Structure of the Study Programme

The course offers key methodologies in music, theatre and sound studies, with a focus on sonic environments created through the interaction of bodies, voices, media, and technologies. We focus on the ways in which sonic components of performances and performance spaces articulate meaning and values in relation to the listener/auditor (the listening subject), and how to analyze this. For example, we will be analysing the narrative aspects of sound and music, the political and environmental aspects of the aural, including noise, ambience, Muzak, and institutional questions of the diverse music theatre industry. The course ultimately addresses aurality and musicality in relation to immersion, participation, affective response and signification, by looking at a range of examples from sound installations, music(al) theatre, opera to interactive media performances (virtual opera, headphones theatre). Furthermore, we will consider and practically explore both natural and urban soundscapes (acoustic ecology), which shape the affective experience of live performance events as well as the impact of ubiquitous technology. This course, therefore, introduces interdisciplinary methodologies of spectatorship and audienceship for critical analysis, as well as practice-as-research used in contemporary music and theatre studies.

Popular Music Journalism explores the development and deployment of critical discourses on popular music, focusing on the ways in which commentators – journalists, academics, bloggers/vloggers, consumers – have used words to represent sound, and to construct systems of meaning and value for the music they have loved and hated.

Beginning with an historical overview of twentieth century thought but primarily focusing on present day practices and approaches, the module will address discourses on jazz, rock, dance, pop, and other popular music genres in which commentators have attempted to articulate the excitement and anxiety these musics inspired as they came into being. Although much critical work has been done in print, the module will also consider how online developments in the world of arts (the internet, social media, DSPs) have shaped the descriptive and evaluative practices of today. Students will actively interface with industry as part of a practical journalistic project, before writing a creative essay at the course’s end. Through taking this course, students will develop a strong grasp of the relationship between critical listening and critical languages; between popular and academic discourses and modes of evaluation; and about the changing place and status of the popular music critic and scholar in an increasingly digital landscape.

Why do concerts and recordings feature works composed and produced predominantly by men? And how have canons of music promoted the prototypical image of the musical artist or composer as male (and white)? Voices of Women in Music addresses these questions while also uncovering how women’s voices (metaphorically, performatively, and compositionally) have been instrumental for the development of particular musical styles. Cases of influential musical women will be examined in six case studies of influential women in popular music. Students will study the creative aspects of these women’s artistic output, and then will expand that study by organizing their own creative responses to that work via participatory and interdisciplinary research methodologies including practice-based research, interactive workshops, and archival ‘re-scaping,’ projects which will help us explore how women’s (and girls’) voices have impacted particular music genres from jazz, pop, and punk, to film music. Guest lectures by a number of prominent scholars and performers from around the world will be part of the course and students will also learn about various performance practices from experimental singing, top lining, to jazz improvisation, to compositional styles ranging from music production, djing to film music scoring. Our collective aim is to shift the plane of future performance sites for greater gender diversity and representation to valorize Voices of Women. Assessments for the course consist of individual presentations, and a final project chosen from four formats: a video essay, podcast, dramatic assemblage, or musical performance/workshop.

In current thinking the notion of classical music as an autonomous art form has increasingly been challenged in favor of an understanding that is complemented visually. This course takes a look at various efforts to enhance the experience of classical music through visualization. The course starts by investigating early philosophies about the relationship between music and image and the contribution of early experimental music films. It analyzes various strategies of filming concerts, of adding visuals to live and recorded performances, and critically compares these to music videos by classical cross-over artists. Using a variety of theoretical approaches it discusses the impact of sound and image carriers for the development of various forms of cinematic listening, and provides students with the opportunity to apply these theories in creating their own visualizations of classical music pieces

This course explores the intersection of popular music, politics, and resistance. Popular music has been a significant force in shaping social movements and protests throughout history. Also in today's complex world, characterized by events such as the financial crisis, the COVID-19 pandemic, ongoing issues of racism and sexism, mass migration, the climate crisis, social unrest and war, it is important to understand the role of popular music in shaping social change and resistance. With the rise of nationalism and populism in Europe and around the world, as well as an increasingly fragile democratic system and increasing polarization, there are countless opportunities to explore the role of popular music in shaping social movements and protests, and examine how music can convey messages of political significance.

In this course, we will delve into the connections between music and politics from a critical and theoretical perspective. We will explore questions such as: How does music play a role in politics, protest, and social change? Throughout the course, students will develop their critical thinking and discussion skills, learn how to form theoretically sound arguments, and analyse case studies within the context of music and politics. Through hands-on projects, students will learn to design and execute socially relevant research, and present their findings to different audiences, either in the form of a publishable academic article, a scientific podcast or a critical audio essay.

One of the most prominent developments in current classical musical life concerns the development of new formats for performance (live or recorded) which take recourse to other media, or by foregrounding the social and ethical relevance of classical music. The course draws on a wide array of methodological perspectives, such as multimedia theories and marketing approaches, whilst highlighting their relevance in contemporary music life. Students will be able to interpret and critically reflect new approaches to curating classical music concerts by applying them to practical examples such as (semi) dramatized performances, the use of alternative venues, the use of second-screen apps and virtual reality.

This course explores the wide variety of ways people build lives in relation to music. Focus will be placed on contemporary careers in and around the music industry and the ways technologies are changing these professions, but focus will also be placed on non-commercial musical practices and lifeways and the ways they contribute to community, wellbeing, and creative fulfillment. The course will give students insight into structures and dynamics in the music industry and will facilitate opportunities for students to complete research in collaboration with music institutions like the European music industry showcase festival and conference Eurosonic Noorderslag and/or practicing musicians. Students will also learn about the existence and functioning of a broad range of music institutions (from organizations to oppose musical censorship to companies that facilitate musical experiences for Deaf communities; from music therapy foundations to music production collectives; from pirate radio stations to sonic meditation institutes) and musical practices (from sound sculpture, to innovative instrument building, video game soundtrack composition, community music organization, and more) and students will complete independent or collaborative research on some aspect of music industry dynamics or musical practice.

Students also enrol for an internship at a related arts or music organization for 10 EC. For their internship placement, students benefit from the extensive networks of our staff and alumni. Previously, students have worked as interns at such institutions as Eurosonic/Noorderslag, media platform 3voor12, local concert hall SPOT, the Metropolitan Opera New York, the Amsterdam Concertgebouw, Amsterdam Dance Event, Stichting Grover Pop, pop venue Simplon, Universal Music, and the Groningen Jazz Fiets Tour music festival.

After completing six courses in the first semester, during the second semester and under the supervision of a music professor, students write a thesis that in some way engages with relevant themes from these courses. This thesis constitutes 20 EC of the 60 EC program. For the thesis, students will work closely with our staff and each student receives individual in-depth guidance by their main and second supervisors.