| CODE | MSP3090 | ||||||||
| TITLE | Final Year Project | ||||||||
| UM LEVEL | 03 - Years 2, 3, 4 in Modular Undergraduate Course | ||||||||
| MQF LEVEL | 6 | ||||||||
| ECTS CREDITS | 16 | ||||||||
| DEPARTMENT | Music Studies | ||||||||
| DESCRIPTION | This study-unit serves as the culmination of students鈥� undergraduate study in music. Students are required to undertake an independent research project involving their musical practice as a scholar, performer, or composer. The exact nature of the project is incumbant upon the student鈥檚 discretion in synthesising their knowledge from their previous musical study and making an original contribution towards music in a manner of their choosing. There are three possibilities: 1) A project in composition, entailing a portfolio of compositions (between 15鈥�30 minutes of music total) accompanied by a written commentary describing the process of composition, use of formal strategies, position and goals as a composer, etc, of between 3000 and 5000 words; 2) A project in performance, entailing a solo recital of musical repertoire between 30鈥�50 minutes in length, accompanied by a written commentary on some aspect of performance practice (ideally connected to the chosen repertoire in some way) of between 3000 and 5000 words; 3) A project in musicology or ethnomusicology, entailing research on a scholarly musical subject of the student鈥檚 choosing of between 8000 and 10000 words. Study-unit Aims: This study-unit aims to: a) provide students with an opportunty to demonstrate their mastery over a musical topic or practice of their choosing; b) equip students the skills needed to independently pursue a variety of musical subjects and practices; c) guide students to resources essential to contemporary performance practice; d) allow students to apply and extend the knowledge gained throughout their undergraduate study in music; e) guide students to an effective practice of independent research and practice; f) provide students the resources needed to apply critical thinking to their musicianship and research. Learning Outcomes: 1. Knowledge & Understanding By the end of the study-unit the student will be able to: General: a) discuss a range of issues related to a chosen musical topic or practice; b) complete a large-scale research project with a substantial degree of originality; c) attain a degree of mastery over a range of topics in music scholarship and music practice; e) recognise the expectations of professional musicianship and music scholarship in the contemporary performing arts; Performance: d) identify and interpret musical notation appropriate to their chosen instrument or voice type; Composition: f) implement and extend compositional techniques; g) apply creativity at an advanced level; h) identify a number of harmonic, contrapuntal, and textural procedures; Musicology/Ethnomusicology: i) interpret an extensive range of sources on musical practice. 2. Skills By the end of the study-unit the student will be able to: a) assimilate a variety of methods of practice-as-research into their music scholarship; b) develop the practical study of their chosen instrument or voice to a public performance level; c) design effective time-management strategies for long-term projects; d) work and perform confidently as a soloist in front of an audience; e) demonstrate in performance a mastery of professional technique; f) analyse advcanced musical repertoire; g) argue convincingly for the significance of their musical practice in the context of the contemporary performing arts; h) review information learned from three years of undergraduate study in music; i) systematise an extensive body of knowledge into an individual perspective on music. Main Text/s and any supplementary readings: Texts to be determined by supervisor based on the nature of student鈥檚 project. Some texts may include鈥� Main texts: Silverman, Marissa. 2007. Musical Interpretation: Philosophical and practical issues. International Journal of Music Education. 25.2. p. 101鈥�117. Harnoncourt, Nikolaus. 1988. Baroque Music Today: Music as Speech; Ways to a New Understanding of Music (Portland: Amadeus Press). Dart, Thurston. 1954. The Interpretation of Music. (New York: HarperCollins). Suppplementary texts: Harnoncourt, Nikolaus. 2003. The Musical Dialogue : Thoughts on Monteverdi, Bach and Mozart (Milwaukee: Hal Leonard). Rink, John (ed.). 2002. Musical Performance (Cambridge: Cambridge University Press). |
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| STUDY-UNIT TYPE | Project and Tutorials | ||||||||
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2025/6. It may be subject to change in subsequent years. |
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