will be able to:See Module Music Production Projects & Supportive Studies I and IImanage all aspects of one or more individual projects;

develop appropriate projects in relation to a personal MMus-development plan;expand and explore personal boundaries in technical and creative ability;position the process of making in a musical, cultural and technological context; identify key representatives dealing with relevant theory in the field; show progression in productional methods, insights and skills and the ability to use


These learning outcomes relate specifically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes;

Communicating;

Assessment criteria



MMus-trajectory.

32


33/102

Music Production Projects & Supportive Studies IV

Module Description




Aims and Objectives


Demonstrate the students ability to detect and critically apply relevant knowledge,methods and skills in order to support and inform their creative practice. Demonstrate the students ability to conduct self-directed creative work supported

through research in the relevant field of study. Demonstrate the students ability to bring to resolution a project of self-directed work. Demonstrate the students individual, artistic vision on (multidisciplinary) projects, the

related design and production processes and their outcomes.Supportive Studies strand:




Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom music production for singer/songwriters, bands and ensembles till distributed musicproduction or new ways for publishing music in the broadest sense of the word.To enable projects, the research programmes have developed long term co-operations with allkind of representatives of the creative industry (broadcasting companies, cultural and

educational institutions, music ensembles, dance companies, etc.) and other sectors like health,cultural heritage and education. Students may also initiate projects themselves.The projects and related Supportive Studies have to be in line with students personaldevelopment plan which has to be approved by the MMus-programme. All projects (work-in-progress, related processes and outcomes) are supervised, discussed and reviewed in specialproject groups, in study groups and through individual supervision.

Theres a large and varied offer in classes on different theoretical topics within the domain ofmusic production theory. Repertoire and theory is studied through reading, listening andanalysis. Students join one (ore more) study groups of the MMus-programme. In meetingsthroughout the year (every two weeks), students get individual assignments to exercise specificskills and techniques. The content of the assignments is related to the profile and the personal

development plan of the student in question. The outcomes are reviewed by peers and the

33


34/102

supervising lecturer. Next to these study groups, students have individual meetings withsupervising lecturers of the MMus-programme. In these meetings, small assignments andexercises (which are in line with the actual project(s) of the student) are handed out.

SyllabusExamples of projects are: Band-projects: production of tracks in close collaboration with bands; TopNotch: a research based project focusing on new ways of relive a concert; Collaboration project with TaSUBa: music production of Tanzanian songs in

collaboration with Tanzanian musicians and producers.



Learning outcomes

On successful completion of the module a student will be able to:See Module Music Production Projects & Supportive Studies I and IImanage all aspects of one or more individual projects;develop appropriate projects in relation to a personal MMus-development plan;expand and explore personal boundaries in technical and creative ability;

position the process of making in a musical, cultural and technological context; identify key representatives dealing with relevant theory in the field; show progression in productional methods, insights and skills and the ability to use


These learning outcomes relate specifically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Communicating; Community responsibility.

Assessment criteria



MMus-trajectory.

34


35/102

Music Technology Projects & Supportive Studies I

Module Description

This module contains two related strands: Music Technology Projects, and Supportive Studies.

In the strand Music Technology Projects students participate in monodisciplinary andmultidisciplinary music technology projects offered by the MMus-programme or initiated bythemselves. In the strand Supportive Studies the student obtains new insights in the theory ofmusic technology through studies on repertoire and literature, and music technology skills andtechniques in relation to their projects through:


Aims and Objectives

Music Technology Projects strand:




To enable students to obtain new insights with regard to different theories, models andmethods for music technology.

To enable students to broaden their vocabulary of music technology techniques. To challenge students to develop a critical attitude and awareness in relation to these


Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom music technology for art contexts till social applications like games for blind and visuallydisabled people.To enable projects, the research programmes have developed long term co-operations with allkind of representatives of the creative industry (broadcasting companies, cultural andeducational institutions, music ensembles, dance companies, etc.) and other sectors like health,

cultural heritage and education. Students may also initiate projects themselves.The projects and related Supportive Studies have to be in line with students personaldevelopment plan which has to be approved by the MMus-programme. All projects (work-in-progress, related processes and outcomes) are supervised, discussed and reviewed in specialproject groups, in study groups and through individual supervision.

Theres a large and varied offer in classes on different theoretical topics within the domain ofmusic technology theory. Repertoire and theory is studied through reading, listening andanalysis. Students join one (ore more) study groups of the MMus-programme. In meetingsthroughout the year (every two weeks), students get individual assignments to exercise specificskills and techniques. The content of the assignments is related to the profile and the personaldevelopment plan of the student in question. The outcomes are reviewed by peers and the

supervising lecturer. Next to these study groups, students have individual meetings with

35


36/102

supervising lecturers of the MMus-programme. In these meetings, small assignments andexercises (which are in line with the actual project(s) of the student) are handed out.

Syllabus

Examples of projects are: e-LIVE: music technology for compositions for instrument, electronics and churchacoustics (Nicolai Church), project in collaboration with UC;

Trilvest: tactile interface that translates music into vibrations to enable deaf people todance on music with rhythmic content.

Examples are classes on: Software development System design Interaction design Interfaces Sensors and controllers

Examples are supportive studie exercises in the domain of: Software programming Hardware (sensors and controllers) Adaptive systems Algorithms

Learning outcomes



maintaining an individual contribution;determine the appropriate music technological techniques and methods;fulfil a responsible task in a collaborative design and production process;critically reflect on diversions relative to the outcomes of the pre-production;communicate project progress to both mid term evaluation committee, course leader and

possible external commissioner;reflect on personal contribution, in collaborative learning environment;reflect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the field; show progression in music technological methods, insights and skills and the ability to

use those skills, if necessary, in forthcoming projects; reflect on examples, methods and techniques used in the assignments.


Assessment criteria


36


37/102


37


38/102

Music Technology Projects & Supportive Studies II

Module Description

This module contains two related strands: Music Technology Projects, and Supportive Studies.

In the strand Music Technology Projects students participate in monodisciplinary andmultidisciplinary music technology projects offered by the MMus-programme or initiated bythemselves. In the strand Supportive Studies the student obtains new insights in the theory ofmusic technology through studies on repertoire and literature, and music technology skills andtechniques in relation to their projects through:


Aims and Objectives

Music Technology Projects strand:





To enable students to obtain new insights with regard to different theories, models andmethods for music technology.

To enable students to broaden their vocabulary of music technology techniques. To challenge students to develop a critical attitude and awareness in relation to these


Method of Delivery

Projects are developed by the research programmes, or initiated by students. Theres a varietyin the projects and according contexts from monodisciplinarity through intradisciplinarity tillmultidisciplinarity with the accompanying complexity. The nature of the projects is varyingfrom music technology for art contexts till social applications like games for blind and visuallydisabled people.To enable projects, the research programmes have developed long term co-operations with all


Theres a large and varied offer in classes on different theoretical topics within the domain ofmusic technology theory. Repertoire and theory is studied through reading, listening andanalysis. Students join one (ore more) study groups of the MMus-programme. In meetingsthroughout the year (every two weeks), students get individual assignments to exercise specific


38


39/102


Syllabus

Examples of projects are: Sound Toy: design of an audio game in close collaboration with game designers; KO-llectief: collective of sonic designers and music technologists who work on external

assignments.

Examples are classes on: Software development System design Interaction design Interfaces Sensors and controllers

Examples are supportive studie exercises in the domain of: Software programming Hardware (sensors and controllers) Adaptive systems Algorithms

Learning outcomes

On successful completion of the module a student will be able to:

start the production phase of a project with a well balanced concept that is realistic enoughto be realised;research musical, cultural and technological contexts relevant to the project;define a project result in co-operation with (multidisciplinary) team members while

maintaining an individual contribution;determine the appropriate music technologyal techniques and methods;fulfil a responsible task in a collaborative production process;apply research outcomes and concept to a production process;design music technology applications in a m

Documents

MMus-MD Course Guide 2013-2014