Music BA(Hons)

Why study BA(Hons) Music at University College Falmouth?

Performance courses - additional information (994.71 KB)

Falmouth's Music degree takes a close and searching look at the traditions of music in the 20th and 21st centuries, across the board from jazz and classical to popular and non-western styles. The course allows you to choose either a broad-based study in Music or more specialist routes in either Composition or Performance (in both cases informed by musicological and theoretical study).

One of our primary aims is to enable you to understand your contemporary musical world in terms of a wide historical and contemporary context. At the same time, our Music degree pathways offer considerable crossover and opportunity for collaboration, so you'll be able to explore and use the most advanced techniques of contemporary music-making in our brand new, purpose-built Performance Centre.

Throughout the course, you'll be encouraged to choose your own area of focus and identify your own distinctive musical personality, leading to a body of composition, performance or written work that will open doors both to existing career paths and the creation of new market niches. Our creative vocational approach arms graduates with diversity of experience, backed with a strong skill base and theoretical underpinning.

Tell me more about the BA(Hons) Music course

BA(Hons) Music, BA(Hons) Music: Composition and BA(Hons) Music: Performance share a common first year, in which you'll be encouraged to broaden and challenge your perceptions of what music can be - at the same time acquiring a thorough general background in the musical field in which you're engaged.

During the course, you'll receive individual tuition in Performance or Composition from expert specialist musicians, supported by small group seminars and project work. As the course progresses, you'll have greater freedom to explore your own areas of interest, supported more by staff supervision than tutor-led study. Visiting ensembles and performers provide inspiration and opportunities to learn or have your work played, and there are opportunities for study abroad and off-campus work - reinforced with business consultancy - to try out your ideas.

You'll be encouraged to test out the challenges that confront today's professional performers and composers, introduced to the theoretical concepts surrounding music in contemporary society from a variety of cultural perspectives and provided with a broad historical and contemporary framework, interspersed with examples, to help you examine the musician's place in society.

From the outset, you'll engage with professional practice at a fundamental level, benefitting from Falmouth's excellent links with the music industry. You'll have opportunities to meet professionals from studios, record labels, promotion companies and venues, who'll be key to opening up possibilities for work placements both during and after the course. Alongside your high-level practical training, you'll engage with research disciplines - both in the academic sense and learning about the vital practicalities of being a professional musician. The course explores project management, effective communication, budget planning, the acquisition of resources and materials, insurance issues and copyright.

Our graduates develop into confident, independent, self-motivated practitioners and thinkers. Learning through both theory and practice, you'll establish a body of work that reflects your emerging musical identity and distinctive voice, as well as gaining an appreciation of the contextual considerations that shape informed professional practice. We encourage you to develop creative and innovative work - introducing you to key concepts and providing the support you'll need for increasingly independent practice and projects.

Facilities

From 2010, all performance courses will be based at our new £15 million Performance Centre at our Tremough campus, Penryn. This high-specification facility is purpose-built for students' specific needs with the very latest equipment and will encourage collaborations between the three Schools to create exciting new performance, installation and exhibition projects.

Specific facilities for music students include a high-specification performance studio designed for acoustic music and another for amplified music, a recording studio complex, music practice rooms for bands and solo occupancy and some of the best studio hardware, industry-standard software applications and collection of microphones to be found in a UK higher education institution.

Course outline

Information about the content of each unit can be found in the detailed course outline below.

Level 1

• Ways of Listening
• The Changing Artist 1
• The Changing Artist 2 (Collaborations)
• Music in Society 1
• Music in Society 2
• Music in Society 3

Level 2

• Supporting Studies 1
• Supporting Studies 2

Options

• Performance Studies 1
• Performance Studies 2
• Performance Studies 3 (Contexts)
• Composition Studies 1
• Composition Studies 2
• Composition Studies 3 (Contexts)
• Music Project 1
• Music Project 2
• Music Project 3

Level 3

Note: double units are worth 40 credits, single units are worth 20 credits

• The Musician in Place (double) or (single)
• Dissertation (double) or (single)

Options

• Performance Platform (double)
• Performance Platform (single)
• Composition Portfolio (double)
• Composition Portfolio (single)
• Independent Project
• Professional Preparation

Detailed course outline

Level 1

• Ways of Listening

This unit forms both an introduction to methodologies of analysis and a means of nurturing deeper and more critical listening. It offers strategies appropriate to an analytical appreciation of musical sound. Delivery is through guided listenings (such as sound-walks), aural and written analysis, performance and compositional activity. Lectures, seminars and practical workshops will also look at different types of music notation, both traditional and experimental, and the variety of functions these may fulfil. Practical engagement with a wide range of musics and their notations may comprise performance or compositional outcomes, or both.

• The Changing Artist 1

Lectures, seminars, practical workshops and small tutorials will provide a focus for the students to begin to develop their performance and composition skills. The unit also aims to help students develop their strengths in constructive self-criticism and evaluation, by encouraging them to locate their creative and performance work within a wider musical context (and as a result, take their ideas about composition and performance into new territory). A typical assignment might involve students working in pairs to compose and perform their own compositions, supported by research into their instruments and the repertoire composed in a variety of styles for those instruments. Such a practical assignment would be modelled around composition and performance tools and strategies covered in accompanying seminars.

• The Changing Artist 2 (Collaborations)

This unit allows students the opportunity to work alongside their peers on the BA Popular Music and Creative Music Technology awards in an exciting collaborative environment. The first four weeks will be spent investigating precedents for collaborations in a range of contexts relating to contemporary music. The students will look at examples of collaborations/fusions between contemporary ‘Classical' musicians and those working within more popular and/electronic environments. In the second practical part of the project all music students will devise and produce a performance outcome in collaboration with students from all three areas of musical study. The outcomes may utilise a variety of performance situations ranging from a conventional performance to a radio piece or site-specific work.

• Music in Society 1

This unit introduces all music students to the theoretical concepts surrounding music in our contemporary society from a variety of cultural perspectives. It provides a broad historical and contemporary framework interspersed with examples that allow an examination of the musician's place in society. Students are encouraged to engage in current debates and investigate the effects of cultural practices, specific historical movements, technologies and enterprise that have influenced modes of musical discourse.

• Music in Society 2

This unit builds on the ideas introduced in Music in Society 1. Further exploration of historical and contemporary frameworks that shape the musician's place in society will take place. Students will be further encouraged to engage in current debates, examine cultural practices and look at specific historical movements, technologies and enterprise that have influenced modes of musical discourse with written outcomes and presentations.

• Music in Society 3

For the third Music in Society module, students focus upon historical and contextual studies more specifically targeted at contemporary Western Art music, its place in modern society and its connectivity to the musics of other cultures. Lectures and practicals will evolve around a series of case studies and discussions.

Level 2

• Supporting Studies 1

Supporting Studies units are designed to offer opportunities for the acquisition of a broad range of key musical skills in support of performance, composition and musicological work by means of a series of short workshops. A range of choices within each unit will be offered to ensure that the needs of each cohort are addressed. The workshops will balance staff-led activity with independent work, both group and individual. Work done in these units, though assessed in its own right, also directly informs and services the needs of composition, performance and musicological units running concurrently. Examples in the second term might include general musicianship, basic recording studio practice, extended notation work.

• Supporting Studies 2

Examples in the second term might include studies in extended harmony, advanced recording studio practice, conducting and directing skills.

Options

• Performance Studies 1

In this first unit dedicated specifically to performance, students take the initial steps towards planning and executing independent action as performers. The unit marks a transition phase between staff-directed performance work in Level 1 and autonomous action in Level 3. In particular, it allows students to complement their development of higher level technical and musical skills with a deeper engagement with related contemporary critical and cultural issues. Based around the concept of ‘mentoring' between the performer and the composer who is commissioned to compose a piece for their performance recital, the project also begins to examine the issues faced by professional performers (or composer/performers) engaged in contemporary arts practice. Delivery is through regular seminar engagement (in conjunction with the composition students), together with individual instrumental tuition.

• Performance Studies 2

Building upon the above unit, Performance Studies 2 enables students to build upon the areas they have identified as being of performance interest and to continue to manage their own learning in a structured and coherent manner. It provides a framework for the technical realisation of pieces as well as a forum for examining critical and conceptual issues arising out of performance. It also encourages students to explore the musical possibilities of a range of technologies in an active and creative way. Delivery is again through seminars, supported by individual instrumental tuition and private practice. The assessment takes the form of an end-of-unit open performance, comprising solo and/or ensemble work.

• Performance Studies 3 (Contexts)

This unit allows all music students the opportunity to work on live performance, recording projects and site-based work. It projects the student into a semi-professional environment in preparation for the ‘Musician in Place' unit at Level 3. The project-based collaborations will utilise a range of sites and locations, taking the opportunity to extend student work outside the college environment. Students will be encouraged to use a range of promotional resources and devising techniques to present new work that will reach out to the public in a variety of ways, culminating in outcomes such as performances in regional venues to distributing new music via internet radio stations, web-based promotion sites, on record labels or through the medium of sound installations.

• Composition Studies 1

In this first unit dedicated specifically to composition, students begin planning and initiating independent action as composers. It involves the refining of technical skills and the identification and acquisition of new conceptual frameworks and practical strategies for writing music. Based around the concept of ‘mentoring' between the composer and the performer for whom a piece is to be written, the work also begins to examine the issues faced by professional composers (or composer/performers) engaged in contemporary arts practice. Delivery consists of seminars shared with performance students, small group or individual support at the composing/notating stage, and supervision of selected engagements between composer and performer.

• Composition Studies 2

The second unit in composition study helps students to continue refining their technical skills and identifying new conceptual frameworks and practical strategies for writing music. It also opens up greater choices for students as to the nature of their compositional outcomes. By placing greater emphasis on student initiative to formulate their own work and take responsibility for placing their work into the public domain, this unit furthers awareness of the needs of a professional composer or composer/performer engaging in contemporary arts practice.

• Composition Studies 3 (Contexts)

This unit allows all music students the opportunity to create work within a site-based, or other context-specific environment. It projects the student into a semi-professional environment in preparation for the ‘Musician in Place' unit at Level 3. The project-based collaborations will utilise a range of sites and locations, taking the opportunity to extend student work outside the college environment. Students will be encouraged to use a range of promotional resources and devising techniques to create new work that will reach out to the public in a variety of ways, culminating in outcomes such as performances in regional venues to distributing new music via internet radio stations, web-based promotion sites, on record labels or through the medium of sound installations.

• Music Project 1
• Music Project 2
• Music Project 3

The Music Projects in Level 2 offer a choice of topics in which students can negotiate their individual roles and contributions. Each project involves research into, and practical and contextual engagement with, a specific area of musical enquiry. Each will have a different focus, but all projects involve the examination of issues of location (historical and geographical) and context. Students will be required to complete at least one piece of research with a substantial written outcome (usually an essay) and to document material produced as part of the project. The relationship between practical and written components of the assessment will vary, but will be discussed in each case with the project tutor.

Level 3

• The Musician in Place (double)

This 40 credit unit explores the effects of the context in which the practitioner places their work: the effect of context upon practice, and of practice upon context. Key factors such as geographical location, the student's independence from College surroundings and the social context in which the project locates itself, all play a significant part. The relationship between the personal and the musical is also a key factor in the work. Each student individually negotiates their project in consultation with a supervisor. They will have to demonstrate an awareness of health and safety issues, good planning and organisation skills, quality of creative work and the nature of their performance related outcome.

Preparatory research and subsequent evaluation are important aspects of the process, as is the ongoing documentation of the work undertaken. The 40 credit version of this unit allows not only for a potentially wider field of travel and engagement with more unfamiliar contexts, but demands more in-depth exploration of the emergent issues and anticipates some form of applied response to the student's findings. Assessment is by means of a concise presentation and more expanded documentation of their experiences.

or

• The Musician in Place (single)

This 20 credit version of the above anticipates an engagement with context that demands less acclimatisation (e.g. locally rather internationally based). The exploration of context on their practice, and of their practice upon the context, is still central to the work, and students must negotiate the proposal in the same way, taking on board health and safety, budgetary considerations and proper planning, but the depth of engagement in the smaller time frame would not be expected to lead to an applied outcome.

• Dissertation (double)

The dissertation is the culmination of the sequence of theoretical investigations beginning in Level 1. The 40 credit unit allows for a depth of engagement with research and a degree of musicological enquiry that will prepare the student both for postgraduate studies and/or for the worlds of work and professional practice, where a high value is placed on the ability to identify and carry through a coherent campaign of research designed for a specific purpose. A word count of 10-12,000 words would be expected.

or

• Dissertation (single)

For the single unit version students are provided with an opportunity to engage through research and exposition in a musicological enquiry of their choosing. The single dissertation would be between 6,000 and 8,000 words.

Options

• Performance Platform (double)

In this final performance unit, students negotiate a plan of autonomous action for performance work, culminating in a substantial performance outcome of around 45 minutes (the Platform). Each student is responsible for designing a repertoire appropriate to an open final performance - being a 40 credit module, there is scope for it to contain works composed by themselves, works commissioned from other students and/or a selection of contemporary works from the repertoire. They may work exclusively alone or mix solo and ensemble work. The student would also be expected to market and promote the performance event, take account of the likely audience and find means of establishing meaningful feedback - all key aspects of applying enterprise skills that they have acquired during the course.

• Performance Platform (single)

For the 20 credit performance unit the Platform is a more modest 30 minutes. Responsibility for designing an appropriate repertoire still falls to the student, but there is more limited opportunity for it to contain works composed by themselves, works commissioned from other students as well as a selection of contemporary works from the repertoire. They may work exclusively alone or mix solo and ensemble work. Although overall a less ambitious performance event, marketing and promoting it is still encouraged. Certainly considerations of audience and means of establishing meaningful feedback remain crucial considerations for the student - as these are all enterprise skills that they have acquired elsewhere on the course.

• Composition Portfolio (double)

By Level 3, students taking composition have complete freedom to compose in the format(s) and style(s) that work best for them. We look for a clear sense of an emerging identity, but this need not mean a narrow focus to the work. Supported by regular meetings with a composition supervisor, the student assembles a portfolio of work that reflects this emerging identity and distinctive voice. The exact quantity is not specified, as the nature and complexity of work also has great bearing on the submission, but is monitored to ensure it reflects the expected input of a 40 credit unit. Considerable importance is placed upon the professionalism of the portfolio's presentation, as this represents a key aspect of the student's ongoing sense of enterprise. For the same reason, weight is also given to extent to which this work has been placed in one form or another within the public domain.

• Composition Portfolio (single)

This 20 credit unit offers the opportunity for those taking BA(Hons) Music to continue with composition tutorials and to engage in debate and collaboration with BA(Hons) Music: Composition students. They have the same freedom to compose in the format(s) and style(s) that work best for them, but we would expect their sense of an emerging identity to be less developed. The exact quantity is not specified, as the nature and complexity of work also has great bearing on the submission, but is monitored to ensure it reflects the expected input of a 20 credit unit. Advice and encouragement is given to help the students present their portfolios with an appropriate level of professionalism, as this represents a key aspect of the student's ongoing sense of enterprise. For the same reason, there would be an expectation that at least a proportion of this work had been placed in one form or another within the public domain.

• Independent Project

This unit provides a framework for independent study activities. Areas of study would typically involve specific research/development lying outside the scope of work in existing units. The work is shaped around a student's initial written proposal, which outlines their rationale, expected learning outcomes and mode of delivery and this forms the basis for further discussion, supervision and subsequent assessment.

• Professional Preparation

The final unit allows students to extend the skills and knowledge accumulated throughout the course in both practice and enterprise. Students will focus on their emerging skills as creative practitioners in the field of contemporary music, building on practical experience gained during the ‘Musician in Place' project and elsewhere. The student will begin by making a critical evaluation of their achievements, abilities and skills so far developed and presenting this to the supervisor as a basis for discussion and future development. The supervisor will assist the student by evolving from the evaluation a number of opportunities for future career development. The student will develop these ideas into more detailed plans that include an analysis of any additional skills or resources needed, critical actions and strategies together with a timeline of objectives. At an agreed point, the student will receive a business consultancy session to look at these plans and offer critique and redirection as appropriate. A final presentation and submission of a portfolio will provide both opportunities for the holding of the skills and an appropriate assessment.

Answers and advice about the course

If you have any queries about the course, or the merger of Dartington College of Arts with University College Falmouth, please visit our HelpMe Forum.

HelpMe Forum

Career opportunities

• Freelance performance and/or composition
• Session musician work
• Ensemble work
• Extended involvement with arts organisations
• Independent entrepreneurialism
• Music journalism
• Teaching and workshopping
• Postgraduate study

Course entry requirements

A minimum of 220 UCAS points, mainly from the A2 level (including at least Grade C in Music/Music Technology) or equivalent Level 3 qualifications.  Applicants should also be able to perform to Associated Board Grade 8 standard or equivalent.  

For entry, you'll be asked to send a demo recording and/or scores of your best work to date, together with examples of written work, before being invited for interview. Candidates without standard qualifications but with music industry experience are strongly encouraged to apply. Please see our How to Apply page for more information.

For further information about BA(Hons) Music at University College Falmouth, please email admissions@dartington.ac.uk or telephone Admissions on 01803 861620.

Interview dates and selection process

Selection days will commence in December.

Selection days will involve improvisation and working in small groups.

Applicants will be expected to bring:

• PERFORMANCE: A recording of 5-10 minutes (CD/MD/cassette) of your performance on your main instrument (or voice if you are a singer). Please identify who the work is by (if not you) and, if you are part of a band, tell us how to identify your contribution.
• COMPOSITION: A recording (CD/MD) of at least one piece that you have composed (it can be on the same CD/MD as your ‘performance'). Tell us why you wrote this composition and how it has been performed in the recording.
• NOTATION: An example of a notated composition. The notation should be appropriate for the performers to use in performance.
• WRITING: A copy of an essay about music in which you have used language to discuss specific musical concepts.

Location: Dartington Campus and London, Bristol and Birmingham

Related courses

• Music: Composition BA(Hons)
• Music: Performance BA(Hons)
• Music Theatre BA(Hons)
• Popular Music BA(Hons)
• Creative Music Technology BA(Hons)