BMus Music
Royal Holloway, University of London
Entry requirements
A level: ABB-BBB (Required subjects: A-level Music or Grade 7 Music Theory at Pass plus Grade 7 Music Performance Applicants without A-level in Music or pass in Grade 7 Music Theory may be eligible for the Intensive Theory entry. This requires Music GCSE grade A/7 or equivalent, plus performance at Grade 7 level. In term 1 you will be required to take Fundamentals of Music Theory, an intensive music literacy course. Students wishing to take Solo Performance options will need to be of Grade 8 level in performance at point of entry. If you are studying two A-level subjects, you may still be eligible for entry to the Music BMus (single honours), if you are able to provide evidence of your ongoing commitment to music. For this pathway, the standard offer is A B including Music. We require candidates to be performing to Grade 8 ABRSM standard, to have studied music theory to Grade 5 ABRSM level, and have a substantial record of musical performance or other musical achievements, which they should detail in their Personal Statement. We require English Language and Mathematics GCSE at grade 4 (C) In some cases, a theory test may need to be completed and performance sample provided upon request in order to meet specific Music requirements) IB: 6,5,5 at Higher Level or 32 points overall including Music at Higher Level or Grade 7 Music Theory at Pass plus Grade 7 Music Performance.
About this course
BMus in Music. Core topics include Programming, Research Methods, Historical Research, and Design & Creative Practice. The course includes weekly one-to-one instrumental or vocal lessons alongside ensemble performance. Final-year students complete a dissertation of 13,000 to 15,000 words on a topic in musicology, performance studies, or theory and analysis.
Modules
- 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
- Bach: Context and Reception
- Baroque Performance Practice
- 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
- 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)
- Practical Performance I
- The String Quartets of Dmitri Shostakovich
- Wagner's Ring
- Special Study: Dissertation
- Special Study: Theory and Analysis
- Special Study: Solo Performance
- Special Study: Composition
- Practical Performance 2
- The Music Film