Music with German

Core Modules

You will take one of the following:

• German Language: Culture and Translation

  The module develops students' command of both German-English translation and critical analysis of  German-language material by exposing them to a range of source material which might include prose fiction, poetry, drama, film, graphic novels, multimedia and web content, and newspaper and magazine articles. In weekly seminars, students will focus closely on the syntactical, stylistic, lexical and culturally specific features of a range of German-language text types.

• German Ab Initio Written I

  The module aims to develop reading and writing skills in German. Classes use German as much as possible and the module is assessed in German. The module uses a blended approach: it is based on a beginners' coursebook with additional material on Moodle and as weekly hand-outs based on authentic material. Themes studied vary from year to year but are likely to include every-day life in France, an introduction to German-speaking society and culture, regions and traditions.

• German Ab Initio Oral I

  The module aims to develop speaking and listening skills in German. Classes use German as much as possible and the module is assessed in German. The module uses a blended approach: it is based on a beginners' coursebook with additional material on Moodle and as weekly hand-outs based on authentic material. Themes studied vary from year to year but are likely to include every-day life in German-speaking countries, an introduction to German-speaking society and culture, regions and traditions.

• German Advanced Written I

  The module aims to expand students’ ability to express themselves in accurate written German. Major grammatical issues will be taught and/or revised, and students will work on a wide range of authentic material in German to expand their vocabulary and range of expressions. Key linguistic features of the texts will be identified and discussed to improve the student’s language acquisition and analysis skills. The module will be taught and assessed in German.

• German Advanced Oral I

  The module aims to expand students’ ability to express themselves in accurate spoken German. Students will work on a wide range of authentic material in German to expand their vocabulary and range of expressions and to introduce them to contemporary issues and culture. The module will be taught and assessed in German.

You will take one of the following:

• Intensive Beginners’ German II

  This module is designed to follow on from and to build on the knowledge and skills established in the first year. It will establish, through intensive practice and through the use of a range of learning materials, more advanced comprehension skills in written and spoken German. The emphasis throughout will be on everyday language and day-to-day situations.

• German Language II
• Advanced German Translation: Skills and Practice

  The module enhances understanding of and skills in translation from German to English through sustained translation practice as well as through commentary on and discussion of translations. In weekly seminars, students will discuss the syntactical, stylistic, lexical and culturally specific problems generated in the module of translating from German source text to English target text in a range of translation scenarios and a range of text types.

• German Language III

Optional Modules

There are a number of optional course modules available during your degree studies. The following is a selection of optional course modules that are likely to be available. Please note that although the College will keep changes to a minimum, new modules may be offered or existing modules may be withdrawn, for example, in response to a change in staff. Applicants will be informed if any significant changes need to be made.

• Theory and Analysis

  This course aims: 1. to develop basic music-analytical literacy, 2. to introduce basic concepts concerning counterpoint, harmony, melody and form that underpin the analysis of music, 3. to put these concepts into practice in the analysis of pieces from a variety of repertories. The course addresses the contrapuntal, melodic, harmonic and formal elements of tonal music. Weekly lectures, in which students are introduced to analytical concepts and then practise deploying them, through listening, score study and the completion of practical exercises, are supplemented by private study based on Moodle and recommended readings, to consolidate concepts learnt in the lectures and provide further opportunities to practise new skills.

• Practical Musicianship

  The aim of this course is to develop students' awareness of music theory through practical exercises and musical analysis. Through practical exercises that focus on musical literacy as well as aural awareness, students develop the ability to identify and analyse the musical parameters of metre, rhythm, pitch, harmony, counterpoint and form. In-class exercises may focus on listening, whereas exercises for self-study or small-group work may include written exercises. Tasks set for private study between classes provide a basis for students to continue their own practical training throughout their musical careers.

• Creative Composition Techniques

  This course introduces students to some fundamental techniques of music composition. The precise topics taught may change depending on the research interests of the staff responsible for teaching the course, but typically include:

  • Soundworlds and scale formations

  • The vertical dimension: chords and simultaneities

  • The horizontal dimension: melody and voice leading

  • Developments in rhythm

  • Developments in harmonic vocabulary and tonalities

  • Form in contemporary composition

  • Acoustic timbre and texture

• A Very Short History of Music

  This course introduces a wide range of repertories within the history of music. It stimulates students to relate features of musical compositions and performances to their wider historical contexts and gives students a fundamental knowledge of specific musical cultures. It provides students with opportunities to develop skills in research and information retrieval and in critical reading of primary and secondary literature, to receive formative feedback on those skills, and to build a foundation for higher-level study. The course will offer students a conceptual map of musical styles, composers and practices by introducing them to a wide chronological range of repertories, from early music to music of the twentieth century. It will emphasise questions of change, interaction and transmission through the study of specific forms and repertories in their historical context. Lectures will be designed around major repertorial moments (e.g. Stravinsky in 1910) or problems (e.g. the post-Beethovenian symphony), to bring together questions of form, style, performing practice and historical context.

• Introduction to Historical Musicology

  This course introduces concepts underlying the historical and critical study of music. It enables students to begin thinking critically about the priorities that underlie historical texts from different intellectual traditions and stimulates them to relate features of musical compositions and performances to wider historical contexts. It provides students with opportunities to develop skills in research and information retrieval and in critical reading of primary and secondary literature, to receive formative feedback on those skills, and to build a foundation for higher-level study. This course introduces students to the different kinds of historical question that we can ask about music, and interrogates some of the terminology and categories frequently used in the secondary literature (e.g. canonisation, reception, tradition, nationalism, exoticism, the work concept). Case-studies are used to illuminate specific topics and problems in the historiography of a wide variety of musics.

• Introduction to World Music

  This course introduces students to the socio-cultural contexts, functions, philosophies, techniques, and organising principles of a variety of musics of the world; musics from at least three continents will be studied. These musical traditions will be approached from both theoretical and practical perspectives, also giving a variety of opportunities for hands-on experience. Course content will vary from year to year according to staff interests, availability of musicians to provide workshops, and to ensure freshness of approach. A typical curriculum might cover the following regions and theoretical themes:

  • World Music - Introduction (culture, contact & concepts)
  • South America: Andes to Amazon (exchange)
  • Africa: Jaliya and Mbira (the musician)
  • Indonesia: Sundanese Gamelan (temporal organisation)
  • North India: The Classical Tradition (improvisation)
  • Papua New Guinea: The Kaluli (music and ecology)
  • Iran: The Persian Classical Tradition (music & religion).
• Contemporary Debates in Music

  This course introduces students to a range of key debates and issues in contemporary musicology and to a range of key issues concerning music in the contemporary world. It encourages students to think about music’s relation to social and cultural contexts and introduces them to unfamiliar musical styles and repertoires as well as broaden understanding of those closer to home. It hones students’ skills in reading a wide variety of critical and theoretical writing about music. This course will survey some of the key contemporary issues in music that have arisen from the changes of the modern world, as well as contemporary debates in musicology. The twentieth century in particular has seen a transformation of musical cultures across the world, and this course looks at a range of the issues and controversies that have emerged as a result. The study of music has broadened to include many more social, cultural and political. This course will introduce students to truly contemporary ways of studying music, combining approaches and issues traditionally associated with musicology, ethnomusicology and popular music studies, divisions which are becoming increasingly blurred. Lecture topics may include:

  • Ideas of ‘authenticity’ in music

  • Value judgements about music

  • Protection and preservation of music

  • Heritage and revivals

  • Music and tourism

  • New forms of fusion and hybridity

  • The idea of ‘world music’.

  • Music and identity

  • Music and gender

  • Music and race

  • Music and nationalism

• Solo Performance

  This course aims to further students’ skills as performers through regular (typically weekly) one-to-one vocal/instrument lessons with an approved visiting teacher.  Students will be offered opportunities to perform in practical seminars where matters of interpretation and stage manner will be discussed.  Constructive critical feedback given as well as developing students' skills in delivering feedback. 

  Students’ will develop the capacity to reflect on what constitutes good programming and fine performance.  Participation in College music events is fostered through ensemble and other activities. 

   The course consists of regular individual instrumental or vocal lessons with a teacher approved by the Department.  A series of practical seminars is run in which students perform and discuss suitable repertory under the supervision of the course co-ordinator, develop skills in the writing of programme notes to a high standard as well as concert reviews and  engage with  'professional preparation’ consisting of the development of stage presence and other relevant concerns.

• Creative Ensemble Performance

  The module aims to develop a broad range of innovative, practical, creative and collaborative musical skills. It promotes student initiative and creativity, while developing focused, critical, technical and context sensitive perspectives on selected musical repertoires/traditions/genres. It seeks to explore, reflect upon, extend and/or challenge specific musical performance conventions. The module will commence with at least two plenary lectures/seminars at the start of term one, when the module aims will be clarified, followed by fortnightly workshops and plenary meetings through terms 1 and 2. A list of student performance interests/skills will be circulated immediately after the first meeting. Students will then be requested to form their own groups. Flexibility in membership will be permitted until the end of term one when students must commit to a group with whom to be examined. Any student not integrated in a group will be allotted to one by the module tutor. All students will be required to regularly document their experience of group participation and creative practice in a performance diary.

• Introduction to Composing with Music Technology

  This module will provide the opportunity to develop skills in working with music technology, write music to a brief and develop skills in. independent creative work. The topics taught will include a selection from: introduction to media, film and game music composition; introduction to non-linear compositional techniques; the basics of digital audio; composing to a brief; interpreting images; and audio engines for games.

• Studies in Music Analysis

  The module introduces a range of important concepts for analysing music, and of the published secondary literature in music analysis. It puts these concepts into practice in increasingly sophisticated analysis of score-based and recorded pieces from the Western musical tradition and in the reading of more complex analyses. It lays foundations for further analytical and technical work in options modules and in final-year special studies. The analytical systems and repertories to be studied will vary from year to year, but students may expect to build on theoretical and analytical foundations established in the first year, by broadening their knowledge (through scores and recordings) of a wide range of Western musical repertoire, to learn and then apply standard analytical methods in order to gain a deeper understanding of the music's construction and expressive effect, and to learn the vocabulary and technical proficiency necessary for reading and evaluating analyses of music by scholars from those traditions. The module may address pre-tonal, tonal or post-tonal music.

• Studies in Composition

  This module will: develop your knowledge of a range of fundamental techniques of musical composition with particular focus on structure, harmonic control and the manipulation of rhythmic and melodic material provide an opportunity to practise the art of musical composition and to develop skills in creative work. Developing on areas covered in first-year Composition modules, this module will provide a framework in which you will be introduced to a number of techniques from diverse schools of composition in order to encourage you to explore and develop your own creativity. Key works from the past few decades will be studied and used as models or springboards for your own musical invention. You will create a portfolio of technical exercises and a short composition written in response to a given brief.

• Studies in Music History

  This module furthers students’ understanding of music history, by exploring two case-studies defined chronologically or thematically. It develops students’ ability to critically think and write about music in historical contexts that are both familiar and unfamiliar and explores more advanced concepts underlying the historical and critical study of music. It encourages students to put these concepts into practice in increasingly sophisticated historical and critical writing about music and it lays the foundations for further historical and critical writing in options modules and in particular for final-year special studies. This module will probe moments of music history that expose the complex relationship between musical repertories and historical contexts, or the nuanced processes of historical continuity, change, and cause and effect. The case-studies will vary year by year, but sample topics include: The Rise of Musical Notation in Medieval Europe; Music and the Reformation; Monteverdi: Between Renaissance and Baroque; Nationalism in Late Romantic Music; Popular and Art Music of the 1960s.

• Studies in Ethnomusicology

  This module expands students’ knowledge of concepts characteristic of ethnomusicology and equips them with stimulating approaches to understanding, enjoying and studying their own music as well as that of others. It broadens students’ understanding of the possibilities of music as human activity and of the wider contexts in which music exists in the world. It raises issues concerning the political and ethical challenges involved with studying and writing about music across the globe, whether historically or in the contemporary world, and develops students’ ability to critically think and write about music in contexts that are both familiar and unfamiliar.

  This module will involve a combination of the study of musical repertoires from different parts of the globe and introduction to a range of methodologies that might be applied to a broad range of musics and contexts. Particular repertoires and areas will vary, but approaches and issues may include: the idea of music as culture/society; looking at music beyond concepts of ‘art’; understanding the strengths and problems of fieldwork as a methodology; looking at musical change and hybridisation; issues relating to music and gender, sexuality, class, ethnicity or religion; studying musical instruments; mapping music geographically, socially and historically; and the colonial legacy of ethnomusicology and ethical issues of contemporary research.

• Studies in Music, Media and Technology

  This module explores ways that electronic media and technology have brought about change in and opened up new possibilities for musical production, consumption, sounds, practices, experience, contexts and meanings. It considers the role of electronic media and technology in preserving and documenting musical culture as well as in changing it, and it examines how developments in electronic media and technology have affected and continue to affect dynamics of power in musical production and consumption across the world. The module explores the effects of electronic media and technology on popular, traditional and classical musics and introduces concepts and techniques for the study of the interaction of music, media and technology. It also encourages a deeper and more critical understanding of music, music making and musical culture through study in both familiar and unfamiliar cultures and contexts. The module will introduce students to a range of ways in which electronic media and technology have affected and transformed musical cultures across the world through their fundamental ability to: record and store musical sound; create new sounds, new ways of combining sounds and new ways of synching sound with other media; turn musical sound into a commodity; separate musical sound from live performance context; amplify music; mass produce music; mass disseminate music; and greatly alter dynamics of power in the production and consumption of music. The module will cover a range of key phenomena and issues in contemporary musical culture that are inextricably linked to electronic media and technology. Exact topics will vary, but may include: popular and mass-mediated music; recorded music; electronic music; the impact of technology on compositional practices; music industries; piracy; film music, video and multimedia; music and the Internet; globalisation; debates on the value of mass mediated music; and questions of power and representation.

• Practical Performance I

  This course will require the student to undertake the study of an instrument or voice, with the aim of developing technical ability and musical interpretation expressed through performance.  The student will consciously and actively address concerns such as the acquisition of technical competence in performance, the development of powers of interpretation, strategies of practice and performance, effective communication and so on.  These skills are further developed through the writing of programme notes, concert reviews and developing critical feedback skills in performance seminars.

  The course consists of the study of appropriate repertory with an individual instrumental or vocal teacher approved by the Department, the writing of programme notes and concert reviews, the development of ensemble musicianship and/or music-administrative skills through membership of college ensembles and/or the in-house concert administration team.

• Solo Performance
• Ensemble Performance
• Composition Portfolio
• Practical and Creative Orchestration
• Choral Conducting
• Composing with Technology 1
• Introduction to Jazz: Theory, Practice and Contexts
• Popular Music and Musicians in Post-War Britain and North America
• Korean Percussion Performance
• Practical Ethics
• Musical Aesthetics
• Mozart's Operas
• Issues in Sound, Music and the Moving Image
• Intercultural Performance: Theory and Practice
• Music and Society in Purcell's London
• Contemporary Music Performance
• Music, Power and Politics
• Ideas of German Music from Mozart to Henze
• Music and Gender
• Hearing the Orient: Critical and Practical Approaches to the Middle East

• Solo Performance
• Ensemble Performance
• Composition Portfolio
• Practical and Creative Orchestration
• Choral Conducting
• Composing with Technology 1
• Introduction to Jazz: Theory, Practice and Contexts
• Popular Music and Musicians in Post-War Britain and North America
• Korean Percussion Performance
• Practical Ethics
• Musical Aesthetics
• Mozart's Operas
• Issues in Sound, Music and the Moving Image
• Intercultural Performance: Theory and Practice
• Music and Society in Purcell's London
• Contemporary Music Performance
• Music, Power and Politics
• Ideas of German Music from Mozart to Henze
• Music and Gender
• Hearing the Orient: Critical and Practical Approaches to the Middle East
• Practical Performance 2
• Composing with Technology 2
• Special Study: Dissertation

  This module lets students write a detailed essay of 10,000–11,000 words (including footnotes or endnotes and excluding appendices and bibliography) on a topic of a critical, aesthetic, technical, historical, cultural, analytical or theoretical nature relating to music; or on a topic of an ethnomusicological nature; or to make a transcription of one or more historical sources relating to music and to write a detailed accompanying commentary of 5000-5500 words (including footnotes or endnotes and excluding appendices and bibliography). The content of the module is the process, in all its detail, of the preparation and production of an extended piece of academic work.

  You will undertake an extended piece of academic work at the level appropriate to the final year of an undergraduate degree programme, carried out independently under the guidance of a supervisor, and laying the foundations for possible further work in the field at postgraduate level.

• Special Study: Theory and Analysis

  The learning objective is to write a detailed essay on a topic of a technical, analytical or theoretical nature relating to music.

  You will undertake an extended piece of academic work at the level appropriate to the final year of an undergraduate degree programme, carried out independently under the guidance of a supervisor, and laying the foundations for possible further work in the field at postgraduate level.

• Special Study: Performance

  This course will develop and refine students’ abilities as solo performers at an advanced level through weekly seminars in which performances will be subjected to critical scrutiny by the course tutor and members of the class.  Students will develop the ability to manage the occasion of performance at a professional level and will engage in the study and performance of music by twentieth-century or contemporary composers writing in particularly challenging or complex musical styles.

  The course consists of regular instrumental or vocal lessons with a teacher approved by the Department, regular two-hour practical seminars in which students perform suitable repertory according to a rota that requires appearance in front of their peers at least twice a term, thereby gaining platform experience in preparation for the final recital.  ‘Professional preparation’, consists of the development of stage presence and other relevant concerns, such as preparation for an audition, performance practice, interpretation and communication.  Students share participation in a public lunchtime recital.  The dates of the recitals are arranged by the Concert Office in the preceding summer vacation.

  The writing of programme notes and concert reviews to professional standard as well as the development of ensemble musicianship and/or music administration and concert management skills are key requirements.

• Special Study: Composition

  This module develops students' knowledge of advanced compositional techniques with particular focus on structure, harmonic control and the manipulation of rhythmic and melodic material. It provides opportunities to practise the art of musical composition and to develop skills in independent creative work and increases students' awareness, knowledge and understanding of issues related to contemporary composition practice in a variety of contexts. Developing on areas covered in MU2213 Composition Portfolio, the module will provide a framework for you to further explore the possibilities in your own compositional method. You will complete a structured portfolio that will properly demonstrate your increased awareness, knowledge and understanding of contemporary art music and related compositional issues. You will be assisted in acquiring a deeper confidence in experimenting with a range of compositional methods and techniques whilst being encouraged to explore the possibilities of your own compositional voice in the hope that this trend will continue into your professional life. During workshops you will be given the opportunity to have your work rehearsed and recorded by professional musicians. It is hoped that through these workshops you will discover more about the possibilities of instrumentation and the many practical compositional issues facing composers today. You should also seek to develop your own opportunities for the performance of your music in order to develop your confidence and professional activity.