MUSIC DEPARTMENT POSTGRADUATE*HANDBOOK (2015 2016 · Music Department Postgraduate Handbook (2015–2016) 4 WHERE!TO!FIND!US! The!Music!Department!is!located!inLogic!House!at!the!southernend!of!the!University’s!South!

Music Department Postgraduate Handbook (2015–2016)

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MUSIC DEPARTMENT

POSTGRADUATE HANDBOOK

(2015-‐2016)

https://www.maynoothuniversity.ie/music

IMPORTANT: The information contained in this Handbook was accurate and up-‐to-‐date when compiled. The Department reserves the right to revise, alter or discontinue courses of study and to amend the regulations and guidance at any time, without notice. In particular, this Handbook should not be regarded as a substitute for the University Calendar/Central Guidelines, which provide definitive information and regulations. Where possible any significant changes to the information contained in this Handbook which affect students in relation to such matters as timetabling and assessment will be notified in writing.


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CONTENTS HEAD OF DEPARTMENT’S WELCOME 3

WHERE TO FIND US 4

WHO’S WHO 5

MAIN CONTACTS FOR POSTGRADUATE STUDENTS 6

RESEARCH INTERESTS OF STAFF 7-‐9

COMMUNICATION: KEEPING IN TOUCH 11-‐12

FACILITIES, EVENTS & RESOURCES 13-‐16

Library 15

CALENDAR 16

DEGREE PROGRAMME REQUIREMENTS 16-‐22

MA in Musicology 16

MA in Performance and Musicology 17

MA in Composition 18

MA in Creative Music Technologies 18

PGDip in Music Technology 19

Structured MLitt 20

Structured PhD 21

GENERAL INFORMATION ON POSTGRADUATE DEGREES, COURSEWORK AND THESIS SUBMSSION 23-‐36

Taught MA Programmes 23

Marking Criteria 26

Thesis and Dissertation Criteria 27

Performance Strand Criteria 28

Composition Criteria 29

Plagiarism and Unfair Practices 30

Research Degrees 32

Submission of Theses 37

TIMETABLE 38

SUBMISSION COVERSHEETS (EXAMPLES) 40

RESEARCH DEGREE PROGRESS REPORT FORM (EXAMPLE) 42


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HEAD OF DEPARTMENT’S WELCOME I am delighted to welcome all new and returning postgraduate students to what promises to be a very stimulating and rewarding year in Music at Maynooth. One of the priorities I have identified for Music during my tenure as Head of Department is the development and enrichment of our research activities. My colleagues care passionately about their research both as a way of enriching their teaching and as a contribution to knowledge and creative endeavour in the University and beyond. 2015/16 will see publications, premieres and performances by members of staff, an exciting roster of visiting speakers and performers, and special events designed to initiate exchange with researchers in other departments as part of our commitment to the increasingly important interdisciplinary dimension of research in the University. None of this could be counted as a success, though, without your participation. As composers, musicologists and performers, you, our postgraduate students, are essential to the research community of the Department and of the University. Your engagement with supervisors disseminates their knowledge and enhances their own research; your own research broadens and deepens the fund of knowledge and creativity in the Department and beyond; and many of you in turn pass learning along as tutors and teachers. I urge you to seize the opportunity to participate in our research community and take full advantage of what it offers for your own development as scholar, as creative practitioner, as individual. Whether joining one of our ensembles, presenting at one of our student colloquia, or simply participating in the conversation during one our research seminars, your contribution is most welcome and you will find the community here welcoming, supportive and collegial. This Handbook is designed to offer you an introduction to what happens in the Department and the important role you, as a postgraduate student, play within it. I hope you find the Handbook useful. Please do read it carefully, even if you’re a returning student and think you know your way around – there have been a few changes in policy and personnel. You should also regularly check for amendments and updates within our shared space on Moodle: https://2016.moodle.maynoothuniversity.ie/login/index.php. Useful Department news and information also appears on our Facebook page, our Twitter feed and our website: https://www.maynoothuniversity.ie/music. The Department is unmatched in the University for the liveliness and range of the events it organises, and we are justly proud of the contribution it makes to the University, the town of Maynooth and the region. In addition to many and varied ensemble events, I would draw your attention to two regular events in particular: the Thursday lunchtime concert series at 13:00 in Riverstown Hall and the weekly research seminar series on Fridays at 12:00, which this year features an impressive international roster of visiting speakers. We look forward to seeing you there. Details of both are available on our website. Wishing you every success in the year ahead,

Professor Christopher Morris


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WHERE TO FIND US The Music Department is located in Logic House at the southern end of the University’s South Campus. Some lectures take place in central facilities on the North and South Campuses – see published timetables for details. Individual Staff Offices and Main Office Most offices can be found on the first floor of Logic House. For full details refer to ‘Who’s Who’ below. Department Lecture Rooms (Ground Floor, Logic House) Bewerunge Room New Music Room O’Callaghan Room Music Technology Laboratory To the rear of Logic House Performance Suite To the rear of Logic House next door to the Music Technology Suite Practice Rooms To the rear of Logic House: adjacent to the Performance Suite Riverstown Hall Ground floor of Riverstown House Postgraduate Facility A hot-‐desking space designated for the use of postgraduate music students is available at room 19 in the IVI. Keys for this room can be obtained from the Music Department office. Music Department Office & Technical Support Information: Personnel The Music Department Office is run by Ms Marie Breen (Administrative Officer), Ms Dorena Bishop (Executive Assistant, mornings) and Emily Cook (Executive Assistant, afternoons). The Music Department’s Technical Officer is Mr Paul Keegan Location Music Office: Room 115, Logic House (first floor). Technical Officer: Room 20, IVI Building Music Office Hours (Monday to Friday) 09:30-‐12:30 and 14:30-‐16:30 Assignments posted under the door are deemed unsubmitted. Telephone: +353 (0)1 708 3733 Fax: +353 (0)1 628 9432 Email: [email protected]


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WHO’S WHO See also https://www.maynoothuniversity.ie/music for individual staff webpages giving details of research/expertise and interests.

ROOM PH. EMAIL ADDRESS Professor Christopher Morris (Head of Department) 119 3733 [email protected] Music Department Office Ms Marie Breen (Administrative Officer) 115 3733 [email protected] Ms Dorena Bishop (.5 Executive Assistant) 115 3733 [email protected] Ms Emily Cook (.5 Executive Assistant) 115 3733 [email protected] Department Technician Mr Paul Keegan 138 6718 [email protected] Full-‐Time Lecturing Staff Dr Lorraine Byrne Bodley (Senior Lecturer) 120 4672 [email protected] Dr Antonio Cascelli (Lecturer) 134 6716 [email protected] Dr Gordon Delap (Lecturer) 128 4640 [email protected] Dr Alison Hood (Lecturer) 123 6457 [email protected] Dr Victor Lazzarini (Senior Lecturer, Dean of Arts, Celtic Studies & Philsopophy)

Mus Tech 3733 [email protected]

Dr Patrick McGlynn (Lecturer) 1 Mus Tech 3545 [email protected] Dr Ryan Molloy (Lecturer) 109 3730 [email protected] Dr Estelle Murphy (Lecturer) 111 3754 [email protected] Dr Martin O'Leary (Lecturer) 110 3924 [email protected] Prof. Fiona Palmer (Professor) 135 6223 [email protected] Dr Adrian Scahill (Lecturer) 107 4638 [email protected] Dr Laura Watson (Lecturer) 136 6717 [email protected] Director of Choral Groups: Joint Post with St Patrick’s College Maynooth Dr John O'Keeffe [on research sabbatical leave in Semester I]

112 3732 [email protected]

Occasional Lecturers: Mr Martin Fahy 106 3733 [email protected] Mr Ray O’Donnell 106 3733 [email protected] Ms Marian McEvoy 106 3733 [email protected] Dr Darina McCarthy 112 3732 [email protected] Dr Majella Boland 106 3733 [email protected] Dr Barbara Dignam 106 3733 [email protected] Graduate Students with TA Roles: Ms Anja Bunzel PG 3733 [email protected] Mr Shane Byrne PG/Tech 3733 [email protected] Mr Brian Connolly PG/Tech 3733 [email protected] Ms Stephanie Ford PG 3733 [email protected] Ms Emma Scanlon PG 3733 [email protected] Postdoctoral Research Fellow: Dr Francesca Placanica 138 3733 [email protected] Department Ensemble Contacts: Dr Darina McCarthy (Semester I) & Dr John O’Keeffe (Semester II) (Choral Society)

See Above

Mr Sebastien Petiet & Mr Lorcan Daly (Chamber Orchestra) 138 3733 [email protected] Mr Michael Dawson (Chamber Choir) 138 3733 [email protected] Dr Darina McCarthy (Altus) 138 3733 [email protected] Dr Adrian Scahill (Irish Traditional Group) See Above Dr Pavlos Kanellakis (Guitar Ensemble) 138 3733 Dr Ryan Molloy & Dr Martin O’Leary (FUAIM) See Above


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MAIN CONTACTS FOR POSTGRADUATE STUDENTS

HEAD OF DEPARTMENT Prof. Christopher Morris Room 119, Logic House. [email protected] , tel +353 (0)1 708 3733

DIRECTOR OF POSTGRADUATE STUDIES: Dr Alison Hood Room 123, Logic House. [email protected], tel: +353 (0)1 708 6457

TAUGHT POSTGRADUATE PROGRAMME DIRECTORS:

MA MUSICOLOGY: Dr Laura Watson. [email protected] MA PERFORMANCE AND MUSICOLOGY: Dr Antonio Cascelli. [email protected] MA COMPOSITION: Dr Martin O’Leary and Dr Ryan Molloy. [email protected], [email protected] MA CREATIVE MUSIC TECHNOLOGIES/PG DIPLOMA IN MUSIC TECHNOLOGY: Dr Gordon Delap. [email protected] HDip CHURCH MUSIC: Dr John O’Keeffe. [email protected]


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RESEARCH INTERESTS OF ACADEMIC STAFF Dr Lorraine Byrne Bodley Lorraine Byrne Bodley is Senior Lecturer in Musicology at Maynooth University. She has published 11 books including: Goethe and Zelter: Musical Dialogues; The Unknown Schubert and Schubert’s Goethe Settings. Forthcoming publications include Schubert’s Late Music: History, Theory, Style (Cambridge University Press, 2015); Rethinking Schubert (Oxford University Press, 2016), both co-edited with Julian Horton, and she has been commissioned by Yale University Press to write a new biography of Schubert. Recent awards include a DMUS in Musicology, a higher doctorate on published work (NUI, 2012); two DAAD Senior Academic Awards (2010 and 2014) and a Gerda-Henkel Foundation Scholarship (2014). In 2015 she was elected President of the Society for Musicology in Ireland and Member of The Royal Irish Academy. Dr Antonio Cascelli Antonio Cascelli studied piano in Rome with the pianist Elena Matteucci, a member of the acclaimed Italian ‘Quartetto Michelangelo’. He also studied at the University of Rome ‘La Sapienza’ and at the University of Southampton, where he completed his Master and PhD respectively on Monteverdi and on Schenker’s unpublished analyses of the music of Chopin. Antonio collaborates with Radio Vaticana in Rome, Italy, for which he has recorded programmes on Schenkerian Analysis, English Art Songs, the Fitzwilliam Virginal Book, and Chopin. He has presented papers at several international conferences, including Renaissance Society of America Conferences in Washington DC (2012), New York (2014) and Berlin (2015); the Fourth International Schenker Symposium in New York (2006) and the Seventh and Eighth International Academic Conference organized by the Fryderyk Chopin Institute (Warsaw, 2007 and 2008), the Anniversary Chopin Congress in Warsaw (2010), and the 16th Biennial Conference on Nineteenth-‐Century Music at the University of Southampton (2010). Recent publications include articles on the importance of Chopin’s music in the development of Schenker’s analytical thought (Schenker Studies) the influence of Chopin on Busoni, Schenker’s interpretation of the last movement of Chopin’s Sonata Op. 35, and the role of architectural metaphors in Galilei's Dialogo della musica antica e della moderna in the Routledge Companion to Music and Visual Culture (2014). He has published articles and reviews in Ad parnassum, Studi Musicali, Music & Letters, JSMI, Nuova Rivista Musicale Italiana, and Chopin’s Musical Worlds – The 1840’s (Warsaw 2007). He is in the editorial board of the online music analysis journal Analitica (http://www.gatm.it/analitica/0en_index.htm) and on the board of GATM (Gruppo di Analisi e Teoria Musicale. http://www.gatm.it). Antonio’s main research interest is the history of music theory, with particular focus on analysis, theory, metaphor and performance. He is currently working on a project about the importance of metaphors in the discourse about music in sixteenth-‐century Italian art and music treatises. He is also working on a book on Schenker’s unpublished documents on the works of Chopin, to be published with the LIM (Libreria Musicale Italiana). He is coordinating a conference on Music and Visual Culture (2016) and the Medieval Renaissance Conference (2018) in Maynooth. As a performer, Antonio is an active accompanist, collaborating with singers Virginia Kerr, Niamh Murray, Eamonn Mulhall, Dr Francesca Placanica, and cellist Dr Alison Hood. Dr Gordon Delap Gordon Delap studied at City University, London, and at the Sonic Arts Research Centre at Queen’s University, Belfast, completing his doctorate in 2004. He has undertaken international residencies at Nadine Arts Centre in Brussels, at the Technische Universität in Berlin, and recently at the University of Edinburgh. His work has recently been performed at The International Conference for Computer Music (Athens), the San Fransisco Tape Music Festival, the Symposium for Acoustic Ecology (Kent), and Undae Festival (Madrid) Recent work has been concerned with combining electronic sounds with spoken word and with video, and research interests include investigation of compositional applications of non-‐linear plate models developed at the University of Edinburgh. Dr Alison Hood Alison Hood is a first-‐class honours graduate of Trinity College Dublin. She graduated from Trinity with a PhD entitled ‘Chopin's Strategic Integration of Rhythm and Pitch: a Schenkerian Perspective’. During her time at Trinity she was awarded the Taylor Entrance Exhibition (1992), the Home Hewson Scholarship (1996), the Trinity College Postgraduate Award (1999), and the Government of Ireland Scholarship (1999). She was elected Scholar of Trinity in 1994. She lectured part-‐time in Trinity from 1997 to 2003 and was appointed


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visiting lecturer at the University of Oregon for the autumn term of 2001. She began lecturing in Maynooth University in 2003 and was appointed Acting Head of Department in 2012–2013. Her research interests lie in the area of analysis and performance, particularly in piano music from the nineteenth century. Recent publications include: ‘Structural Coupling in the Coda of Chopin’s Barcarolle’, in Artur Szklener (ed.), Chopin 1810–2010: Ideas—Interpretations—Influence, (Warsaw, forthcoming); ‘Shared Compositional Strategies in Chopin’s Nocturnes Opus 48’, in Irish Musical Studies 11 (2014); and ‘Ambiguity of Tonal Meaning in Chopin’s Prelude Opus 28, No. 22’, Music Theory Online (2012). Her monograph Interpreting Chopin: Analysis and Performance was published by Ashgate in April 2014. In addition, she has developed an interest in pedagogical research and has built up research expertise in large group pedagogies, student engagement and the assessment process and has presented and published the results of this research. Her current research is interdisciplinary in nature, focusing on performance and performative analysis and the opportunities that can emerge when Music as a discipline interacts with other parts of the Academy. She currently co-‐convenes the research cluster ‘Performance, Practice & Interactivity’ with Dr Antonio Cascelli. Dr Victor Lazzarini Victor Lazzarini is a graduate of the Universidade Estadual de Campinas (UNICAMP) in Brazil, where he was awarded a BMus in Composition. He completed his doctorate at the University of Nottingham, UK, where he was received the Heyman scholarship for research progress and the Hallward composition prize for one of his works, Magnificat. His interests include musical signal processing and sound synthesis; computer music languages; electroacoustic and instrumental composition. Dr Lazzarini received the NUI New Researcher Award in 2002 and the Ireland Canada University Foundation scholarship in 2006. He currently leads the Sound and Digital Music Research Group at Maynooth University and has authored over one hundred articles in peer-‐reviewed publications in his various specialist research areas. He has also forged links with Industry, providing consultancy and research support to Irish companies in the area of computer music. In addition to these activities, Dr Lazzarini is active as a composer of computer and instrumental music, having won the AIC/IMRO International Composition prize in 2006. His music is regularly performed in Ireland and abroad, and has been released on CD by FarPoint Recordings. Recent publications include: The Audio Programming Book (with R. Boulanger, Cambridge, Mass, MIT Press, 2010)), Ubiquitous Music (with D. Keller and M. Pimenta, Springer Verlag 2014), and “Interactive Spectral Processing of Musical Audio” (in Oxford Handbook of Interactive Audio, Oxford Univ. Press, 2014). Dr Lazzarini is currently the Dean of Arts, Philosophy and Celtic Studies. Dr Patrick McGlynn Patrick McGlynn is a musician and composer from Kilkenny, Ireland. After graduating with a BA in Music Technology and MA in Computer Music from NUI Maynooth, Patrick was awarded the John and Pat Hume Scholarship in 2009 in support of his PhD. research. His doctoral thesis, entitled Interaction Design for Digital Musical Instruments, presents new conceptual frameworks and software for musical interface design. Patrick is a member of the Ubiquitous Music Group and has recently presented work in the USA (NIME12), UK (SAFUK, IFIMPaC) and Brazil (SBCM11, UbiMus11/12). In 2013, Patrick co-‐founded Surface Tension Ltd. – a company that develops innovative music software for performers and composers. As a musician, Patrick is especially fascinated by the creative impulse, storytelling, synchronicity and improvisation. His music has been performed in events as diverse as the Kilkenny Arts Festival, Brazilian Computer Music Symposium, ABSOLUT Fringe, The Bram Stoker Festival and Electric Picnic. Patrick also keenly supports and contributes to free culture movements online and releases all of his own music under a Creative Commons license. The development of new instruments, teaching methods, performance styles, musical games and modes of online music dissemination continue to be focal points for Patrick as a lecturer, researcher and performer. Dr Ryan Molloy As a composer and performer, Ryan’s work has been performed to international audiences on four continents for over ten years, including major concert venues such as Tanglewood (U.S.A.), Lucerne Hall, KKL (Switzerland), Kölner Philharmonie (Germany), Holywell Music Room (England) and Waterfront Hall (N. Ireland). In great demand as an accompanist, he has recorded over a dozen albums and his repertoire spans numerous genres from traditional Irish music to contemporary classical music. Currently a lecturer in composition at Maynooth University, Ryan studied at the University of Oxford and latterly at Queen’s University Belfast where he completed his PhD ‘The Traditional Contemporary Dichotomy in Irish Art Music: A New Compositional Approach’ under Dr Simon Mawhinney and Prof. Piers Hellawell.


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Ryan’s compositional work has won numerous prizes and has been broadcast both nationally and internationally on BBC Radio 3 and Radio Ulster, RTÉ Lyric FM, Radio 1 and Ráidió na Gaeltachta as well as on BBC 2, UTV and BBC World. From 2012 to 2014, Ryan’s compositional work was supported by a BBC Performing Arts Fund Fellowship in association with Moving on Music. Recently completed works include Gealach Chríoch Lochlann, a new string quartet for BBC Radio 3 New Generation Artists the Danish String Quartet, Cantaireacht for clarinettist Carol McGonnell and Seisiún, a new commission from the Concorde Ensemble. Future projects include a new work for the Fidelio Trio, a large-‐scale piano work for American pianist Alexander Bernstein for release in September, and a song cycle for Elizabeth Hilliard based on Clearances by Seamus Heaney. Ryan is represented by the Contemporary Music Centre, Dublin.

Ryan’s research interests include Irish ‘art music’ from the late twentieth century to the present; Irish traditional music and its development in the late twentieth century; microinterval modality in older traditional Irish music; new compositional styles allowing fuller incorporation of Irish traditional music in the contemporary medium; the examination of identity in contemporary art and the response of contemporary performers to ‘traditional’ material; the place of contemporary composition in modern society; improvisation in a cultural context. Professor Christopher Morris Christopher Morris is a musicologist with research interests in opera, film music, cultural theory and music in Austro-‐German modernism. He is a graduate of the University of Toronto (BMus, MA) and holds a PhD in Musicology from the University of Leeds. He was Archivist of the Canadian Opera Company before his appointment to a Lectureship in Music at University College Cork. There he led the development of new postgraduate programmes in music and was a member of interdisciplinary boards of study in Film Studies and Theatre Studies. In his book Reading Opera Between the Lines: Orchestral Interludes and Cultural Meaning from Wagner to Berg (Cambridge, 2002) Professor Morris considers the theatrical and musical role of the extensive but overlooked orchestral transitions that characterise Wagnerian and post-‐Wagnerian opera. His Modernism and the Cult of Mountains: Music, Opera, Cinema (Ashgate Interdisciplinary Studies in Opera, 2012) examines the cultural role of the Alps in Austro-‐German modernism, showing how attitudes to nature intertwined with the aesthetics of music. Professor Morris’s articles have appeared in The Journal of Musicological Research, The Musical Quarterly, The Journal of the Royal Musical Association, 19th-‐Century Music and The Opera Quarterly. He is author of numerous chapters, reviews and review essays on topics in musical modernism, the aesthetics of music, opera after Wagner and film music. His current project centres on the impact of contemporary media technology on the production and consumption of opera. Some of the initial findings of the project have appeared in two articles in The Opera Quarterly and in the chapter ‘“Too Much Music”: Opera as Medium’ in the Cambridge Companion to Opera Studies (2012). Recent presentations include an invited lecture at the Harvard Opera Seminar and conference papers at the American Musicological Society and Royal Musical Association. Professor Morris is Associate and Reviews Editor of The Opera Quarterly and has presented at annual symposia organized by the journal’s editorial board since 2008. Dr Estelle Murphy Estelle Murphy is a musicologist whose primary areas of specialization are Baroque music and contemporary popular music. Her PhD dissertation The Fashioning of a Nation: The Court Ode in the Late Stuart Period (University College Cork, 2012) considered the relationships between music, politics and propaganda at the London court from 1689 to 1720. Estelle teaches and supervises on topics in eighteenth-‐century music as well as her other areas of research: music and gender and popular music. Modules taught have included an undergraduate seminar on women in music from 1650 to the present day, undergraduate introductions to Heavy Metal and Restoration court music in England, and a postgraduate seminar on the musicology of recent popular music. Her publications include a major book chapter ‘“Sing Great Anna’s Matchless Name”: Images of Queen Anne in the Court Ode’, for Queen Anne and the Arts (Bucknell University Press, 2014); a review of Johann Pepusch’s Concertos and Overtures for London for the journal Eighteenth-‐Century Music (Cambridge University Press, 2014); an article on John Eccles and the court ode for the journal Eighteenth-‐Century Music (Cambridge University Press, forthcoming, March 2016); an article on Richard Leveridge and the Dublin ode for the journal Music & Letters (Oxford University Press, under review, 2016); and an article on the performance of female masculinity in Metal music (forthcoming). She is also currently working on a critical edition of John Eccles’s theatre music as part of the series The Complete Works of John Eccles, to be published with A-‐R Editions in 2016.


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Dr Martin O'Leary Martin O’Leary is a composer of over seventy works, ranging from pieces for solo instruments to works for full orchestra. He is also active as a pianist (both solo and chamber music). A graduate of Trinity College Dublin, he completed his PhD, entitled ‘Beyond the Gothic: Havergal Brian and his Orchestral Music of the 1930s’ at TCD in 2004. He is a committee member of the Association of Irish Composers and a Director of the Irish Composition Summer School. Recent works include Agnus Dei for tenor, baritone and bass (2008), Bluescape for piano trio (2007) which is featured on the CMC CD Contemporary Music from Ireland (volume 8) (2009), and Fantasia Elegiaca for guitar (2008). The latter was released on CD in a performance by the Danish guitarist Christian Fergo, who commissioned the work. Professor Fiona M. Palmer Fiona Palmer undertook her PhD in Musicology at the University of Birmingham as a British Academy Scholar and her publications focus on music and musicians in the marketplace, performance practice, culture, commerce, canonization of the repertoire and socio-‐economic issues. A first-‐class graduate of Birmingham Conservatoire, Fiona is a double bassist, mezzo soprano and flautist. She is currently writing a monograph on orchestral conductors in Britain c. 1870-‐1914 which contextualizes and reconsiders the emergence and reception of the role of conductor in the late Victorian age through an examination of evolving institutional and professional opportunities. Fiona’s monographs include Vincent Novello (1781–1861): Music for the Masses (Aldershot: Ashgate, 2006) -‐ the first large-‐scale contextualized reappraisal of the career of the pioneering London-‐based editor and publisher. It complements her repositioning of one of the most influential and well-‐connected virtuosi in London in the nineteenth century: Dragonetti in England (1794-‐1846): the Career of a Double Bass Virtuoso (Oxford University Press, 1997).. Recent publications include a contextualization of the Liverpool Philharmonic Society's conductors in the second half of the nineteenth century (Turnhout: Brepols, 2014). Chapters currently in the press include: an appraisal of the role of Handel’s Messiah in 19th-‐century Britain in relation to wider European nationalism (Leiden: Brill, 2015); an interrogation of the value and exploitation of pedigree, networks and marketing in the careers of conductors in 19th-‐century Britain (Woodbridge: Boydell Press, 2016); and a detailed analysis and contextualization of the socio-‐economic and professional underpinnings of the Liverpool Philharmonic Society’s development in the mid-‐19th-‐century (Oxford: OUP, 2016). Fiona has also written and revised entries for New Grove 2, the New Dictionary of National Biography, Musik in Geschichte und Gegenwart, the Dictionary of Hymnology and the Encyclopaedia of Music in Ireland. Published articles can be found in Music and Institutions in Nineteenth-‐Century Britain, Journal of the Royal Musical Association, 19th-‐Century British Music Studies 3, The Strad, and Muzio Clementi: Studies & Prospects. Reviews and review-‐articles can be found in the Musical Times, Handel Association Newsletter, Early Music, and the Journal of the Society for Musicology Ireland. Recent conference papers and invited lectures have been delivered in Liverpool, the USA, Italy, London, Bristol, Birmingham, Dublin, Cardiff and Cambridge. Dr Adrian Scahill Adrian Scahill studied at Maynooth University, Queen's University, Belfast, and completed his PhD, entitled 'The knotted chord: harmonic accompaniment in printed and recorded sources of Irish traditional music’, at University College Dublin (2005). He has lectured at UCD and Queen’s University Belfast, and was appointed lecturer in music at Maynooth University in 2008. His research interests focus on the history and practice of Irish traditional music. He is a subject editor (traditional music) for the Encyclopaedia of Music in Ireland, and his recent publications include articles on Riverdance in New Hibernia Review (Summer, 2009), and on Irish traditional music and the seventeenth century in Barra Boydell and Kerry Houston (eds), Music, Ireland and the Seventeenth Century, Irish Musical Studies 10. Dr Laura Watson Laura Watson is a musicologist specialising in French musical culture c.1870 -‐ 1940 and women in music, more broadly speaking, from c.1900. Following undergraduate studies at the University of Liverpool she was an IRCHSS Government of Ireland Scholar at Trinity College Dublin (PhD, 2008). After one year as an Early Career Teaching Fellow at the University of Southampton she joined Maynooth University in 2008. Laura’s chapter ‘Ireland in the Musical Imagination of Third Republic France’ was recently published in the interdisciplinary collection France and Ireland: Notes and Narratives (Bern: Peter Lang, 2015). Reviews and articles also appear in the Musical Times, Journal of the Society for Musicology in Ireland, Nineteenth-‐Century


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Music Review, Irish University Review, and The Encyclopaedia of Music in Ireland. Laura has edited a selection of Paul Dukas’s music criticism for the Francophone Music Criticism Digital Repository and is working on a Dukas monograph. In July 2015 she chaired the International Conference ‘Music, Intertextuality, & Inter-‐Art Forms: Remembering Paul Dukas at 150’, hosted at Maynooth University Music Department. Laura was a contributor to the RTE Lyric FM Women of Note series (2012), speaking about the Irish pianist, composer, and poet Rhoda Coghill. She regularly presents her research at conferences, such as the annual meetings of the American Musicological Society, Royal Musical Association, and Society for Musicology in Ireland.

COMMUNICATION: KEEPING IN TOUCH 1. Matters of Etiquette

When emailing members of staff remember that you should write formally. Staff will try to respond to urgent matters in a timely manner. Do not depend on a response to an urgent email sent after office hours.

2. Maynooth University email, Moodle, and Social Media • We use only Maynooth University email addresses in our contact with you. You should

check your university email account on a daily basis. • For the latest news, follow the Music Department on Facebook

(https://www.facebook.com/pages/Department-‐of-‐Music-‐NUI-‐Maynooth/41137779928) and Twitter (@musicmaynooth) and our PG Twitter profile (@MaMusicMaynooth)

• Make sure that you are signed up to Moodle! • All modules make use of Moodle as a learning tool and for important notices:

https://2016.moodle.maynoothuniversity.ie/login/index.php • This Handbook and other crucial sources of information are also stored on Moodle.

3. Graduate Feedback Council This Council, chaired by the Dean of Graduate Studies, comprises research students representing all departments within the university and provides a university-‐wide forum for raising issues of concern to postgraduate students. Research students are asked to elect two representatives for the NUI Graduate Feedback Council. The election happens early in the academic year and the names of the successful candidates are communicated to the Director of Postgraduate studies.

4. Events For all events keep checking the Department’s website at https://www.maynoothuniversity.ie/music/our-news-events

5. Graduate Studies Website The Graduate Studies office website contains further information on the University-‐wide Graduate School and its programmes. It also contains a link to the current Graduate Studies Handbook, which is a complementary resource to the Department’s PG Handbook. The website is found at https://www.maynoothuniversity.ie/study-‐maynooth/postgraduate-‐studies

6. Noticeboards

If you wish to put up a notice you must gain permission from the Department Office first.


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Main Entrance Hall • Glass-‐Fronted Boards: Department ‘Showcase’ – Events/Publications/Courses • Free-‐Standing Board: Department Events/’What’s on this Week’ etc.

Ground Floor (between the Bewerunge & O’Callaghan Rooms)

• Glass-‐Fronted Boards: UG & PG Student Timetables, Examination Results, Lecture Notices • Open Board: Sign-‐Up Lists for Academic Tutorials

Bottom of Stairs (to the right if you are standing facing the stairs)

• Glass-‐Fronted Board No. 1: Approved Ensemble Notices (Chamber Orchestra, Choral Society, Chamber Choir, Guitar Ensemble, Ladies’ Choir, Traditional Group)

• Glass-‐Fronted Board No. 2: Approved Ensemble Notices continued • Glass-‐Fronted Board No. 3: Graduate Student Notices • Glass-‐Fronted Board No. 4: International Student Notices

Bottom of Stairs (to the left between the O’Callaghan Room & Logic Foyer)

• Glass-‐Fronted Board: Music Society Notices (left-‐hand side), Composers’ Society Notices (right-‐hand side)

Middle Landing

• Glass-‐Fronted Board: Events

First Floor Landing: (at the top of the stairs directly in front of you) • Glass-‐Fronted Board: Performance Strand and Music Technology Booking and Equipment

Guidelines • Open Board: Performance and Music Technology Room Booking Sheets

Outside Staff Offices

• Individual notices Performance Suite

• Main Entrance (left-‐hand side): Performance Strand Teaching Notices Music Technology Laboratory

• Main Entrance (right-‐hand side): General Notices

The Plasma Display in the Main Entrance Hall provides regular updates on events, research seminars and conferences.


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FACILITIES, EVENTS AND RESOURCES Housed in the historic South Campus of the university, the Music Department at Maynooth University is one of Ireland’s largest and most dynamic centres for research in musicology, music technology, composition and performance studies. Staff research interests cover a wide range of subject areas and most staff members have a strong publication profile and present research or have their compositions performed in Ireland and internationally. Dedicated postgraduate facilities include a large postgraduate ‘hot-‐desking’ room equipped with computers, and modern practice rooms including a large rehearsal space for the exclusive use of postgraduate and final-‐year undergraduate performance students. The Department’s instrument collection includes pianos, clavinovas, a harpsichord, and three pipe organs, all of which are available to music students. The Department encourages the use of the common study and social areas. Additionally, the Mathematics Department Conference Room has tea and coffee facilities and these are generally available to Music Department postgraduate students strictly on weekdays between 10:45 and 11:45, during semesters. The staff and postgraduate students from both Departments share this facility and we are grateful to the Department of Mathematics for acting as our hosts. Music Technology Laboratory The Department’s Music Technology Laboratory is available to postgraduates for research and is used in the teaching of the MA in Creative Music Technologies/HDip in Music Technology. The Lab hosts two fully-‐equipped computer rooms with Apple Macintosh and Dell PC computers; and a recording studio with a 36 channel 24 bus Audient mixing desk, two computers, 24-‐channel HD recorder and a ProTools system. A post-‐production studio, located in Logic House, is also available with a multichannel ProTools system. Both studios can be booked for research activities with the Department’s Technical Officer. Research Seminars The Department hosts a series of research seminars every Friday at 12 Noon given by visiting musicologists, composers, staff and students, which postgraduate students are expected to attend (see Calendar below for dates – further details available on the Department website). Each MA in Musicology / MA in Musicology & Performance student is required to present on his or her research topic as part of the Research Seminar Series. This participation accounts for 15% of modules MU640 and MU641a respectively. Society for Musicology in Ireland Research students should become members of the Society for Musicology in Ireland (SMI), which represents musicology throughout the island of Ireland and understands musicology as concerning all forms of music, from art music to traditional music, from popular music to jazz. Student membership costs €10 per annum. For details see http://www.musicologyireland.com. The current President of the Society for Musicology in Ireland is one of our Department’s senior lecturers, Dr Lorraine Byrne Bodley. Composition and Performance Opportunities In conjunction with the MA in Composition programme, the Department hosts regular readings by specialist contemporary music performers. These distinguished visiting musicians perform works by MA students and complement the work of our in-‐house contemporary music activities under the


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heading of fuaim. In addition, MA in Composition students work directly with MA in Performance and Musicology students in the creation of a new work for performance as part of module MU652. The Department runs important ensembles including: the Choral Society, Chamber Orchestra, Chamber Choir, Ladies’ Choir, Guitar Ensemble and Irish Traditional Group. Each of these ensembles is professionally directed and contributes to the cultural life of the Department, University and local community. Each semester’s events are summarised on the Department’s webpage. Weekly concerts, featuring distinguished visiting performers and the staff and students of the University in recital, are held on Thursday lunchtimes at 13:10 in Riverstown Hall. Regular research seminars and the hosting of internal and external conferences enrich the intellectual life of the Department and all students are encouraged to participate fully in these opportunities and activities.


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LIBRARY In addition to its holdings of scores and books on music, the university library provides on-‐line access (which can also be accessed off-‐campus by registered students) to a wide range of databases, search engines and resources. Library services include: • Databases & eBooks • Electronic Journals • ePrints & eTheses • ExPERT Examination Papers • IReL -‐ Irish Research eLibrary • Maynooth University Library Catalogue and links to Irish and worldwide Library Catalogues • Off-‐Campus Access to Electronic Resources • SFX -‐ Linking you to Full-‐Text • Newspapers on the Internet • Core Text Project For a full list see https://www.maynoothuniversity.ie/library Other services available through the library include inter-‐library loans and the issue of tickets enabling access to other academic libraries in Ireland. The Russell Library holds an important collection of early printed books including a number of rare music publications. Our Music Librarian is Regina Richardson, tel: +353 (0)1 708 3897 (09.30–13.00), her e-‐mail is [email protected]. Specific resources for Music are constantly updated and enhanced. The latest information on these is found on the music resources website: https://www.maynoothuniversity.ie/library/support-training/subject-support/music Particularly relevant to postgraduate students is the Music PAL scheme, which facilitates access to music information and materials available across a broad range of libraries and archives throughout the island of Ireland. Member libraries work collaboratively to provide easy access to the wealth of music resources held in their collections. Maynooth University Library is a Music PAL participant library. More information on PAL can be obtained from our subject librarian.


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CALENDAR 2015-‐2016 Full Module Descriptors can be found at

https://www.maynoothuniversity.ie/ourcourses

DEGREE PROGRAMME REQUIREMENTS (TAUGHT PROGRAMMES)

MA in Musicology

Students taking the MA in Musicology programme must register for the following modules: • MU660A Research Methods (Semesters 1 & 2; 10 ECTs)

This module provides training in research skills and critical thinking. Class seminars and associated assessed coursework are completed in Semester 1. In both Semesters 1 and 2 students are required to attend Friday Research Seminars on a regular basis and are expected to contribute to discussions afterwards. Guest speakers at Friday Research Seminars offer further insights into current research methods and issues.

• MU661 Musical Texts (Semester 1; 10 ECTs)

This module develops a critical engagement with musical scores, recordings, texts and paratexts through a series of case studies (normally ranging from Renaissance music to twenty-‐first century music) and the exploration of such issues as interpretation, editorial aspects of music, current debates as to what constitutes a musical text, and semiotics of performance/marketing materials.

• MU647 Music in Ireland (Semester 1; 10 ECTs)

This module facilitates a critical engagement with the music of Ireland in its broadest sense, and musicological and ethnomusicological research into music in Ireland. Through case studies which build on the interests of a range of staff members, students will explore issues and current trends relating to the music of Ireland, including topics such as identity and representation; colonialism and post-‐colonial thought; music and nationalism; authenticity; Irish art music in the twentieth and twenty-‐first centuries; new composition in Irish traditional music; and music and politics.

• MU635 Aesthetics of 20th/21st-‐Century Music (Semester 2; 10 ECTs)

This module deals with the changing aesthetics of music throughout the 20th and 21st Centuries. It introduces students to the philosophical discussion of aesthetics (dating from the time of the Ancient Greeks) and encourages students to challenge all kinds of music from an aesthetic standpoint by learning about particular schools of aesthetic thought.

• MU648 Interpreting Analysis (Semester 2; 10 ECTs)

This module develops the student's ability to analyse the musical languages of the nineteenth and twentieth centuries, as articulated both in notated scores and in performance. With reference to a stylistically diverse range of composers and performers in art music and popular music, this module further deepens the student's knowledge of current musicological discourses in the field of analysis.

• MU 649 Gendered Musical Bodies (Semester 2; 10 ECTs)

Ranging across topics in Western art music and popular music, this module explores the myriad ways in which gender and sexuality may be encoded in music, especially when music functions in intertextual settings and interacts with the other arts: e.g., in song, on the


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stage as part of opera and ballet, and in the cinema. The musical articulation of gender and sexuality operates on a number of levels involving composition and/or performance. Seminars therefore address a wide spectrum of issues such as: the characterisation and performance of gendered roles in opera and ballet; masculinities and popular music; black female blues singers in the 1920s.

• MU640 Thesis (Semesters 1 & 2; 30 ECTs) The supervised research and submission of a thesis (c15,000 words) providing the opportunity for detailed independent research and study of a topic to an advanced level. Regular individual tutorials are held with an assigned supervisor up to the end of June. A draft of the thesis should be shown to the supervisor by the end of June, the completed thesis being submitted before the end of August.

MA in Performance and Musicology

Students taking the MA in Performance and Musicology programme are expected to register for the following modules: § MU644A Public Recital (Semesters I & II; 30ECTs)

A publicized public recital (45-‐50 minutes) fully marketed by the student (examined in June); a portfolio including a CV. 1. The recital programme must be agreed in consultation with the supervisor. The programme should be coherently structured and demonstrate technical, interpretative and communicative powers that are at a professional level. Brief spoken introductions are expected during the final recital. 2. A portfolio of marketing materials including evidence of performing experience gained during the module and professionally presented programme notes for the recital itself. Assessment: Public recital: 80%; Portfolio including performer’s CV and publicity material for the recital: 20%.

§ MU660 Research Methods (Semesters I(/2); 10 ECTs) This module is designed to provide training in research skills and critical thinking. Coursework is held in Semester 1 but as part of the module students are expected to take regular first-‐study lessons and to participate in performance seminar classes in both semesters (full time) and both semesters and years (if part-‐time), keeping an evaluative journal of their progress, submitted at the end of the second semester of Year 1 (full-‐time and part-‐time students).

§ MU661 Musical Texts (Semester I; 10 ECTs) This module develops a critical engagement with musical scores, recordings, texts and paratexts through a series of case studies (normally ranging from Renaissance music to twenty-‐first century music) and the exploration of such issues as interpretation, editorial aspects of music, current debates as to what constitutes a musical text, and semiotics of performance/marketing materials.

§ MU651 Musicology of Performance (Semester II; 10 ECTs) This module’s aim is to explore how Performance itself grants access to Music History and Musicology. In particular, it will show how performers create and give voice to Music History through their own approaches to playing and interpreting.

§ MU652 – Collaborative Music Performance (Semester I and II: 5 ECTs)

In this module, the students are required to collaborate with student composers from the department (MA in Composition/3rd year UG) toward the realisation and subsequent performance of a newly composed work for their instrument/voice.


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§ MU641A Thesis (25 ECTs)

An extended, individually supervised thesis (10,000-‐12,000 words) on a topic directly related to the final recital (submitted at the end of August). A presentation at the Departmental MA Showcase (if part-‐time, this will take place in the second year of the degree).

MA in Composition Students taking the MA in Composition programme are expected to register for the following modules:

• MU633 Contemporary Compositional Techniques I (Semester 1) This module provides a detailed survey of a wide range of 20th-‐century compositional ideas and techniques.

• MU634 Contemporary Compositional Techniques II (Semester 2) The module aims to expose students to the wide variety of styles and ideas in Contemporary Western Art Music so that they can make informed judgements about their own creative expression through composition. This is done through the examination of scores of contemporary music with some analysis relating to particular techniques employed. Topics covered include advanced harmonic techniques, microtonality, extended techniques and notation.

• MU635 Aesthetics of 20th/21st Century Music (Semester 2) This module deals with the changing aesthetics of music throughout the 20th and 21st Centuries. It introduces students to the philosophical discussion of aesthetics (dating from the time of the Ancient Greeks) and encourages students to challenge all kinds of music, including their own compositions, from an aesthetic standpoint by learning about particular schools of aesthetic thought. • MU637 Styles & Ideas (Semester 1) This module aims to introduce students' to the critique of Art music from the past century. In group discussions, students are encouraged to reflect on their own work through the critical analysis of important works and writings by major composers of the 20th and 21st Centuries. • MU645A Composition Portfolio (Semesters 1 and 2)

The module allows students to develop their compositional language through a portfolio of compositions, with guidance from the tutors in one-‐to-‐one tutorials. This includes collaboration with students on the MA in Performance and Musicology as part of module MU652 in the creation of a new work for performance.

Students also choose from a range of music technology modules -‐ one module from MU610A, MU611A, and MU612A in Semester 1 and either MU617A or MU619A in Semester 2. See the module descriptions in the MA in Creative Music Technologies section below.


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MA in Creative Music Technologies Students taking the MA in Creative Music Technologies programme are required to register for the following modules:

• MU610A Acoustics (Semester 1) This module is compulsory for all MA in Creative Music Technologies students. It will focus on the nature of sound and sound perception. It will present basic concepts involved in the phenomena of sound.

• MU 643 Thesis/Portfolio/Project (MA in Creative Music Technologies) (Sems 1&2; 30 ECTs)

Students undertake research leading to a thesis or portfolio in one of the following three options: (a) Thesis/dissertation (12,000 to 16,000 words) on a chosen topic of study within Music Technology; (b) Project report (10,000 and 14,000 words) plus a beta-‐version of the software for a computer music software research/development project; (c) Portfolio of electroacoustic music composition or compositions amounting to between 15 and 20 minutes.

In addition, they will choose one of the following options in each Semester: Semester I TWO modules from the following list:

• MU611A Synthesis (Semester 1) Synthesis focuses upon the study of the basic techniques of synthesis, including a detailed study of computer music languages (sound compilers).

• MU612A Sound Recording Techniques (Semester 1)

This module will introduce the studio to students and provide basic information needed to safely handle studio equipment.

• MU614A Music Systems Programming 1 (Semester 1)

This module will focus on computer programming in general. It will first introduce the different operating systems and programming environments used in the lab.

Semester II THREE modules from the following list:

• MU616A Signal Processing (Semester 2) This module will explore the techniques of signal processing for musical applications: delay lines, filtering, spectral processing and transformation.

• MU617A Interactive Systems (Semester 2)

‘Interactive Systems’ is concerned with the use of the SuperCollider environment as a tool for generating music and compositions using synthesis and signal processing techniques, and use of the software in the context of live performance.

• MU619A Electroacoustic Composition (Semester 2)

This module will study the ideas, concepts and techniques involved in electronic music composition.

• MU620A Music Systems Programming 2 (Semester 2)


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This module will study several different aspects of music systems programming. These will include low-‐level MIDI, audio programming, signal processing and component development.

• MU621A Recording Project (Semester 2)

This module is designed to complement the first Semester module on sound recording. Here the student will develop an individual recording project.

PG Diploma in Music Technology Students are expected to register as above for MA in Creative Music Technologies, excluding MU643 Thesis/Portfolio.


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DEGREE PROGRAMME REQUIREMENTS (STRUCTURED RESEARCH PROGRAMMES)

Initial Meeting and Customised Student Programme Either prior to/or immediately after registration an introductory meeting is held with the student and primary supervisor. The objective of this meeting is to balance a programme of research investigation with the proposed supporting taught modules. These should be identified, recorded and agreed in the Initial Meeting Record for a customised student programme. Module requirements and options are listed below. Student registration At registration, a student, who has completed their Initial Meeting Record, may register for the appropriate modules. However, if this is not completed prior to Registration, a student must register for their course, on the day indicated by Records Office, but register for their appropriate modules on-‐line by the end of October. Students will have the opportunity to amend their module selection on-‐line until the end of October. They will also have the opportunity of adding or removing second Semester modules on-‐line in the first four weeks of the second Semester. All new research postgraduate students can register on-‐line in a supervised environment. Each student will be assigned a time slot to come and register and to present any required documentation. Once registration formalities are completed students will then go across to the Central Registration Area in Humanity House where they must pay their fees or produce evidence of funding and finally they will have their photo image captured in order to produce a Student Identity Card. There will be a Late Registration penalty of €100 applied to any student who does not attend their assigned slot.

Structured MLitt in Music A student undertaking the MLitt in Music must take a minimum of 20 ECTs in taught modules (at least 5 ECTs in subject-‐specific modules and at least 5 ECTs in transferable modules) from the Department’s structured programme. Compulsory modules (5 ECTs): MU801 Research Colloquium I (a subject-‐specific module) Optional modules can be chosen from the list of Structured PhD options, shown below.


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Structured PhD in Music For candidates who have a four-year undergraduate degree or a three-year undergraduate degree plus a masters, the programme requires a minimum of 40 ECTs and a maximum of 90 ECTs to be taken in taught modules. Within the programme, students must take a minimum of 15 ECTs in subject-specific modules and a minimum of 15 ECTs in transferable modules. For candidates who have completed a three-year undergraduate degree (with no masters), they are required to take a minimum of 60 ECTs and a maximum of 90 ECTs in taught modules. This must include at least 15 ECTs in subject-specific modules and at least 15 ECTs in transferable modules. Compulsory Modules (5 ECTs each):

Optional Modules (25 ECT): Students should choose 25 credits of optional modules in the first 3 years of the programme (5 years part-‐time). Students are allowed to take any combination of optional modules, which are offered in three categories: (a) Modules offered by the Music Department

YEAR 1 MU801 Research Colloquium I (a subject-‐specific module) YEAR 2 MU802 Research Colloquium II (a subject-‐specific module) YEAR 3 MU803 Research Colloquium III (a subject-‐specific module)

YEAR 1 ECTs MU861 Conference Presentation I 5 MU891 Event Development and Organisation I 5 MU895 Editorial Project I 5 MU865 Major Publication I 5 YEAR 2 MU862 Conference Presentation II 5 MU892 Event Development and Organisation II 5 MU896 Editorial Project II 5 MU866 Major Publication II 5 YEAR 3 MU863 Conference Presentation III 5 MU893 Event Development and Organisation III 5 MU897 Editorial Project III 5 MU867 Major Publication III 5


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(b) Modules offered by the Faculty of Arts and Centre for Teaching and Learning Modules offered by other Departments in the Faculty that are relevant to the work of a specific research student can also be taken as optional credits for this programme. These also include modules from the Centre for Teaching and Learning. Students seeking to register for these modules will require the Music Department’s approval. The updated list of available modules can be obtained from the Graduate Studies office. (c) International modules The Music Department has a number of exchange agreements in place with international institutions and is actively working on identifying other suitable partners. Students will be allowed to avail of these agreements and take modules at other Universities, with the approval of the Department. Students will register for the appropriate module code depending on their year of registration:

ALL YEARS MU810 Acoustics of Music 10 MU811 Software Sound Synthesis 10 MU814 Programming for Music Applications I 10 MU816 Musical Signal Processing 10 MU820 Music Systems Programming II 10

YEAR 1 MU871 International Module I (10 ECT) YEAR 2 MU872 International Module II (10 ECT) YEAR 3 MU873 International Module III (10 ECT)


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GENERAL INFORMATION ON POSTGRADUATE DEGREES, COURSEWORK AND THESIS SUBMISSION

Unless you have registered for a part-‐time degree, all postgraduate degrees are understood to be full-‐time courses. Students should not take up full-‐time employment, as this is understood to be detrimental to their academic progress. In some cases part-‐time employment may be necessary for financial reasons, but this should be kept to a minimum and should not compromise your ability to devote maximum time and effort to your studies. Should personal issues leading to long absences or other difficulties arise, it is recommended that the student inform the Department (ideally via your supervisor). It is your responsibility to do so, and as a general rule, individual lecturers will not pursue issues of non-‐attendance or non-‐submission of work. The University’s Counselling Service https://www.maynoothuniversity.ie/student-services and Academic Advisory Service https://www.maynoothuniversity.ie/centre-teaching-and-learning/student-learning-and-advice/academic-advisory-office are also available to help you should the need arise.

House Style The Department follows the MHRA Guide style guidelines. Copies of the MHRA guide are available online at

http://www.mhra.org.uk/Publications/Books/StyleGuide/index.html. TAUGHT MA PROGRAMMES

Attendance Students on taught MA and Higher Diploma courses are expected to attend all taught modules, including the Department’s Research Seminars which take place on Fridays at 12:00 Noon, and to maintain regular agreed contact with their supervisor when preparing their thesis/research project/composition portfolios.

Progress Evaluation: Coursework, Essays and Regular Assignments Progress in taught postgraduate courses (MA and Higher Diploma programmes) is evaluated on an on-‐going basis through assignments and attendance. Students are expected to submit assignments, drafts, compositions and other work by the agreed deadlines. Failure to do so may result in the work not being credited (see detailed penalties below).

Submission of Work & Examinations Written assessment work must be word-‐processed and follow MHRA style guide instructions. Marks given for work are not final until ratified by the External Examiner and Department Examination Board in October.


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Electronic Submissions

• Unless otherwise specified, all coursework is to be submitted electronically via the relevant module page on Moodle. In such cases, students are not required to make an additional hardcopy submission via the Music Department Office. All submissions are due at 12:00 (Noon) on the specified date. Late submissions are not accepted on Moodle, and must be submitted in hardcopy, or on CD or DVD where relevant. In the case of mitigating circumstances, students should submit a Mitigating Circumstances Coversheet, along with relevant certificates to the Office. Hardcopy Submissions and General Rules

• In cases where hardcopy submissions are requested, students are required to submit two copies of every piece of work (the second copy may be a photocopy); students must also retain a third copy of all submitted work for their own records.

• The appropriate Department Submission Coversheet must be attached to each copy of work submitted (see examples below at the end of this Handbook).

• Student name, student number and degree programme must be given on all assignments. • Written work must be word-‐processed and follow the MHRA guidelines. Music notation may be

written or printed in accordance with instructions provided by the module coordinator. CDs and DVDs submitted by Music Technology students must be uncorrupted (see below).

• Marks given for work in Semesters I and II are not final until ratified by the External Examiners and the Department’s External Examination Board in the October session.

Official Coversheets for Submissions • The Department’s Submission Coversheets require students to confirm that they have abided by

the Department’s Plagiarism Code. • The Submission Coversheets can be downloaded from the Department’s Moodle space. • The Music Department’s Submission Coversheet must be used for all pieces of assessed work

submitted on time, or within the four-‐and-‐a-‐half working day timeframe (see below), where there are no mitigating circumstances for late submission.

• The Music Department’s Mitigating Circumstances Late Submissions Coversheet must be used for all pieces of work submitted after the published deadline and for which the student believes there are circumstances that will carry a marking penalty (deduction of marks/award of zero) inappropriate. A sample Late Submission Coversheet can be found at the end of this document.

Deadlines & Late Submissions

• Assignment deadlines are absolute and it is Department policy that these are set at Noon on the day of the published deadline.

• Assignment deadlines and weightings are clarified in individual module guides. • Work can be submitted, during Office hours, on any day in advance of the published deadline. • Work submitted after the Noon deadline on the published date is deemed to be late. • All continually assessed work is to be submitted to the Music Department Office during

published Office hours on or before the published deadline, where it will be date/time-‐stamped as appropriate. Students must also sign the relevant Department Register (retained in the Office), as a record that the assignment in question has been submitted. Late assignments (see Penalties below) should also be submitted to the Music Department Office with the relevant documentation. Work must not be posted under the Office door: such work is deemed unsubmitted and will be shredded.

• Students are reminded that technical exercises, tutorial assignments and essays constitute a substantial part of the module assessment.


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• Work submitted late with clearly documented, date-‐relevant, mitigating circumstances using the appropriate form will be considered by the Department’s Mitigating Circumstances Committee.

Penalties & Mitigating Circumstances Policy

• Submission of CDs and DVDs (music technology): CDs and DVDs should be tested prior to submission to ensure that all necessary data is present, and that the disk functions properly. This testing can be undertaken by checking the disk on more than one computer. CDs and DVDs which do not work, or which contain projects that cannot be accessed will not be marked, and a mark of zero will be awarded.

• Late submissions attract a standard flat-‐rate deduction of 5% per day from the assigned mark, falling to zero after four-‐and-‐a-‐half working days. Submissions delivered late on the published Noon deadline date automatically lose 5%. A further 5% per day will be deducted for work submitted on the following four working days. Thus, if a piece of work scored 65% but was submitted late (for example at 16:00 on the day of the deadline) a mark of 60% would be recorded. See the following table of automatic penalties:

DATE OF LATE SUBMISSION PENALTY Later than Noon on deadline date Minus 5% One working day after deadline date Minus 10% Two working days after deadline date Minus 15% Three working days after deadline date Minus 20% Four working days after deadline date Minus 25%

• Work that is submitted after the published deadline, and further five working days, will not be

awarded any marks unless there are clearly proven and documented mitigating circumstances. • Lecturers/tutors cannot give extensions to students on an individual basis, even where these

are sought prior to the assignment deadline. • Mitigating circumstances may include documented short-‐term illness/ongoing medical

problems, access office approved circumstances. • Students who think they have a valid reason (i.e. mitigating circumstances) for missing the

deadline must: o Submit two copies of the work for assessment, each with an attached Mitigating

Circumstances/Late Submission Coversheet, together with a letter of explanation and a date-‐relevant medical certificate (if appropriate)

o Submit a further copy of the medical certificate to the Office for central files. o Submit all of this documentation within two weeks of the expiry of the period

for which the explanation is offered. Inability to meet this requirement should be reported, in writing, to the module lecturer immediately.

o Retain exact copies of all documentation submitted. Documentation will not be returned to students.

• The final deadlines for work submitted with approved mitigating circumstances for assessment in 2015–2016 are as follows:

o Semester 1: Monday 18 January 2016 at Noon o Semester 2: Monday 16 May 2016 at Noon

• The Department’s Mitigating Circumstances Committee and Examination Boards will make formal decisions on the admissibility of documented mitigating circumstances. The onus is on students who have cases under consideration to request an update on their status from the Mitigating Circumstances Committee Chairperson – Dr Martin O’Leary. Students should email Dr O’Leary on 31 January and 31 May for information on the outcomes of Semester I and Semester II meetings respectively


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Examination Deadlines 2015–2016 Submission deadlines for continuous assessments are published in module guides. Postgraduate recitals will be held on dates to be confirmed between late May and mid-‐June. See the separate Performance Strand Examination Policy document. Final composition portfolios, dissertations, and music technology final projects and editorial exercises must be submitted by Wednesday 31 August 2016.

MARKING CRITERIA

For detailed information on the University’s examination regulations and processes see https://www.maynoothuniversity.ie/exams General Points to Note: See also:

• Plagiarism and Unfair Practices • Submissions Policy • Make sure that you follow the instructions in the MHRA Style Guide • Specific instructions within individual module guides must be adhered to in order to avoid

penalties. • Separate guidelines are issued summarizing Performance Strand Examination Procedures.

General Criteria (Written Work)

Percentage Points

85–100 First Class

An outstanding answer in every respect and in addition casting the question/issue in a new light.

70–84 First Class

An excellently informed answer demonstrating an extremely well-‐constructed argument and displaying a sure command of concepts, independence of thought and critical judgment. Shows an excellent grasp of all the issues involved, originality and evidence of wide reading and knowledge beyond course content.

60–68 2:1

A well-‐argued answer demonstrating a comprehensive awareness of the issues. Evidence of independent thought together with a good understanding of the course material and evidence of reading and knowledge beyond course content.

50–58 2:2

A reasonably-‐argued answer showing an awareness of the main issues. A satisfactory understanding of course material but limited reference to outside reading.

45–48 Third Class

An adequate answer with weak to fair understanding of course material. No outside material presented. Arguments generally not strong.

40–43 Pass

An adequate answer but weak in material and understanding of course content. Many omissions and inaccuracies.

25–38 Fail

An answer which recognizes the aim of the question and has some relevant material but is generally inaccurate and limited in understanding.

0–23 Fail

Some recognition of the meaning of the question but little understanding. Knowledge is vague. The bulk of the answer is either irrelevant or misunderstands the material.


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Thesis/Dissertation Criteria

Percentage Points

85 – 100 First Class

An outstanding dissertation in every respect and in addition casting the chosen topic in a new light. Substantial evidence of originality in content and/or methodology. Approaching publishable standard.

70 – 84 First Class

An excellently informed dissertation demonstrating an extremely well-‐constructed argument and displaying a sure command of concepts, independence of thought and critical judgement. Shows an excellent grasp of scholarly methodologies, substantial critical engagement with appropriate primary and secondary sources, and originality.

60 – 68 2:1

A well-‐argued dissertation demonstrating a good understanding of the chosen topic and its context. Clear and logical structure, good use of primary and secondary sources, and evidence of independent thought.

50 – 58 2:2

A reasonably-‐argued dissertation showing a satisfactory understanding of the chosen topic. Adequate structure but limited engagement with the relevant literature and lacking in contextual or in-‐depth discussion.

45 – 48 Third Class

An adequate dissertation with weak to fair understanding of the chosen topic. Weak structure and very limited reference to appropriate sources.

40 – 43 Pass

An adequate dissertation but weak in material and understanding of the chosen topic. Poor referencing style. Many omissions and inaccuracies.

25 – 38 Fail

A dissertation which recognises the aim of the exercise and includes a little relevant material. Generally inaccurate in content and/or methodology. Very limited in scope and/or understanding. Almost no reference to the appropriate literature. Substandard referencing style.

0 – 23 Fail

Some recognition of what is expected in a dissertation but very little understanding of the chosen topic. Vague and very limited knowledge. Incoherent structure. The bulk of the dissertation is either irrelevant or misunderstands the material. No reference to the appropriate literature.


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Performance Strand Criteria Performance Strand criteria should be read in conjunction with the relevant current module guides and examination regulations. Percentage Points

85–100 First Class

An outstanding and highly memorable performance displaying a professional level of interpretative command.

70–84 First Class

An outstanding, assured and memorable performance demonstrating considerable technical, interpretative and communicative command in a range of styles.

60–68 2:1

A confident and effectively communicated performance demonstrating interesting interpretative ideas underpinned by a generally fluent and reliable technique in a range of styles.

50–58 2:2

A solid performance, showing some musical understanding, but rather limited technical competence.

45–48 Third Class

Sufficiently secure technically for the performance not to break down yet a generally unimaginative performance with problems of fluency.

40–43 Pass

A technically inconsistent and generally unimaginative performance revealing very little evidence of interpretative understanding and problems of fluency.

25–38 Fail

Insecure technique resulting in a hesitant performance lacking in communication and musical and stylistic awareness.

0–23 Fail

Insecure technique resulting in a very hesitant performance devoid of communication and musical and stylistic awareness.


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Composition Criteria Compositions submitted to the Music Department will be assessed with regard to three main areas:

• Compositional technique • The use of forces /resources • Notation and presentation issues/ technical quality

These criteria will not necessarily apply with equal weight, subject to the nature of the submission. The following table presents a summary of the criteria governing each band of marks, given the difference of emphasis mentioned above. Mark Compositional

Technique Use of Forces/Resources Presentation, Notation,

Technical Quality 85–100

First Class

An innovative, confident work with great aesthetic and artistic achievement with clear musical structures and ambition.

Confidently written throughout, with excellent sensitivity in the utilization, control and exploration of forces/resources.

Professional standard in production of scores, parts, and/or audio output. High level of detail and nuance present (i.e. dynamics, articulation etc.).

70–84 First Class

An innovative, confident work with individual aesthetic and artistic achievement with clear musical structures and some ambition.

Confidently written throughout, with good sensitivity in the utilization, control and exploration of forces/resources.

Near professional standard overall in production of scores, parts, and/or audio output. High level of detail and nuance present.

60–68 2:1

Strong overall control. Good development of ideas and aesthetic aims. Fairly balanced and structurally clear.

Solid command of the medium, with good attention to practical issues. Strong use of forces/resources.

High standard in the production of scores, parts, and/or audio output. Some detail and nuance present.

50–58 2:2

Adequate overall control with some addressing of aesthetic, artistic or structural issues.

Competently written, with some exploration, and understanding of practical issues and forces/resources.

Production of scores, parts, and/ or audio output is competent. Limited amount of detail.

45–48 Third Class

A limited number of ideas within a loose aesthetic or formal structure lacking ambition.

Competent but lacking any strong control of and interaction within forces/resources.

Low standard of scores, parts, and/or audio outputs. Little to no detail.

40–43 Pass

Limited in terms of invention, ambition and/or structure within the assignments parameters.

Shows basic understanding of forces but little more.

Score, parts, and audio outputs provide only the most basic means necessary for realisation. Detail lacking.

25–38 Fail

Level of control fails to delineate musical materials. Little or no evidence of structure.

Lack of understanding of resources to the point where use of resources is impractical or misjudged.

Presentation is of a low standard and notation may be illiterate or poorly detailed.

0–23 Fail

Incoherent in terms of invention and structure.

Use of forces/resources lacking basic practical knowledge.

Score is largely illiterate or illegible; Audio has severe technical errors.


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PLAGIARISM & UNFAIR PRACTICES

Your work will be judged on its accuracy and cogency, but also on its independence of thought. With the pressure of work and time, it will sometimes be tempting to lose that independence and become over-‐reliant on someone else’s thoughts or writings. This is a dangerous practice and can lead to severe penalties. The University’s policy on plagiarism distinguishes between incorrect citation and plagiarism: i) Incorrect Citation: this refers to ‘instances in which a student has not acknowledged sources correctly as part of a learning process’. The university’s policy notes that: ‘Instances of incorrect citation will be dealt with by markers in the ordinary course of the assessment process on the same basis as would be the case if the work showed problems relating to incorrect expression, factual errors, analytical mistakes, or other features of a similar nature.’ ii) Plagiarism: this refers to ‘instances in which there is a deliberate attempt to gain academic credit dishonestly’. It is defined as follows:

Plagiarism involves an attempt to use an element of another person’s work, without appropriate acknowledgement in order to gain academic credit. It may include the unacknowledged verbatim reproduction of material, unsanctioned collusion, but is not limited to these matters; it may also include the unacknowledged adoption of an argumentative structure, or the unacknowledged use of a source or of research materials, including computer code or elements of mathematical formulae in an inappropriate manner.

Work found to be plagiarised through the University’s procedures will be awarded a mark of 0; resubmitted work for the assignment will be capped at 40%. Second cases of plagiarism are automatically referred to the Academic Discipline Board. Full details of the procedure are included in the University Policy which can be found here: https://www.maynoothuniversity.ie/sites/default/files/assets/document/NUIM%20Policy%20on%20Plagiarism%20May%202014_0.pdf Departmental penalties for incorrect citation are outlined below:

Mark Description 45% Although predominantly written in your own words and with sources of

information individually referenced (i.e. footnoted including page nos or other precise source information), there is some copied/replicated material (more-‐or-‐less exactly copying the original wording of the source used).

35% A significant portion of the essay (a paragraph or more) is directly copied or closely paraphrased from sources which have been included in the bibliography or in footnotes.


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Theses/Dissertations, Composition Portfolios and Major Projects Students are expected to provide regular drafts of their research or other work to their supervisor for discussion. These should be given to the supervisor some days in advance of meeting with the supervisor. Students should aim to provide full drafts of their projects to their supervisors by the end of June. Lecturers are not normally available for individual supervisions during July and August. Theses/portfolios completed as part of taught MA programmes must be submitted by the last working day of August (31 August 2016). The Department’s external examiner in the relevant field (Musicology, Performance, Composition, and Creative Music Technologies) moderates the marks agreed by the supervisor and an additional internal examiner. Two bound copies (which will not be returned) should be submitted to the Department office. Performance Stream Examinations Policy (MA in Performance and Musicology) MA Performance recitals (MU644a) are usually held in early June. Recital programmes must be agreed with Dr Cascelli as Director of the MA in Performance and Musicology programme. It is the student’s responsibility to ensure that recital examination timetables are adhered to both in punctuality and programme length. Detailed requirements and marking criteria for recitals are outlined in a separate document. Prior to the official release of results examining panels will not enter into any discussion with candidates (formal or informal) regarding outcomes. There will normally be four examiners present at Postgraduate Recital examinations, normally including the pathway’s external examiner. For monitoring and moderation purposes all live aspects of examinations are recorded for use by the Department’s examinations board. Such recordings are not available for copying for students’ personal use.


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RESEARCH DEGREES

Attendance Continuing PhD and MLitt students are expected to participate in Research Seminars which take place at 12nooon on Fridays during Semesters 1 and 2 (see Timetable of Events at https://www.maynoothuniversity.ie/music/our-news-events) and to meet with their supervisor(s) on a regular basis. Structured MLitt and PhD students have to meet the module requirements outlined above (p.20-‐22). Supervision policy and thesis submission The following information is based on the University Rules and Regulations regarding postgraduate research degrees. The most important aspects are summarised here. Further information can be found on the Graduate Studies Moodle page and at the following link: https://www.maynoothuniversity.ie/study-maynooth/postgraduate-studies/information-research-students/commencing-your-phd-maynooth Supervisory Models

1. Co-‐supervision involves two equal supervisors who work with the student via individual and joint meetings and correspondence, ensuring that decisions on the direction, scope and quality of the research are agreed and coherently supported. In the case of co-‐supervision, one of the supervisors will take the lead in managing the administrative arrangements for the student and this role will be clarified with the student at registration each year.

2. Primary Supervisor + Secondary Supervisor The Primary supervisor has the main responsibility. The Secondary Supervisor has a clearly-‐defined role, usually related to an important aspect of the thesis. The Secondary Supervisor advises the student in relation to the defined aspect of the thesis and liaises with both student and Primary Supervisor in relation to the development of the research. Normally a joint meeting involving Primary and Secondary Supervisor together with the student will be convened once per semester. The Secondary Supervisor serves on the student's Supervisory Panel and Progress Committee and reads the student's work in full at least once per semester.

3. Joint Supervision is put in place where there is involvement by a supervisor from outside the Department. The University policy reads as follows: Joint Supervision is encouraged where the research spans different areas or disciplines. In essence there are three ways a student can be joint-‐supervised: • Interdisciplinary Research Institutes • Supervision Between Departments • External Supervision Interdisciplinary Research Institutes Many Departments are now linked with Research Institutes. Hamilton and National Centre for Geocomputation have unique codes on PAC and accept students in a similar way to Departments.


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However, NIRSA and An Foras Feasa are disciplinary, but these Institutes offer unique structured programmes. In order for students to register for these programmes, it is necessary that they apply on PAC with specific reference to NIRSA and An Foras Feasa. Prior to accepting students, the Institute will contact the proposed joint department and following registration, NIRSA and An Foras Feasa will notify the Records Office. The FTE will then be split with the joint department and the student’s record will reflect the joint supervision. Supervision Between Departments In this instance, the student must apply on PAC to the dominant department. The department will contact the secondary department before accepting and following registration notify the Records Office. The FTE will be shared and the student’s record will reflect the joint supervision. In both of these cases, it is essential that departments have a separate subject code ie EN90C. This code will facilitate the splitting of the FTE between both departments and also allow the student to register for modules within that department. All modules for the structured PhD must also be linked to this combined subject code. External Supervision There has been an increase in the requirement for External Supervision due to inter-‐university cooperation and the inclusiveness between industry and academic institutions. In accordance with the PhD supervisory policy pg 25: arrangements with external supervisors must be approved by Faculty.

Mentor Provision: All students are provided with an additional member of academic staff who acts in the capacity of ‘Mentor’. The Mentor role is pastoral and designed to ease the isolation of the PhD process for students. At the request of the student, normally once a semester, the Mentor acts as a ‘sounding board’. The person assigned as mentor may change during the course of a student’s period of registration. Supervisory Panel Every registered graduate student in the Department has a designated Supervisory Panel, the members of which serve as the Progress Committee for the student on an annual basis. Normally the Supervisory Panel will comprise

(a) the Named supervisors, (b) the Head of Department and (c) the Director of Graduate Studies.

In cases where either the Head of Department or the Director of Graduate Studies is a named supervisor the student is assigned additional members of staff to form the full Supervisory Panel. Members of the Supervisory Panel/Progress Committee read the work submitted by the student Annual Progress Evaluation and question the student thoroughly on their work to date. Differentiation Where a prospective PhD candidate has registered as a research masters (MLitt) student, satisfactory progress at this stage could lead to a change of registration from MLitt to PhD. The student acting on the advice of his/her supervisor should apply to the Department for permission to change registration. As general criteria for differentiation, the student would:


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i. have demonstrated satisfactory progress on the MLitt programme ii. have obtained their supervisor’s approval iii. be able to show that their research project is appropriate to PhD level iv. be able to satisfy the Head of Department and the Director of Postgraduate Studies that they

have the potential to develop their research successfully at PhD level Application and Interview Process: i. Applications must be made before the end of the student’s current year of registration and

submitted to the department’s Director of Postgraduate Studies before 31 August (or 31 January if registered from the half year)

ii. Applications must be approved and signed by the student’s supervisor iii. Applications must be accompanied by:

a. A detailed outline of the proposed research, including a statement of how it will expand upon the current MLitt research, and a proposed timetable for the research plan

b. A substantial example of recent research (e.g. a recent conference paper, research article, or a draft thesis chapter)

iv. Applicants will then be interviewed by a board comprising: a. The Head of Department b. The Director of Postgraduate Studies c. The Supervisor (or, if the Supervisor is either the Head of Department or the

Director of Postgraduate Studies, then another permanent member of staff selected by the Head of Department and the Director of Postgraduate Studies)

v. This Board makes the final decision based on the materials presented, the interview and the Department’s areas of research expertise.

Progress Evaluation The Department is required to periodically evaluate the progress of research students. The purpose of this evaluation is: to examine the student’s progress; to ensure the student has sufficient knowledge of the fundamentals of the chosen discipline; to ensure the student has developed a clear plan of research and has identified a viable topic. In addition, the marks and/or grades for all taught modules taken by these students should also be uploaded and will be presented to the June Exam meeting for approval. MLitt (non-‐PhD-‐track) and PhD-‐registered students are interviewed at the end of the Academic year as part of the progress evaluation process. As outlined above, MLitt (PhD-‐track) students are interviewed instead as part of their differentiation application. Students should ensure that they meet regularly with their supervisor to discuss their research and to provide drafts and other evidence of progress. At the end of Semester 1 (31 January) each research student (MLitt or PhD) is required to submit a progress report form to the departmental office for the attention of the Director of Postgraduate Studies. This form (see end of Handbook), which can be downloaded from the Department’s website, should be signed by both student and supervisor. Annual Progress Review As part of the Annual Progress Review, students are also required to submit a Maynooth University annual report each year. This report, which should be completed and handed to your supervisor before the end of May, is available from the Graduate Studies Moodle page. PhD-‐registered students and non-‐PhD-‐track MLitt students are also asked to submit, in complement to the report:


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i. a one-‐page summary describing the student’s research progress in more detail, and a

thesis abstract; in addition, third year students should also submit, as a separate document:

a. the working title of the thesis and a summary of the case for it: e.g., what are the parameters of the thesis; what are the core arguments; what is new about the work; why is it valuable; what future research will this research make possible etc?

b. draft contents page for the thesis and a table summarising each section, including word counts, completion status, etc.

c. a projected timeline for the completion of the work d. an assessment of weakness/strengths of work completed to date. Fourth year students should provide an updated version of this document, with a clear

outline for the PhD completion. ii. samples of completed work: these should relate to the work carried out during the year and be appropriate to the stage of the student’s PhD progress. Some examples of these are:

-‐ second year PhD (first year post-‐differentiation): PG conference paper or compositions, essays, early chapter drafts, compositions, or conference papers.

-‐ third year PhD: PG conference paper or compositions, completed chapter drafts, compositions, journal or conference papers, or technical reports.

-‐ fourth year PhD: PG conference paper or compositions, thesis outline, completed chapter drafts, compositions, journal or conference papers, or technical reports.

Following the submission of these documents, students will be required to attend an interview with the departmental progression panel in June. Interview panels will be comprised of the Head of Department; Director of Postgraduate Studies; supervisor(s). Where the supervisor is the Head of Department or Postgraduate Director, a suitable third panel member will be chosen. Interviews will consist of a presentation by student, outlining research progress during the academic year (ca. 10 mins.), followed by questions from the panel. Progress considered to be unsatisfactory may lead to a recommendation to change registration from Ph.D. to a Research Masters or to discontinue studies at the University. When there is a change in the Initial programme, as new relevant modules come on offer in following years or as the review process uncovers new possible directions, this should be recorded in the Annual Progress Report Form which has now been amended to provide space for changes to the initial proposed programme. Conference Papers and Publications As their research develops, students are encouraged to present research papers at the Department’s internal postgraduate conferences and at national or international conferences as their supervisor may recommend. Students may not present conference papers or submit papers for publication without their supervisor’s approval.

Grievance Procedures The Department will deal with any reported breaches of the University’s Code of Discipline for Students according to the general rules of the University, which can be found at

https://www.maynoothuniversity.ie/sites/default/files/assets/document/rulesandregulations.pdf

In the case of dispute between a student and a supervisor, the Head of Department in consultation with the Director of Postgraduate Studies will:

• Discuss the matter with the parties involved.


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• Write to parties concerned giving an opinion on the situation and requesting a written response.

• If a satisfactory resolution is not reached, refer to the Dean of Research & Graduate Studies/Registrar.

Supports for Research Costs Maynooth University’s John and Pat Hume Scholarship scheme can be applied for by postgraduates currently on a taught MA programme, but is not available to students already enrolled as a research Postgraduate. Other scholarships and funding opportunities will be brought to the attention of students as they become available. SUBMISSION OF THESES

Musicology theses should be c80-‐100,000 words (maximum) for PhD and c50,000 for MLitt. Music Technology theses involving software and/or hardware systems implementation, a thesis of c40,-‐80,000 (MLitt: 20-‐40,000) words with accompanying documentation on the system prototype(s). Composition portfolios should comprise of material with a total duration of c90 minutes and should include scores, recordings, installation documentation, videos etc. (where applicable) and a written discussion of c10,000 words (MLitt: 45 minutes and 5,000-‐word commentary). In cases where the topic of the research is both creative and musicological, a compromise length can be agreed with the Department. All length guidelines exclude footnotes, appendices and other accompanying material. Theses may be submitted at any time, but if a thesis is submitted after 31 October the student will be required to register and pay fees for the following academic session. MLitt students should submit their theses approximately eight weeks in advance of the appropriate Examination Board. Examination Boards are normally held in June and September. PhD/MLitt candidates must notify the Head of Department in writing, two months in advance, of their intention to submit. A candidate shall not submit his/her thesis/portfolio until the Supervisor confirms that the research has been carried out and the thesis/portfolio as submitted, has been prepared for examination under his/her supervision. On submission, the Head of Department will confirm the approval for examination of the final draft of the thesis/portfolio to the Registrar.


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How many copies and how should they be bound? PhD: three soft-‐bound copies of the thesis (hard-‐bound copies are submitted following from and incorporating any recommendations made at the viva voce examination) MLitt: two soft-‐bound copies of the thesis. Viva Voce (PhD only) The aim of the viva voce examination is to provide an opportunity for the examiners to question the candidate on aspects of the thesis/portfolio. The viva voce examination board comprises of one external examiner, one internal examiner and is chaired by a permanent member of academic staff of the University (from another, cognate Department). Subject to the candidate’s approval, the supervisor is also in attendance as an observer but does not take an active part in the examination process. The external examiner is normally chosen by the supervisor in consultation with the candidate and with the approval of the Head of Department. The membership of the examination board is subject to approval by Faculty. EXAMINATIONS REGULATIONS

For detailed information on the University’s examination regulations and processes see https://www.maynoothuniversity.ie/exams


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MUSIC DEPARTMENT PROVISIONAL PG TIMETABLE 2015–2016 MA in Composition MA in Musicology

MA in Performance & Musicology MA in Creative Music Technologies/PG Dip in Music Technology

Module Code Title Sem ECT Programme Lecturer(s) Day, Time & Venue MU610A/ MU810

Acoustics & Pyschoacoustics

1 10 Creative Mus Tech; Struct. MLitt./PhD

Brian Connolly

Tues 10:00-‐12:00 MTL

MU611A/ MU811

Software Sound Synthesis

1 10 Creative Mus Tech; Composition; Struct. MLitt./PhD

Shane Byrne Mon 12:00 Tues 12:00 MTL

MU612A Sound Recording Techniques

1 10 Creative Mus Tech MMcE Mon 15:00-‐17:00 MTL

MU614A/ MU814

Music Systems Programming 1


PMcG Mon 10:00-‐12:00 MTL

MU616A/ MU816

Musical Signal Processing


TBC Mon 12:00 Tues 12:00 MTL

MU617A Interactive Systems

2 10 Creative Mus Tech/ Composition

GD Tues 10:00-‐12:00 MTL

MU619A Electroacoustic Composition

2 10 Creative Mus Tech GD Mon 13:00-‐15:00 NMR

MU620A/ MU820

Music Systems Programming 2


VL Mon 10:00-‐12:00 MTL

MU621A Music Recording Project

2 10 Creative Mus Tech MMcE Mon 15:00-‐17:00 MTL

MU633 Contemporary Compositional Techniques I

1 10 Composition MOL Thurs 15:00 NMR

MU634 Contemporary Compositional Techniques II

2 10 Composition RM Thurs 15:00 SR

MU635 Aesthetics of 20th/21st Century Music

2 10 Composition; Musicology

RM Tues 15:00 SR

MU637 Styles & Ideas 1 10 Composition MOL/RM Tues 14:00 SR

MU640 Thesis 1 & 2

30 Musicology LBB/LW By supervisor

MU641A Thesis 1 & 2

25 Performance & Musicology

AC By supervisor

MU643 Thesis/ Portfolio/Project

1 & 2

30 Creative Mus Tech VL/GD By supervisor

MU644A Public Recital 1 & 2

30 Performance & Musicology

AC Thurs 16:00 RVH (see MU660)

MU645A Portfolio of 1 & 30 Composition MOL/RM By arr. with MOL/RM


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Compositions 2 MU660A Research

Methods 1 10 Performance &

Musicology; Musicology

LBB/AS/LW Mon 12:00 NMR + Musicology students: Research Colloquium (Fri at 12:00) + Research Seminars (Fri at 15:00) + Performance Students see MU644A

MU661 Musical Texts 1 10 Musicology AC/LW/RM Mon 10:00-‐12:00 BR

MU647 Music in Ireland 1 10 Musicology AS Fri 10:00 NMR MU648

Interpreting Analysis

2 10 Musicology AH/AC/EM Mon 15:00 NMR

MU649 Gendered Musical Bodies

2 10 Musicology LW/LBB/AC Mon 11:00-‐13:00 SR

MU651 Musicology of Performance

2 10 Performance FP/AH/AC Thur 11:00 Weeks 1-‐3, FP [SR] Mon 10:00 Weeks 4-‐6, AH [SR] Thur 11:00 Weeks 8-‐11 AC [SR]

Mu652 Collaborative Music Performance

RM/AC By coordinator/s

MU801/2/3 Research Seminars

1&2 10 Struct. MLitt/PhD AH Fri 12:00 BR

Research Seminars

1&2 All PG AH/AS

Fri 12:00 BR

Venues: OCR=O’Callaghan Room; SR=Seminar Room; BR=Bewerunge Room; NMR=New Music Room; MTL=Music Technology Lab; RR=Recital Room (Performance Suite); RVH = Riverstown Hall.


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SUBMISSION COVERSHEET (2015-‐2016)

[YOU ARE REQUIRED TO SUBMIT TWO COPIES OF EACH ASSIGNMENT. ALL DEADLINES ARE SET AT 12 NOON. THIS COVERSHEET MUST BE FULLY COMPLETED AND STAPLED TO EACH CREDIT-‐BEARING PIECE OF WORK]

MODULE CODE

MODULE TITLE

TUTOR/LECTURER NAME

PUBLISHED DEADLINE

DATE OF SUBMISSION

SURNAME (in CAPITALS), FORENAME

Student Number

Degree Programme (e.g. BMus) & Year (I, II, III)

Submission Title

Word Count/Duration

Please tick this box if you are registered with the Access Office £ Plagiarism Declaration: I confirm that this work is my own. I have referenced the work of others appropriately, accurately and consistently. I have abided by the University’s Plagiarism Code as stated in the current Student Handbook. Signed:_______________________________ Date:______________


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MITIGATING CIRCUMSTANCES LATE SUBMISSION COVERSHEET (2015–2016)

[THIS COVERSHEET MUST BE FULLY COMPLETED AND STAPLED TO ALL CREDIT-‐BEARING PIECES OF WORK THAT ARE SUBMITTED AFTER THE PUBLISHED DEADLINE DUE TO ‘MITIGATING CIRCUMSTANCES’]

MODULE CODE

MODULE TITLE

TUTOR/LECTURER NAME

PUBLISHED DEADLINE

DATE OF SUBMISSION

SUMMARY OF MITIGATING CIRCUMSTANCES FOR LATE SUBMISSION: Do you have date-‐relevant supporting documentation (medical cert etc.)? Yes/No If Yes, please attach it to this form with your assignment. If No, please attach an explanatory letter. Have you handed in a third copy of your medical certificate to the Office? Yes/No SURNAME (in CAPITALS), FORENAME

Student Number Degree Programme (e.g. BMus) & Year (I, II, III)

Submission Title

Word Count/Duration

Please tick this box if you are registered with the Access Office £ Plagiarism Declaration: I confirm that this work is my own. I have referenced the work of others appropriately, accurately and consistently. I have abided by the University’s Plagiarism Code as stated in the current Student Handbook. Signed:______________________________________ Date:___________


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TO BE COMPLETED BY THE STUDENT Evaluation Period: Last Name

First Name: Student no:

Telephone:

Mobile: E-Mail:

Year and Term Admitted

Expected Date of Completion

Research Progress Summary:

Please indicate your judgment of the level of support from supervisor and Department. If you feel that the support offered has been unsatisfactory, please specify on a separate page how this is so. Satisfactory Unsatisfactory

TO BE COMPLETED BY SUPERVISORS

Supervisors Comments Supervisors Names:___________ Signatures:_________________ Date:__________________

Signed by Head of Department: ___________________ Date: ______________________

MID-TERM PROGRESS EVALUATION FORM FOR PHD STUDENTS (MUSIC DEPARTMENT)

Documents

MUSIC DEPARTMENT POSTGRADUATE*HANDBOOK (2015 2016 · Music Department Postgraduate Handbook (2015–2016) 4 WHERE!TO!FIND!US! The!Music!Department!is!located!inLogic!House!at!the!southernend!of!the!University’s!South!