Music as a creative art form in the 21st century can combine both tradition and innovation, bringing together instruments (some new, some with centuries of history) and the latest in high technology.
As a composer today all of these resources are available to you, and the Mixed Composition pathway aims to foster your skills as you navigate this exciting new world. By studying this pathway you can create works which combine electroacoustics and computer technology with more traditional instrumental and vocal composition, or explore each of those elements separately. Works for interactive systems, multimedia, and sound installations are also welcome.
We usually ask for a good Honours degree (2:1) or equivalent.
We accept a range of qualifications;
English language requirements
You can satisfy our English language requirements in two ways:
by holding an English language qualification to the right level
by taking and successfully completing one of our English courses for international students
You will study one core module:
Over two semesters, you will receive regular one-to-one tutorial teaching, enabling you to develop your compositional technique and a self-reflexive critique of your own work. Composition techniques appropriate to individual needs will be taught and discussed during tutorials. In so doing, you will also be encouraged to broaden your range of compositional practice, and move toward the development of a personal ‘voice’.
You will also choose three optional modules as follows:
At least one of -
Advanced Studies in Electroacoustic Composition
This module builds on your previous experience at Birmingham or elsewhere. It aims to expand your thinking and musical horizons through theoretical and practical work. The module includes listening, reading, programming, performance training and the use of a large range of audio software and hardware. The module contains six areas of study: sound generating, editing, mixing and processing techniques; source sound recording techniques (studio and field); approaches to spatialisation; diffusion techniques and the MiniBEAST and BEAST sound systems; advanced topics in programming for electroacoustics and digital signal processing; software critique; and repertoire studies.
Advanced Studies in Instrumental/Vocal Composition
The module contains four main areas of study: musical form (micro and macro); advanced studies in notation; repertoire studies; and relevant strands of advanced music theory. Topics covered will include proper editing and preparation of materials at a professional level, recent stylistic developments in contemporary music (e.g. post-spectralism, post-minimalism), and computer assisted composition techniques.
Plus, if you only choose to study one of the above modules, one of -
Aesthetics and the Philosophy of Art
This module consists of a critical examination of topics in aesthetics and the philosophy of art. It considers subjects such as: art and the nature of aesthetic experience; beauty, ugliness and the sublime; symbolism and allegory; the aesthetics of modernism. At its core is an overview of the German aesthetic tradition, involving a close reading of foundational texts by Immanuel Kant, Georg Hegel and their contemporaries in the early 19th century. It will also consider work by a range of subsequent authors, such as, for example, Walter Benjamin, John Dewey, Ernst Bloch, Maurice Merleau-Ponty, Theodor Adorno and Martin Heidegger. Attention will be paid not only to the conceptual arguments put forward by the thinkers in question, but also to the ways in which their theoretical tenets have underpinned the interpretation and criticism of works of art, music and literature.
Contemporary Music Studies
This module studies the explosion of musical expression that characterises 20th-century and contemporary music, focusing on key movements (serialism, minimalism, etc) and concerns (tonality/atonality, aleatoric principles, etc). Starting from the musical ‘crisis’ of the early years of the 20th century, the course will address issues such as the separation of ‘art’ and ‘popular’ music, the impact of technology and the presumption of postmodernism at the start of the 21st century. The marked shift in aesthetics and music’s ‘function’ will also be discussed.
Sound in Society
This module provides an introduction to the field of Sound Studies, including both the conceptual framework as well as practical techniques. We will begin with an overview of the field and its formation in 2004 through a consideration of the work of Trevor Pinch, Karin Bijsterveld and R Murray Schafer. Subsequent weeks will cover topics such as: soundscapes; sound and the animal world; noise and silence in philosophy; the engineering of sound; sound and radio art; and synaesthesia research in cognitive psychology.
This module explores the rapidly developing field of laptop ensemble performance. The class will function as an ensemble group, working to develop and prepare repertoire for public concerts. Topics covered will include: techniques for improvisation; networked music performance; live coding; and composition for live electroacoustic ensemble. Works presented in concert will include student and group developed pieces, as well as ‘classics’ from the field. Students should have at least a rudimentary background in a computer music programming environment such as SuperCollider or Max/MSP, but the projects pursued will be selected according to the ensemble’s makeup each year.
Special Study in Music
You will undertake a special study of a particular field of your choice under the direction of the leader of your pathway, which will typically require attendance at an appropriate series of lectures or tutorials as well as independent reading and research. Topics for study might include: vocalists in the Baroque era; topics in music analysis; or topics in critical musicology.
Music, Place and Identity
This module is concerned with understanding the relation of music to concepts of place and identity. In addition to a broad theoretical overview of topics related to place (including theories of locality, nationalism, transnationalism, diasporas, and indigeneity) as developed in fields as diverse as history, cultural geography and anthropology, the module will cover seminal ethno/musicological works on how musics inscribe place-based senses of cultural belonging. Topics and examples may include: occupation and cross-cultural collaborations in Palestine/Israel; transnationalism and cultural diplomacy in the Eurovision Song Contest; music and governmentality in the Caribbean; contemporary Native American and First Nations indigenous musics; European art music and colonialism; diasporic South Asian music in the UK; the role of music in the Arab Spring; and music in Birmingham.
Introduction to Programming for Electroacoustics
Your degree will provide excellent preparation for employment and this will be further enhanced by the employability skills training offered through the College of Arts and Law Graduate School. The University also offers a wide range of activities and services to give our students the edge in the job market, including: career planning designed to meet the needs of postgraduates; opportunities to meet employers face-to-face at on-campus recruitment fairs, employer presentations and skills workshops; individual guidance on your job applications, writing your CV and improving your interview technique; and access to comprehensive listings of hundreds of graduate jobs and work experience opportunities.
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