BMus Music with Integrated Foundation Year
Royal Holloway, University of London
Entry requirements
A level: CCC-CCD (Students wishing to take Solo Performance options will need to be of Grade 8 level in performance at point of entry. We require English Language and Mathematics GCSE at grade 4 (C) T-levels We accept T-levels for admission to our undergraduate courses, with the following grades regarded as equivalent to our standard A-level requirements: AAA* – Distinction (A* on the core and distinction in the occupational specialism) AAA – Distinction BBB – Merit CCC – Pass (C or above on the core) DDD – Pass (D or E on the core) Where a course specifies subject-specific requirements at A-level, T-level applicants are likely to be asked to offer this A-level alongside their T-level studies.) IB: 24 points overall
About this course
BMus in Music, a four-year programme with an integrated foundation year. Core topics include Programming, Research Methods, Fieldwork, Historical Research, Ethics & Professional Practice, and Design & Creative Practice. The programme includes a foundation year covering humanities and music studies, with specialisation options in performance, composition, or musicology in later years. Final-year students complete a dissertation or undertake advanced study in theory, analysis, solo performance, or composition.
Modules
- Digital Cultures
- Cultures of Thinking
- Society on Screen
- Textual Cultures
- Fundamentals of Music Studies
- Theory and Analysis
- Fundamentals of Music Theory
- Creative Composition Techniques
- A Very Short History of Music
- Introduction to Historical Musicology
- Introduction to World Music
- Contemporary Debates in Music
- Solo Performance
- Creative Ensemble Performance
- Introduction to Composing with Music Technology
- Studies in Music Analysis
- Studies in Composition
- Studies in Music History
- Studies in Ethnomusicology
- Studies in Music, Media and Technology
- Practical Performance I
- Adorno’s Philosophy of Music
- Analysing Late Tonal Music: Riemannian and Neo-Riemannian Theories
- Bach: Context and Reception
- Baroque Performance Practice
- Britten's Operas
- Claude Debussy and French Musical Aesthetics
- The ‘Classical’ Canon and ‘Popular' Culture since 1945
- Composing with Technology 1
- Composing with Technology 2
- Composition Portfolio
- Contemporary Music Performance
- Creative Project in Composition, Performance and Technology
- Digital Tools for Music Studies
- Ensemble Performance
- Ideas of German Music from Mozart to Henze
- Introduction to Jazz: Theory, Practice and Contexts
- Issues in Sound, Music and the Moving Image
- Korean Percussion Performance
- Late Beethoven
- Mahler and Viennese Modernism, 1897-1918
- Mozart's Operas
- Musical Aesthetics
- Music and Gender
- Music and Video Games
- Music Pedagogy
- Music, Power and Politics
- Music and Society in Purcell's London
- Popular Music and Musicians in Post-War Britain and North America
- Practical and Creative Orchestration
- Practical Conducting (Choral and Orchestral)
- Silent Film Performance
- The String Quartets of Dmitri Shostakovich
- Wagner's Ring
- Special Study: Dissertation
- Special Study: Theory and Analysis
- Special Study: Solo Performance
- Special Study: Composition
- The Music Film