MA Music (by research)

Using analysis to uncover and evidence the workings of a given repertoire, you'll focus on the musically intuitive process of rationalisation rather than studying the theory of analytical techniques in isolation. Discovering the compositional grounds that have engendered an emotional response to music, or considering how and why a composer has created particular effects ensure that analysis is kept relevant.

You should have a research proposal that sets out to apply analytical investigations within a wider context. Some indication of how analytical evidence may be used to support a larger thesis should also be outlined. Examples may include the study of a particular composer, period, style or genre.

For more information on submitting a proposal for the MA by Research in Musical Analysis contact Dr Daniel March.

Delve deeper into creative processes in contemporary music and sound art, and consider related cultural and critical issues.

You should have a research proposal that sets out the topic and research techniques to be used, with experience in your chosen mode of research. This can be primarily practical, rooted in performance, composition, and/or improvisation, or more theoretical and musicological. You have the option to combine practical and theoretical perspectives on the chosen topic by submitting a portfolio of work that includes creative research alongside theoretical investigation.

You should also have some understanding of the range and variety of current musical practices (in composition, performance or improvisation, installation, sound art, music theatre, radio and web-based work, etc), and ability to contextualise this in relation to recent musicology or other theoretical perspectives.

For more information on submitting a proposal for the MA by Research in Contemporary Studies contact Professor Catherine Laws.

Our links with York Minster and the presence of the Minster Library (with its extensive historic collections) makes the study of English Church Music through individually-focused study unique. Subjects ranging from music within the Sarum liturgy through to church music of the present day can be studied, and projects relating to the editing of church music are particularly encouraged.

You should have a research proposal that sets out the topic and research techniques to be used. Examples may include the study of a particular institution, composer, period, style, or genre.

For more information on submitting a proposal for the MA by Research in English Church Music contact Professor Jon Wainwright.

This area sets out to help you create music which through the medium of sound itself, can be experimental and forward-looking. We seek individuals who are inspired by contemporary uses of digital and analogue media, rather than choosing to emulate existing musique concrète or acousmatic styles.

You should have a good contextual knowledge of recent developments in any contemporary electro-acoustic genre. Wider knowledge, extending into domains such as data-mining, crowd-sourcing, urban revival, global digital cultures, hack technologies and aesthetics, analogue systems, algorithmic processes, projection mapping, graphics or processing, is an advantage.

You are free to make your own work that crosses media boundaries and encompasses hybridity, or alternatively, concentrate on reductive aesthetics and new post-postmodern practices. You may involve any combination of digital, or non-digital instruments or techniques. You should have good technical command of your chosen software environment but may seek individual assistance on specific matters in software programming - (MaxMsp, Pd, C, iOS) - from our dedicated Research Support programmer.

For more information on submitting a proposal for the MA by Research in Electroacoustic composition contact Dr Federico Reuben.

Focusing on the application or study of musical processes that prioritise improvisation, you should be able to demonstrate a secure understanding of an improvised practice that is relevant to your chosen area of interest. Both equally valued, this understanding can be theoretical or practical and we encourage interdisciplinary proposals.

Our archives hold a range of material directly relevant to research in jazz and improvised music, including the JRT Davies collection of pre-1950s jazz (mainly on 78rpm disk) and the ECM Records collection. Our programme is directly supported by individual coaching and workshops from members of the Julian Argüelles Octet and other visiting musicians. The University Jazz Orchestra is a key resource for practical work, as well as the recording and rehearsal facilities of the CMRC.

For more information on submitting a proposal for the MA by Research in Jazz and Improvised Music contact Dr Jonathan Eato.

This area aims to develop pedagogical skills and an understanding in a context in which you can draw upon and deepen your existing professional practical experience as teachers and as learners.

You will explore a research area of your choice relating to any aspect of instrumental/vocal teaching and learning. Topics could include the pupil-teacher-parent relationship; characteristics, qualities and motivations of effective teachers; materials for teaching; teaching particular skills; preparing students for performance; working with students of different ages, abilities and needs; and group or individual learning.

For more information on submitting a proposal for the MA by Research in Instrumental and Vocal Pedagogy contact Dr Liz Haddon.

This area is aimed at those with a strong interest in opera as it is practised today and who wish to pursue individual research projects on the institutions, staging or theory of opera. You should have acquired substantial experience in opera-related fields, either through undergraduate studies on opera-related topics, or through employment in the opera industry.

We aim to equip students with the research skills necessary for further academic studies, but also to prompt students to engage practically with opera and to reflect critically on these practical experiences. You will be encouraged to find opportunities for internships with professional opera companies, and to take advantage of our many opportunities for opera performance/staging.

You should have a research proposal that sets out the topic and research techniques to be used.

For more information on submitting a proposal for the MA by Research: Opera Studies contact Dr Áine Sheil.

This area is suitable for those wishing to research and express their understanding of specific areas of performance practice either by thesis or by performance with commentary.

You may submit a dissertation of between 30,000 and 40,000 words investigating the agreed topic; this should present a fresh understanding of an acknowledged area of performance practice based on primary sources. Submission by performance involves a portfolio of up to three discrete recorded performances supported by an appropriate commentary of around 2,500 words (or longer if required) discussing the performance and its preparation and situating the project in a research context. It may be appropriate to submit critical or performance editions of the music to be discussed or performed.

For more information on submitting a proposal for the MA by Research in Performance Practice contact Dr Emily Worthington.