Modules for course VVW3 | BA/PRM
BA Philosophy and Religion and Music

These were the modules for this course in the 2017–18 academic year.

You can also view the modules offered in the years: 2018–19; 2019–20.

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Year 1 Modules

Compulsory Modules

Semester 1

  • WXM-1002: The Study of Music (jt-hnrs) (20)
    The module surveys the history of Western art music from around 1000 AD to the present day. Selected works from the period will be studied in detail, and changes and developments in musical style will be set in their historical, cultural, social, geographical and aesthetic contexts. Furthermore, the module will encourage the development of a range of skills required for the study of music at degree level, and will form the foundation for musicological study carried out in Years 2 and 3 and beyond.
    or
    WXC-1002: Astudio Cerddoriaeth (JH) (20)
    Mae’r modiwl yn edrych ar hanes cerddoriaeth gelfyddydol Orllewinol o tua 1000 AD i'r cyfnod presennol. Astudir gweithiau dethol o’r cyfnod yn fanwl, a gosodir newidiadau a datblygiadau mewn arddull gerddorol yn eu cyd-destunau hanesyddol, diwylliannol, cymdeithasol, daearyddol ac esthetaidd. Yn ogystal, bydd y modiwl yn annog datblygiad amrywiaeth o sgiliau sydd eu hangen i astudio cerddoriaeth ar lefel gradd, a bydd yn sylfaen ar gyfer astudiaeth gerddolegol a wneir ym Mlynyddoedd 2 a 3 a thu hwnt.

Semester 2

  • WXM-1002: The Study of Music (jt-hnrs)
    The module surveys the history of Western art music from around 1000 AD to the present day. Selected works from the period will be studied in detail, and changes and developments in musical style will be set in their historical, cultural, social, geographical and aesthetic contexts. Furthermore, the module will encourage the development of a range of skills required for the study of music at degree level, and will form the foundation for musicological study carried out in Years 2 and 3 and beyond.
    or
    WXC-1002: Astudio Cerddoriaeth (JH)
    Mae’r modiwl yn edrych ar hanes cerddoriaeth gelfyddydol Orllewinol o tua 1000 AD i'r cyfnod presennol. Astudir gweithiau dethol o’r cyfnod yn fanwl, a gosodir newidiadau a datblygiadau mewn arddull gerddorol yn eu cyd-destunau hanesyddol, diwylliannol, cymdeithasol, daearyddol ac esthetaidd. Yn ogystal, bydd y modiwl yn annog datblygiad amrywiaeth o sgiliau sydd eu hangen i astudio cerddoriaeth ar lefel gradd, a bydd yn sylfaen ar gyfer astudiaeth gerddolegol a wneir ym Mlynyddoedd 2 a 3 a thu hwnt.

Optional Modules

40 credits from:

  • WXM-1004: Intro - Harmony & Counterpoint (20) (Semester 1 + 2)
    This module aims to develop students’ understanding of the elements of musical language – melody, harmony, counterpoint, rhythm – through the study of compositional practice in the late Renaissance and Baroque periods. Students work through a course of study which will develop aural skills, score reading and analytical skills, creativity, and a thorough understanding of the parameters for the construction of music during the periods in question. This module is intended for those students who little or no prior knowledge of harmonic principles. Students with some prior experience (e.g. those who have done chorale harmonization as part of A-Levels or equivalent) will be encouraged to register for WXM1008. Please note: WXM1004 and 1008 both cover effectively the same material in both semesters; in semester 2, both groups are taught together; in semester 1 WXM1004 covers similar ground as WXM1008, but at a slower pace (hence the doubled contact hours).
    or
    WXC-1004: Cyflwyniad Harmoni/Gwrthbwynt (20) (Semester 1 + 2)
    Bwriad y modiwl hwn yw datblygu dealltwriaeth myfyrwyr o elfennau ieithwedd gerddorol – alaw, harmoni, gwrthbwynt, rhythm – trwy astudio’r arfer a oedd yn gyffredin i gyfansoddwyr yn ystod cyfnod y Dadeni Hwyr a'r Baróc. Mae myfyrwyr yn gweithio trwy gwrs o astudiaeth a fydd yn datblygu medrau sain glust, darllen sgorau, a medrau dadansoddol, creadigrwydd a dealltwriaeth o’r paramedrau a osodai’r sylfeini ar gyfer creu cerddoriaeth yn ystod y cyfnod dan sylw. Bwriedir y modiwl hwn ar gyfer y myfyrwyr hynny sydd â phrofiad cyfyngedig o egwyddorion harmonig. Anogir myfyrwyr mwy profiadol (e.e. y rhai sydd wedi astudio cydgordio corâl fel rhan o Lefel-A) i gofrestru ar gyfer WXC1008 yn lle hwn.
  • WXM-1006: Music Cultures of the World (20) (Semester 1 + 2)
    The rise of 'world music' in recent years has opened our ears to the enormous diversity of sounds produced by the world's peoples. This course offers a broad introduction to the various forms of musical expression found across the globe, with classes focusing on a selection of music cultures, such as Indonesian gamelan, Portuguese fado, or the music of a Brazilian city. Students will be introduced to an ethnomusicological approach to the study music, examining the part played by music in its cultural context and exploring the types of questions commonly asked by ethnomusicologists. The module will include practical workshops on instruments from various culturesand ususally a guest speaker, performer or workshop leader.
    or
    WXC-1006: Diwylliannau Cerdd Byd-Eang (20) (Semester 1 + 2)
    Cynnwys y modiwl Maes cymharol ddiweddar yw Ethnogerddoreg (neu’r astudiaeth o gerddoriaeth mewn cyd-destun cymdeithasol/diwylliannol) sydd wedi sicrhau derbyniad a sylw rhyngwladol yn ystod y 120 mlynedd diwethaf. O ganlyniad i hyn, tyfodd y diddordeb mewn diwylliannau cerddorol byd-eang a daeth traddodiadau cyfandiroedd fel yr Affrig, America Ladin, Dwyrain Ewrob a.y.b. yn seiniau cyfarwydd i ni yma yn y Gorllewin. Bellach, gwelir dylanwad y traddodiadau hyn ym myd cerddoriaeth gyfoes, ‘boblogaidd’ a gwerinol ein gwlad. Y mae’r cwrs hwn yn gyflwyniad i’r ddisgyblaeth arbennig hon ac i wahanol ddiwylliannau cerddorol y byd heddiw. Rhoddir sylw hefyd i offerynnau cerdd a’u swyddogaeth yn nhraddodiadau rhai gwledydd dethol yn ystod y flwyddyn.
  • WXM-1008: Higher Harmony & Counterpoint (20) (Semester 1 + 2)
    This module aims to develop students’ understanding of the elements of musical language – melody, harmony, counterpoint, rhythm – through the study of compositional practice in the late Renaissance and Baroque periods. Students work through a course of study which will develop aural skills, score reading and analytical skills, creativity, and a thorough understanding of the parameters for the construction of music during the periods in question. This module is intended for those students who have some prior knowledge of harmonic principles (e.g. those who have done chorale harmonization as part of A-Levels or equivalent). Students with less experience will be encouraged to register for WXM1004 instead. Please note: WXM1004 and 1008 both cover effectively the same material in both semesters, in semester 2 both groups are taught together, in semester 1 WXM1004 covers similar ground as WXM1008, but at a slower pace (hence double contact hours)
    or
    WXC-1008: Harmoni a Gwrthbwynt Uwch (20) (Semester 1 + 2)
    Cynnwys y Modiwl Bwriad y modiwl hwn yw datblygu dealltwriaeth myfyrwyr o elfennau ieithwedd gerddorol – alaw, harmoni, gwrthbwynt, rhythm – trwy astudio’r arfer a oedd yn gyffredin i gyfansoddwyr yn ystod cyfnod y Dadeni Hwyr a'r Baróc. Mae myfyrwyr yn gweithio trwy gwrs o astudiaeth a fydd yn datblygu medrau sain glust, darllen sgorau, a medrau dadansoddol, creadigrwydd a dealltwriaeth drylwyr o’r paramedrau a osodai’r sylfeini ar gyfer creu cerddoriaeth yn ystod y cyfnod dan sylw. Mae’r modiwl hwn wedi’i anelu at y myfyrwyr hynny sydd eisoes â rhywfaint o wybodaeth o egwyddorion harmoni (e.e. y rhai sydd wedi astudio cydgordio corâl fel rhan o Lefel-A). Anogir myfyrwyr llai profiadol i gofrestru ar gyfer WXC1004 yn lle hwn.
  • WXK-1010: Sonic Art (20) (Semester 1 + 2)
  • WXK-1011: Composition Year 1 (20) (Semester 1 + 2)
    This course will introduce students to some of the compositional techniques used in the twentieth and twenty first centuries and show how harmony, rhythm, structure, instrumentation and pitch have evolved, presenting students with the basic tools for composition. The first half of the course will look at these techniques in relation to a number of important musical styles that evolved during the twentieth century. The course will also consider individual instruments and their particular characteristics, in addition to vocal writing. Students are then encouraged to try out these techniques in exercises and assignments, which will be set throughout the course..
    or
    WXC-1011: Cyfansoddi Blwyddyn 1 (20) (Semester 1 + 2)
    Bydd y cwrs hwn yn cyflwyno’r myfyriwr i rai o’r technegau cyfansoddi a ddefnyddiwyd yn yr 20fed ganrif, gan ddangos sut mae harmoni, rhythm, adeiledd, offeryniaeth a thraw wedi datblygu. Rhoddir y cyfryngau sylfaenol i’r myfyrwyr ar gyfer cyfansoddi. Bydd y cwrs hefyd yn ystyried offerynnau penodol a’u nodweddion arbennig, yn ogystal ag ysgrifennu ar gyfer y llais. Yna anogir y myfyrwyr i roi cynnig ar y technegau yn eu cyfansoddiadau hwy eu hunain.
  • WXP-1016: Solo Performance Year 1 (20) (Semester 1 + 2)
    This module combines a programme of individual instrumental or vocal tuition with an introduction to a range of important issues which concern performers, including preparing and delivering a recital programme, effective practice techniques, working with other musicians, and different approaches to interpretation. THIS MODULE IS NOT AVAILABLE TO STUDENTS OUTSIDE THE SCHOOL OF MUSIC. CO-REQUISITE: minimum of ABRSM 7 or equivalent.
    or
    WXC-1016: Perfformio Unawdol Blwyddyn 1 (20) (Semester 1 + 2)
    Mae’r modiwl yn cyfuno rhaglen o hyfforddiant unigol ar offeryn neu lais â chyflwyniad i amrediad o faterion pwysig sy’n ymwneud â cherddorion, yn cynnwys paratoi a pherfformio rhaglen datganiad, technegau ymarfer effeithiol, gweithio â cherddorion eraill, a dulliau gwahanol o dehongli. NID YW'R MODIWL HWN AR GAEL I FYFYRWYR O'R TU ALLAN I'R YSGOL CERDDORIAETH. CYD-OFYNIAD: o leiaf ABRSM Gradd 7 neu gyfwerth.

60 credits from:

  • VPR-1103: Existentialism (20) (Semester 1)
    The module will begin with an overview of the meaning of existentialism, its key themes and thinkers. The module is then divided into five parts. In part one we examine the philosophical groundwork that underpins existentialism as a theory. Here students will be introduced to such ideas as Sartre’s concepts of consciousness, being, nothingness, facticity and transcendence. In part two we explore the importance of freedom to the human condition, and the meaning behind Sartre’s famous slogans, ‘we are condemned to be free’, and ‘existence precedes essence’. Here we will examine the first of our contemporary films, The Truman Show, in order to demonstrate the validity of these ideas within society today. Part three then surveys the notion of the ‘absurd’ as a philosophical concept and identifies its trace in literature, art, and film. Students will examine a variety of responses to the absurd, including those outlined by Kafka, Camus, and Kierkegaard. We will then watch the film Ground hog Day with a view to identifying how these responses can be portrayed in contemporary film. Part four examines Sartre’s notion of bad faith, and the ease in which we fail to respond adequately to the demands of existentialism. Finally, part five considers the effect that others have on our existence and in our capacity to engage our lives authentically.
  • VPR-1104: Death of God (20) (Semester 2)
    The module begins by examining how the events of Nietzsche’s life and the cultural climate of his time are reflected in his writing style and the ideas he seeks to expound. Following this introduction, the module is divided into four parts. In part one we explore the philosophical context for why God’s death is deemed a necessity for Nietzsche. Here we look at his criticism of Christianity and Platonism, and examine his concepts of will to power, slave and master morality, bad conscience and ressentiment. In part two we examine the nature of God’s death, and by looking at a variety of Nietzsche’s writings, we piece together how God ‘died’. In part three, we begin to investigate the implications of the death of God for our understanding of morality, truth, and suffering. Here students are introduced to Nietzsche’s idea of a revaluation of values, and his famous conceptions of the Übermensch (or superman), eternal recurrence, and the relevance of Dionysus. Finally, in part 4 we revisit the key ideas that have been explored within this module to entertain a controversial yet coherent reading of Nietzsche’s philosophy—one that proposes the possibility of God’s return.
  • VPR-1105: Ethics: Religious Perspectives (20) (Semester 1)
    The module will begin with a discussion of the origin of ethics and will examine some of the relevant survivng materials relevant to the subject from the great civilizations of Mesopotamia and Egypt (including the stories about heroes who exemplified the kind of virtues most admired, and the legal codes which defined acceptable and unacceptable conduct). The module will then examine the ethical values of the Jewish religion, as reflected in the Old Testament, and the ethical values of the Christian tradition as reflected in the New Testament. This will be followed by an overview of ethical concerns in the Buddhist tradition. The module will conclude with an examination of the ‘divine command’ theory of ethics and will consider to what extent the moral good should be identified with God’s will or God’s command.
    or
    VPC-1105: Moeseg: Agweddau Crefyddol (20) (Semester 1)
    Bydd y modiwl yn dechrau gyda thrafodaeth ar darddiad moeseg a bydd yn edrych ar beth o'r deunyddiau perthnasol i'r pwnc sydd wedi goroesi o ddiwylliannau mawr Mesopotamia a'r Aifft (yn cynnwys storïau am arwyr a ymgorfforai'r rhinweddau a edmygid fwyaf, a'r codau cyfreithiol a ddiffiniai ymddygiad derbyniol ac annerbyniol). Bydd y modiwl wedyn yn archwilio gwerthoedd moesegol y grefydd Iddewig, fel yr adlewyrchir hwynt yn yr Hen Destament, a gwerthoedd moesegol y traddodiad Cristnogol, fel yr adlewyrchir hwynt yn y Testament Newydd. Yn dilyn hynny ceir golwg gyffredinol ar faterion moesegol sy'n gysylltiedig â'r traddodiad Bwdistaidd. Daw'r modiwl i'w derfyn drwy edrych ar ddamcaniaeth foesegol 'gorchymyn dwyfol', a bydd yn ystyried i ba raddau y dylid uniaethu daioni moesol ag ewyllys Duw neu orchymyn Duw.
  • VPR-1106: Intro: Judaism & Christianity (20) (Semester 2)
    The module outlines of some of the basic tenets of the Jewish faith as reflected in the Old Testament and the Christian faith as reflected in the New Testament. Among issues considered will be the contribution to the Jewish faith by the rabbis and the controversies faced by Judaism over the centuries, culminating in a discussion of issues relating to the holocaust. Among Jewish philosophers discussed will be Maimonides and Martin Buber. The modules will then turn to the Christian faith and will examine some of the theological issues arising from the New Testament, with a particular focus on Paul’s theology and the Early Church Fathers, such as Origen and Eusebius. There will also be a discussion of a representative sample of major Christian thinkers over the centuries.
    or
    VPC-1106: Iddewiaeth a Christnogaeth (20) (Semester 2)
    Man cychwyn y modiwl fydd astudiaeth o rai syniadau yn yr Hen Destament a’r Rabiniaid cynnar; yna eir ymlaen i drafod rhai o’r pynciau dadleuol a gododd ynglyn â’r grefydd hon dros y canrifoedd gan ddiweddu gyda thrafodaeth o’r holocost a rhai o syniadau prif feddylwyr y grefydd dros y blynyddoedd. Yn troir at y Testament Newydd a chanolbwyntio ar Paul cyn mynd ymlaen i ystyried cyfraniad y Tadau Eglwysig a rhai o’r prif feddylwyr Cristnogol dros y canrifoedd.
  • VPR-1109: Introduction to Islam (20) (Semester 1)
    Islam is the world’s fastest growing religion, yet for most people its beliefs and practice remain obscure despite having close religious connection with Judaism and Christianity. For this reason, this module has been designed to provide a comprehensive introduction to Islamic faith, philosophy and practice. The module will introduce students to the study of Islamic theology by exploring the emergence and development of Islam, from its origins in the seventh century to its modern revival. Therefore, the module will guide students through the following aspects of the study of Islam: (1) Introduce students to the history and development of early and modern Islam (against the background of social and cultural contexts); (2) Examine core Islamic beliefs and practices; and (3) Investigate the wider Islamic tradition by surveying Islamic law, philosophy and mysticism.
  • VPR-1110: Themes - Eastern Religion/Phil (20) (Semester 2)
    This module offers an introduction to the philosophical and religious development of key eastern religious traditions - Hinduism, Islam, Sikhism, Buddhism, Confucianism and Shinto – and provides a detailed overview of their origins, histories, doctrines and scriptures. In order to explore a wide spectrum of religious and philosophical beliefs, the following will be considered teaching priorities: (1) Survey of the beliefs and practices of six Eastern religions and philosophies; (2) understand the multifaceted religious heritage of the six Eastern religions – from the pre-modern era to contemporary religious practice; (3) Examination of the mutual influences and intersections of the Eastern religions and philosophies and how they interact with other elements of Eastern culture and society; (4) Deconstruct the East and West meeting points, focusing on the spread and influence of Eastern religion and philosophy in the West.
  • VPR-1300: Intro to Philosophy of Religio (20) (Semester 2)
    The module begins by clarifying the state of the analytic philosophy of religion at the turn of the 20th century, reflecting upon its inheritance of 19th century ‘modernity’. This is contrasted with some concurrent developments in the continental tradition (German Romanticism, Dostoevsky, Nietzsche). This is the context from which, and into which, Wittgenstein speaks. We will cover the early, middle, and late eras of Wittgenstein’s thought, and show the revolutionary impact that his thought had for the philosophy of religion. We track the various directions in which Wittgenstein’s influence was felt; for example, in A. J. Ayer’s verificationism, or those overtly ‘Wittgensteinian’ philosophers of religion such as D. Z. Phillips. The ‘meta-philosophy of religion’ is introduced throughout, as we tackle the question of how best to philosophise about religion.
  • VPR-1301: Introduction to Logic (20) (Semester 1)

Year 2 Modules

Optional Modules

0 to 20 credits from:

  • Study Area 1: Musicology
  • WXC-2011: Cerddoreg Blwyddyn 2 (20) (Semester 1 + 2)
    Mae ymchwil yn fedr academaidd sylfaenol, ac felly hefyd y gallu i ysgrifennu’n effeithiol ar ganlyniad yr ymchwil honno. Ar y modiwl hwn, mae myfyrwyr yn gwneud ymchwil i bwnc o’u dewis, ac yn ysgrifennu ar eu canfyddiadau mewn traethawd o ryw 4500-5000 o eiriau. Ar yr un pryd, mae’r modiwl yn cyflwyno myfyrwyr i rai o gonfensiynau a dulliau ymchwil a chyflwyno cerddoregol, a hynny trwy astudiaeth ar wahanol enghreifftiau o ysgrifennu academaidd. Ar ben hynny, bydd myfyrwyr yn parhau i ddatblygu’r medrau astudio a ddysgir yn Astudio Cerddoriaeth, yn cynnwys medrau llyfryddiaethol, medrau meddwl yn annibynnol, a medrau cyflwyno ar lafar. Bydd y modiwl yn paratoi myfyrwyr ar gyfer ysgrifennu Traethawd Hir ym Mlwyddyn 3, a gall hefyd fod yn fuddiol i fyfyrwyr sy’n ystyried Project Golygu ym Mlwyddyn 3.
  • WXM-2011: Musicology Year 2 (20) (Semester 1 + 2)
    Research is a fundamental academic skill, and so too is the ability to effectively communicate the results of that research in writing. On this module, students undertake research into a musical topic of their own choice, and write up their findings in the form of a short dissertation of around 4500-5000 words. At the same time, the module introduces students to some of the conventions and methods of musicological research and presentation, through the study of various examples of academic writing. Moreover, students will continue to develop study skills taught in The Study of Music, including bibliographical skills, skills of independent thinking, and skills in oral presentation. The module will prepare students for undertaking a Dissertation in Year 3, and may also be useful to students considering undertaking an Editing Project in Year 3.
    or
    WXC-2011: Cerddoreg Blwyddyn 2 (20) (Semester 1 + 2)
    Mae ymchwil yn fedr academaidd sylfaenol, ac felly hefyd y gallu i ysgrifennu’n effeithiol ar ganlyniad yr ymchwil honno. Ar y modiwl hwn, mae myfyrwyr yn gwneud ymchwil i bwnc o’u dewis, ac yn ysgrifennu ar eu canfyddiadau mewn traethawd o ryw 4500-5000 o eiriau. Ar yr un pryd, mae’r modiwl yn cyflwyno myfyrwyr i rai o gonfensiynau a dulliau ymchwil a chyflwyno cerddoregol, a hynny trwy astudiaeth ar wahanol enghreifftiau o ysgrifennu academaidd. Ar ben hynny, bydd myfyrwyr yn parhau i ddatblygu’r medrau astudio a ddysgir yn Astudio Cerddoriaeth, yn cynnwys medrau llyfryddiaethol, medrau meddwl yn annibynnol, a medrau cyflwyno ar lafar. Bydd y modiwl yn paratoi myfyrwyr ar gyfer ysgrifennu Traethawd Hir ym Mlwyddyn 3, a gall hefyd fod yn fuddiol i fyfyrwyr sy’n ystyried Project Golygu ym Mlwyddyn 3.

0 to 40 credits from:

  • Study Area 2: Composition
  • WXK-2233: Composition Year 2 (20) (Semester 1 + 2)
    This module seeks to build on Level 4 Composition, while at the same time introducing new ideas and techniques. Throughout, the emphasis will be on introducing students to the multiplicity of styles and techniques that have emerged during the second half of the 20th century and the first decade of the 21st. This may include bold experimentation and creative innovation, including working with non-tonal styles (pre-tonal, post-tonal, atonal), or the study of post-tonal and post-minimal styles of recent decades.
    or
    WXC-2233: Cyfansoddi Blwyddyn 2 (20) (Semester 1 + 2)
    Adeilada’r modiwl hwn ar astudiaethau Cyfansoddi Blwyddyn 1, ynghyd â chyflwyno syniadau a thechnegau newydd ar yr un pryd. Bydd pwyslais cyson ar arbrofi mentrus a newydd-deb creadigol, gan weithio gydag arddulliau anghyweiraidd (cyn-donyddol, ôl-donyddol ac anhonyddol), ynghyd ac ymdriniaethau newydd o ffurf. Ceir gwaith damcaniaethol (gwrando, dadansoddi a thrafod pynciau) ynghyd a gwaith ymarferol (gweithio drwy dechnegau, cyflwyno enghreifftiau, datrys problemau), gan ganolbwyntio ar dechnegau ac elfennau penodol - rhai yn newydd, a rhai yn gyfarwydd ers modiwl Cyfansoddi Lefel 1. Nid yw’r modiwl hwn yn addas ar gyfer myfyrwyr sy’n dymuno cyfansoddi mewn arddulliau hanesyddol neu pastiche.
  • WXK-2235: Acousmatic Composition (20) (Semester 1 + 2)
    Acousmatic music is sonic art which uses sound as its basic material and the loudspeaker as its mode of delivery. This module aims to introduce students to acousmatic composition in a more focused way than is possible in the Year 1 Practical Music Technology module, and with a more creative emphasis. It aims to equip students with the basic technological, compositional and aesthetic knowledge and understanding necessary for acousmatic composition. (This module is not intended for students wishing to compose popular music, or music using conventional approaches to harmony, melody or rhythm.)

0 to 20 credits from:

  • Study Area 3: Performance
  • WXP-2241: Solo Performance Year 2 (20) (Semester 1 + 2)
    The students will be expected to build on and expand skills already established during the solo performance modules in Year 1. This will be carried out through individual instrumental or vocal tuition. The tutor will provide consultation and help construct a projected programme of stylistically-varied technical and interpretive solo repertoire for the students to explore that will benefit the individual’s technical and musical development. Please note that students may also follow a maximum of 20 credits in ensemble performance across levels 5 & 6. This module is capped at 20 students
    or
    WXC-2241: Perfformio Unawdol Blwyddyn 2 (20) (Semester 1 + 2)
    Bydd disgwyl i’r myfyrwyr adeiladu ar fedrau y maent eisoes wedi’u dysgu yn ystod y modiwlau perfformio unigol ar lefelau 1 neu 2 ac adeiladu arnynt. Gwneir hyn trwy hyfforddiant offerynnol neu leisiol unigol. Bydd y myfyriwr a’r tiwtor yn ymgynghori, a bydd y tiwtor yn cynorthwyo i lunio rhaglen arfaethedig o repertoire technegol a deongliadol yn dangos arddulliau amrywiol, i’r harchwilio gan y myfyriwr, ac a fydd yn fuddiol i ddatblygiad technegol a cherddorol yr unigolyn. modiwl 'cap' o 20 o fyfyrwyr

0 to 20 credits from:

  • Study Area 4: Editing
  • WXM-2205: Notation and Editing (20) (Semester 1 + 2)
    Students taking the course will transcribe and edit a variety of music, some vocal and some instrumental, from the fifteenth to the nineteenth centuries, from reproductions of original sources. Some sources will be in score, some in parts, some in tablature; some will be manuscript and some printed. Certain pieces of work will involve a single source; others will require the collation and appraisal of more than one source, with variant readings tabulated and conclusions drawn about the relationship of the sources. As the title suggests, the course is divided into two parts, which will focus on different skills: Semester 1: ‘Notation’ introduces students to the palaeography of music before 1600 and teaches the elementary skills for the understanding and transcription of white mensural notation. Semester 2: ‘Editing’ covers techniques and approaches of critical editing and philology, which will enable you to produce a scholarly edition with all the standard ingredients. Case studies for this part of the module are taken mainly from the so-called ‘common practice era’.

0 to 20 credits from:

  • Genre/Comp Studies Sem 1
  • WXM-2012: Music Revivals (10) (Semester 1)
    1. A number of selected case studies of music revival in the will form the basis of the module. 2. The music revivals studied will be drawn from classical, folk, and popular traditions. 3. Each revival will be examined in its historical and cultural context. 4. Current critical and theoretical perspectives on the issues of music revival will be presented and discussed. 5. Issues of cultural nationalism, contrasting preservationist and modernist ideologies, and the inevitable nature of transformation inherent in music revival will be examined in detail, as well as the impact of these on the music itself.
  • WXM-2016: Ancient Mexican Music (10) (Semester 1)
  • WXC-2154: Wagner (Cymraeg) (10) (Semester 1) or
    WXM-2154: Wagner (10) (Semester 1)
    Wagner is often viewed as the archetypal nineteenth-century composer: a creative genius whose life was affected by rebellion and new philosophies, and whose works were dangerously revolutionary. His operas changed the course of music history, and introduced to the discipline a whole range of concepts and techniques: Gesamtkunstwerk, music-drama, leitmotif and harmonic innovation. But how new were his methods in reality? This module explores the background to Wagner's mature operatic masterpieces, and focuses on the formal procedures that characterise them. Particular attention will be paid to the four parts of "The Ring of the Nibelung", but reference will also be made to otehr music-dramas, including "The Mastersingers of Nuremburg" and "Tristan and Isolde".
  • WXM-2154: Wagner (10) (Semester 1)
    Wagner is often viewed as the archetypal nineteenth-century composer: a creative genius whose life was affected by rebellion and new philosophies, and whose works were dangerously revolutionary. His operas changed the course of music history, and introduced to the discipline a whole range of concepts and techniques: Gesamtkunstwerk, music-drama, leitmotif and harmonic innovation. But how new were his methods in reality? This module explores the background to Wagner's mature operatic masterpieces, and focuses on the formal procedures that characterise them. Particular attention will be paid to the four parts of "The Ring of the Nibelung", but reference will also be made to otehr music-dramas, including "The Mastersingers of Nuremburg" and "Tristan and Isolde".
    or
    WXC-2154: Wagner (Cymraeg) (10) (Semester 1)
  • WXM-2176: The Music of Michael Nyman (10) (Semester 1)
    : Nyman's rise to international prominence during the past three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its ‘parasitic’ borrowing of other composers' ideas and for its relentless self-borrowing. In this course, I will attempt to address these issues by placing Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism in order to develop a series of useful areas from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory, I will introduce concepts relating to appropriation and borrowing within the context of twentieth-century art music and theory. I will then explain and define intertextuality, before placing Nyman's musical language in relation to a series of classifications and types. These types will form the basis of more in-depth studies of certain works during the second half of the course, ranging from opera and chamber music to film. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, provides his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to illustrate a wide range of aesthetic and expressive forms. Nyman composes with his ear towards the past as if it were a rich quarry to mine, working like a musical archaeologist, uncovering artefacts and chiselling fresh and vibrant sonic edifices out of them.
    or
    WXC-2176: Cerddoriaeth Michael Nyman (10) (Semester 1)
    Wrth iddo ennill enwogrwydd yn rhyngwladol yn ystod y tair degawd ddiwethaf, mae Nyman wedi dod yn un o gyfansoddwyr mwyaf llwyddiannus y byd o blith y rhai sy’n dal yn fyw. Serch hynny, mae ei gerddoriaeth wedi’i beirniadu am fenthyca’n barasitig o syniadau cyfnasoddwyr eraill ac am fenthyca oddi wrthi ei hun yn ddidrugaredd. Ar y modiwl hwn, eir ati i roi sylw i’r materion hyn, gan osod gweithiau Nyman o fewn cyd-destun cyffredinol cerddoriaeth arbrofol Eingl-Ameiricanaidd, minimaliaeth ac ôl-finimaliaeth, mewn ymgais i ddatblygu cyfres o ddulliau buddiol o ddeall a gwerthfawrogi ieithwedd gerddorol Nyman. Gan dynnu ar dermau y mae theori ryng-destunol yn sail iddynt, cyflwynir cysyniadau yn ymwneud â meddiannu a bnthuca o fewn cyd-destun cerddoriaeth gelfyddydol a theori’r 20fed ganrif. Yna, bwriedir egluro a diffinio rhyng-destunedd, cyn gosod iaith gerddorol Nyman yng nghyswllt cyfres o ddosbarthiadau a mathau. Yna, daw’r mathau hyn yn sail ar gyfer mwy o astudiaethau manwl ar rai gweithiau penodol yn ystod ail hanner y modiwl, gan amrywio o opera a cherddoriaeth siambr i gerddoriaeth ffilm. Yn hytrach na chyfyngu arddull a thechneg, mae dull rhyng-destunol Nyman, i’r gwrthwyneb, yn rhoi i’r gerddoriaeth amrywiaeth a hyblygrwydd sydd bron yn ddi-ben-draw, ac mae hynny wedi’i ddefnyddio i gyfleu ystod eang o ffurfiau esthetig a mynegiannol. Cyfansodda Nyman gyda’i glust tua’r gorffennol fel petae’n chwarel gyfoethog i’w chloddio, yn gweithio fel archaeolegydd cerdd, gan ddatguddio arteffactau a chreu delweddau cerddorol deinamig allan ohonynt.
  • WXM-2198: Handel (10) (Semester 1)
    George Frideric Handel was one of the most important composers of the late Baroque era. However, since the nineteenth century his reputation has largely rested on a relatively small number of works, particularly among concert-going audiences and non-specialists; he is perhaps best known for large-scale dramatic works such as Messiah and orchestral works such as the Water Music. In fact, Handel composed in almost every instrumental and vocal genre of his day. He was essentially a conservative composer, but one whose genius was acknowledged and revered by contemporaries; he was one of the first composers to have his biography written (1760) and his birth marked by centennial celebrations (1784); he was also one of the first composers of whom a collected works was attempted (1787-97). Unlike Bach, Handel’s music never fell out of the repertoire and thus played a significant part in the historical development of the musical ‘canon’; moreover, his works have also played an important role in the historical performance movement of the late twentieth century.
  • WXC-2215: Cerdd Cymru 18 a 19eg ganrif (10) (Semester 1)
    Er amled y cyfeiriadau ar hyd y canrifoedd at Gymru fel ‘Gwlad y gân’, dim ond yn ddiweddar iawn y rhoddwyd y sylw dyladwy i faes Cerddoriaeth yng Nghymru fel rhan o gwrs gradd (Cerddoriaeth). Gwelwyd tuedd gyffredinol ymhlith cerddorion proffesiynol y gorffennol i anwybyddu’r traddodiad ar draul derbyn agweddau ar gerddoriaeth gwledydd estron. I’r perwyl hwn, fe adawyd bylchau mawr yn ein llenyddiaeth gerddorol fel cenedl, dibrisiwyd gwerth nifer o’n traddodiadau a chollwyd golwg ar rai nodweddion unigryw Cymru a’i phobl. Cwrs rhagarweiniol yw hwn, ac astudir cerddoriaeth Cymru’r 18fed a’r 19eg ganrif o safbwynt hanesyddol, cymdeithasol a diwylliannol. Rhoddir sylw i faes casglu a chofnodi cerddoriaeth, llawysgrifau cerddorol, cerddoriaeth y delyn, canu gwerin, cerddoriaeth gysegredig a seciwlar, arloeswyr cerddorol y cyfnod a’r traddodiad corawl.

0 to 20 credits from:

  • Genre/Comp Studies Sem 2
  • WXM-2013: Post-War British Opera (10) (Semester 2)
    This module will begin with a focus on Britten and Tippett’s major contributions to the genre, and subsequent lectures will examine the ways in which British composers have explored different categories of opera. Many composers, for instance, have been drawn to chamber and/or comic opera, with Elizabeth Maconchy’s The Sofa (1956-57) and Grace Williams’s The Parlour (1960-66) as notable examples. During the 1960s, British musical life was vitalised by the expressivist theatricality of music theatre works by Alexander Goehr, Harrison Birtwistle and Peter Maxwell Davies, and these composers continued to enrich the operatic genre in subsequent years. The series will conclude by examining a selection of later, full-scale opera including William Mathias’s The Servants (1980) and Judith Weir’s A Night at the Chinese Opera (1987).
  • WXM-2155: Cage and Experimental Music (10) (Semester 2)
    This course is an introduction to the work and life of American composer John Cage. Subjects covered will include the concept of 'experimental music', Cage's percussion pieces of the 1930s, his rhythmic interpretation of Schoenberg's serial technique, the works for prepared piano in the 1940s, Cage's ideas about chance, the impact of Zen Buddhism, Fluxus events in the 1960s, and his reinterpretation of opera during the 1970s.
  • WXC-2160: Y Beatles (10) (Semester 2)
    Bydd y cwrs yn cyflwyno myfyrwyr i gerddoriaeth a recordiadau’r Beatles, trwy a) roi hanes y grŵp a b) gosod cyfres o fframweithiau beirniadol a dadansoddiadol ar gyfer deall eu caneuon. Bydd myfyrwyr yn astudio recordiadau dethol o gyfnodau cynnar, canol a diweddar datblygiad y grŵp. Ar yr un pryd, byddant yn astudio’r cyd-destun cymdeithasol a diwylliannol a esgorodd ar y gerddoriaeth yn y 1960au.
    or
    WXM-2160: The Beatles (10) (Semester 2)
    This course will explore the music and recordings of the Beatles by: a) Studying the group in its historical and biographical contexts b) supplying a series of critical and analytical frameworks for a more detailed understanding of their songs. Selected recordings will be studied from the early, middle and late periods of the group’s development. At the same time the social and cultural context out of which the music emerged during the 1960s will also be studied.
  • WXM-2160: The Beatles (10) (Semester 2)
    This course will explore the music and recordings of the Beatles by: a) Studying the group in its historical and biographical contexts b) supplying a series of critical and analytical frameworks for a more detailed understanding of their songs. Selected recordings will be studied from the early, middle and late periods of the group’s development. At the same time the social and cultural context out of which the music emerged during the 1960s will also be studied.
    or
    WXC-2160: Y Beatles (10) (Semester 2)
    Bydd y cwrs yn cyflwyno myfyrwyr i gerddoriaeth a recordiadau’r Beatles, trwy a) roi hanes y grŵp a b) gosod cyfres o fframweithiau beirniadol a dadansoddiadol ar gyfer deall eu caneuon. Bydd myfyrwyr yn astudio recordiadau dethol o gyfnodau cynnar, canol a diweddar datblygiad y grŵp. Ar yr un pryd, byddant yn astudio’r cyd-destun cymdeithasol a diwylliannol a esgorodd ar y gerddoriaeth yn y 1960au.
  • WXM-2211: Seven Jazz Women (10) (Semester 2)
    The module will present seven female jazz vocalists who usually accompany themselves on piano and are noted both for their vocal and piano styles. Highly influential musicians such as Nina Simone and Norah Jones will be supplemented by lesser known but nonetheless important figures such as Shirley Horn and Aziza Mustafa Zadeh. Their work will be examined in the broader context of jazz and popular music studies and theorised with reference to ethnomusicological and feminist critiques.

0 to 20 credits from:

  • Other modules
  • WXM-2186: Music, Health and Wellbeing B (10) (Semester 2) or
    WXC-2186: Cerdd mewn Iechyd a lles B (10) (Semester 2)
    Yn y modiwl hwn, edrychir mewn cryn fanylder ar rai o'r prif feysydd lle y defnyddir cerddoriaeth fel cyfrwng gwellhad. Edrychir ar y defnydd o gerddoriaeth mewn cyd-destun therapiwtig mewn amryw o sefyllfaoedd, megis awtistiaeth, anawsterau ymddygiadol, anableddau corfforol a seiciatreg. Bydd cyfle hefyd i gael seminarau a gweithdai anffurfiol gan gerddorion, therapyddion cerdd a seicolegwyr sy'n defnyddio cerddoriaeth o ddydd i ddydd fel cyfrwng gwellhad mewn lleoliadau clinigol amrywiol yn lleol.
  • WXC-2187: Cerdd mewn Iechyd a Lles A (10) (Semester 1)
    Yn y modiwl hwn, bydd cyfle i ystyried y pŵer sydd mewn cerddoriaeth i ddylanwadu arnom ar lefel seicolegol, emosiynol a chymdeithasol. Edrychir hefyd ar gerddoriaeth mewn cyd-destun meddygol, a’r gydnabyddiaeth sydd wedi bodoli ers dechrau amser am y cyswllt rhwng cerddoriaeth ac iechyd a lles cyffredinol. Edrychir yn benodol ar ddefnydd y Groegiaid cynnar o gerddoriaeth wrth iachau, yn ogystal â’r datblygiadau mwyaf diweddar yn y maes yn yr 21ain ganrif, a pham fod gwyddonwyr erbyn heddiw yn cydnabod fod lle i gerddoriaeth mewn cyd-destun therapiwtig ym maes iechyd a lles.
  • WXK-2191: Songwriting (20) (Semester 1 + 2)
    Students will be introduced to many basic and advanced aspects of composing in various song genres, with particular reference to the presentation of rhythmic counterpoint, harmonic vocabulary, melodic shaping, formal archetypes and lyrics in their songs. These will be illustrated with reference to a number of song styles, ranging from folk to jazz and rock genres. At the end of the module, the student will have created a small portfolio their own songs, and be able to present their work to a good standard either on audio CD or in written form. (For recordings this means that the sounds are distortion-free unless intentionally so, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.)
    or
    WXC-2191: Ysgrifennu Caneuon (20) (Semester 1 + 2)
    Amcan y modiwl Sgiliau Ysgrifennu Caneuon yw cyflwyno’r myfyriwr i elfennau technegol a chreadigol bwysig y grefft o gyfansoddi cân dda, tra ar yr un pryd yn cynnig cipolwg ar ddatblygiadau ffurfiol y gân boblogaidd yn ystod ail hanner yr ugeinfed ganrif drwy ddadansoddi enghreifftiau penodol. Cyflwynir sgiliau sylfaenol ynghŷd â rhai mwy soffistigedig o gyfansoddi a threfnu caneuon mewn nifer o genres gwahanol, gan gyfeirio yn arbennig at elfennau megis gwrthbwynt rhythmig, geirfa harmonig, siapio alawol, ffurfiau set, a gwead a lliwio cerddorol. Dangosir hyn mewn perthynas a nifer o arddulliau caneuon, o Gwerin at Jazz a Roc. Disgwylir i’r myfyriwr feithrin sgiliau’r cyfarwyddwr cerdd hefyd, gan ddangos y gallu i drawsgrifio recordiad o gân bop a’i threfnu yn gywir ar gyfer gitâr fas ac un chwe thant, drymiau, piano, allweddellau, ac yn y blaen. Ar ddiwedd y cwrs fe fydd y myfyriwr yn medru cyfansoddi mewn nifer o arddulliau gwahanol, ac wedi meithrin ar y sgiliau o gyflwyno gwaith i safon boddhâol un ai’n electronaidd (ar ffeil MP3, CD, neu debyg) neu mewn nodiant cerddorol ar feddalwedd Sibelius.
  • WXM-2201: Schenkerian Techniques (10) (Semester 2)
    This module studies the analytical theory and practice of Heinrich Schenker (1868-1935), with particular focus on his conceptual premises, analytical techniques and methods of presentation; specimen analyses of music by J S Bach, Beethoven and Chopin are considered in detail. Schenker's techniques and methods are applied to the analysis of further works by, for instance, Mozart, Schubert and Schumann. Additionally, the applicability of this methodology to repertory outside of Schenker’s area of study will be evaluated.
  • WXM-2207: Harmony & Counterpoint Year 2 (20) (Semester 1 + 2)
    This module builds on and develops the basic analytical and (pastiche) compositional skills acquired in WXM/WXC 1004/1008. It will explore in detail a variety of vocal and instrumental music, and compositional practices and techniques from the late sixteenth to the early nineteenth centuries; students will be introduced to a range of music from analytical and compositional perspectives. The module will focus on particular genres (such as piano sonata, string quartet) and forms (such as sonata- form exposition, rondo). It will also introduce students to advanced chromaticism and modulation in a range of contexts; these aspects will also be discussed in relation to historical development.
  • WXK-2232: Orchestration Today (20) (Semester 1 + 2)
    Description: This course aims to expand upon issues addressed in Orchestration A. More involved orchestration procedures will be discussed in relation to the new elements of instrumental technique that evolved in the wake of developments in instrumental technology. Students will add auxiliary woodwind instruments to their orchestras together with additional percussion so that students can score for a modern orchestra. Each student is required to respond both verbally and on paper in either week 3, 6 or 9, to a task which will be given out in the previous seminar. This will be assessed as part of the coursework (see assessment below). Method, frequency and number of classes: Eight classes of around 1 hour and 15 minutes during weeks 1 - 6 and weeks 8 - 9, with a one-to-one tuition session in week 10. Assessment: One large assignment at 50% with three smaller pieces of course work making up 30%, and a verbal/written response to a set task, worth 20%. coursework 1: set in week 1, to be submitted in week 3 coursework 2: set in week 4 to be submitted in week 6 coursework 3: set in week 8 to be submitted in week 10 assignment: set in semester 2 week 10, to be submitted in week 13 WXK 2232: Learning Outcomes: On completion of the module, a student should have: 1. acquired skills of scoring in an appropriate manner for a modern orchestra, writing idiomatically for the instruments used (assessed by the written coursework and the assignment) 2. understood the technical restraints of instruments (assessed by the written coursework and the assignment) 3. developed skills in score presentation, using appropriate indications such as bowing (assessed by the written coursework and the assignment) 4. identified Orchestration procedures and should be able to discuss these (assessed by the aural task)
  • WXP-2243: Ensemble performance 1 (10) (Semester 1)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-2244: Ensemble performance 2 (10) (Semester 2)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-2253: Fusion Ensemble 1 (10) (Semester 1)
    Students will learn approaches to improvisation and playing together from a number of musical traditions including jazz, European traditional music, and the music of other cultures such as those of China and Brazil. They will be led in workshops by a tutor where they will experiment with different techniques and develop pieces for performance. Students will work in different ensembles and with various instruments. Feedback will be provided as performance pieces are rehearsed for assessment.
  • WXP-2254: Fusion Ensemble 2 (10) (Semester 2)
  • WXM-2268: Studio Techniques (10) (Semester 1)
    To introduce students to digital sound recording and editing techniques. The various equipment found in a recording studio will be introduced and explained, and practical skills in its uses will be developed.
  • WXM-2269: Community Arts Project (20) (Semester 1 + 2)

60 credits from:

  • VPR-2202: Applied Ethics (20) (Semester 2)
    The module will begin with a brief outline of the various ethical challenges which face contemporary society. It will then consider the following issues: (a) world poverty (is it the responsibility of individuals or governments or both to alleviate world poverty?); (b) the arguments justifying an environmental ethic; ethical considerations to be considered in the case of voluntary and non-voluntary euthanasia; the issue of abortion and the notion of reverence for human life; war and peace (the just war theory; ethics and nuclear weapons etc).
    or
    VPC-2202: Moeseg Gymhwysol (20) (Semester 1)
    Bydd y modiwl yn dechrau gydag amlinelliad byr o'r gwahanol sialensiau moesegol sy'n wynebu cymdeithas gyfoes. Bydd wedyn yn ystyried y materion canlynol: (a) tlodi byd-eang (ai cyfrifoldeb unigolion neu lywodraethau, neu'r ddau, yw lliniaru tlodi byd-eang?); (b) y dadleuon sy'n cyfiawnhau moeseg amgylcheddol; ystyriaethau moesegol i'w hystyried yn achos ewthanasia gwirfoddol ac anwirfoddol; mater erthyliad a'r syniad o barchu bywyd dynol; rhyfel a heddwch (theori'r rhyfel cyfiawn; moeseg ac arfau niwclear etc).
  • VPR-2203: Paradoxes of Self: Nietz./Jung (20) (Semester 2)
    We begin with a survey of how opposites have been construed within Western and Eastern philosophical traditions. Particular emphasis will be given to how they have been, and continue to be regarded as necessary postulates for making sense of the way we think and experience life, and also useful approaches for considering how we can enhance our lives and make them more meaningful. This introductory part of the module will recap some of the relevant themes studied in the Year One modules, ‘Existentialism’, and ‘Death of God’ (including metaphysics; truth; subjectivity; and freedom). Students will then identify these ideas within two contrasting models of opposites proposed by two iconic thinkers of twentieth-century philosophical and psychological thought: Friedrich Nietzsche and C.G. Jung. We shall explore their models side by side, drawing on their similarities and essential contrasts, and also drawing upon their key philosophical influences, whose ideas helped to shape their different models. (These include, Heraclitus, Aristotle and Plato, Schopenhauer, and Kant, and also Eastern philosophical traditions.) The implications of their different models of the nature and dynamics of opposites will be scrutinised in light of how they apply their theories to real life, and how they have different ideas about how oppositional thinking can be utilized and maximised in our own lives. To this end, students will explore their different ideas of the ideal human being who does just that: the Übermensch (or superman) of Nietzsche, and ‘the Self’ of Jung. The module will conclude with an analysis of the extent to which Nietzsche’s and Jung’s models of the union of opposites and their embodiment within their visions of an ideal human being can be regarded as viable, practical models for us to emulate. To this end, students will have the opportunity to see how Nietzsche and Jung themselves fare when compared to their own and each other’s ideal conceptions.
  • VPR-2218: Sociology of Religion (20) (Semester 1)
    This module provides a comprehensive discussion of the classical and modern theoretical underpinnings of the sociological study of religion. The module will cover several theoretical topics and issues: Firstly, the origins of religious belief and practice will be explored by reviewing the major theories related to the debates on the social origin of religion. Secondly, the module will provide different theoretical foundations for understanding religion in modern social life, its culture and institutions. Thirdly, the module will identify common themes across religious traditions, providing broader insight into different understandings of religion, of those who practice religion, and how religious motivations and justifications affect the social world. Fourthly, these common themes will be examined within a sociological framework, which will be built on the contributions of both classical sociologists, such as Durkheim, Marx, Troeltsch and Weber, and recent sociologists.
  • VPR-2219: Comp. Philosophy: East/West (20) (Semester 1)
    This module seeks to explore two distinct philosophical traditions: Eastern and Western. Framing the module in a comparative way enables students to identify key relationships and differences that relate to major philosophical themes. In particular, the module begins by defining the comparative philosophical approach, which will be used throughout the course as the means to study the East and the West. The vast majority of the module will be dedicated to examining different metaphysical and ethical concerns. The module will explore several key thematic notions: (1) Reason and Faith (ignorance, knowledge, causation, scepticism, revelation and divinity); (2) Reality (origins, existence, monism, dualism, pluralism and naturalism); (3) Virtue (tradition, divinity, rites, human nature and altruism); (4) Mind (enlightenment, emptiness, transcendence, introspection and immanence).
  • VPR-2300: Ancient Philosophy (20) (Semester 1)
    This module provides a broad overview of, and introduction to, ancient philosophy in the Western tradition. It will cover, mainly in chronological order, the entirety of the ‘ancient’ philosophical era, beginning with the pre-Socratics, moving through Socrates, Plato, and Aristotle, and onwards to Stoicism, some key Roman philosophers, and Neo-Platonism. Emphasis will be put on the connections between ancient philosophy and later philosophical or religious developments, and on the influence that ancient philosophy has had on human thought generally. Historical narrative detail will be included where relevant (e.g., Socrates’ death, the Peloponnesian War, Aristotle and Alexander the Great, etc.) to provide context. Significant emphasis will be placed on the continued relevance that ancient philosophical schools can have for our modern lives, enabling us to overcome adversity and ‘live well’.
  • VPR-2301: 20th Century Phil of Religion (20) (Semester 2)
    The module begins by clarifying the state of the analytic philosophy of religion at the turn of the 20th century, reflecting upon its inheritance of 19th century ‘modernity’. This is contrasted with some concurrent developments in the continental tradition (German Romanticism, Dostoevsky, Nietzsche). This is the context from which, and into which, Wittgenstein speaks. We will cover the early, middle, and late eras of Wittgenstein’s thought, and show the revolutionary impact that his thought had for the philosophy of religion. We track the various directions in which Wittgenstein’s influence was felt; for example, in A. J. Ayer’s verificationism, or those overtly ‘Wittgensteinian’ philosophers of religion such as D. Z. Phillips. The ‘meta-philosophy of religion’ is introduced throughout, as we tackle the question of how best to philosophise about religion.
  • VPR-2302: Faith and Reason (20) (Semester 2)
    The module is composed of two parts, each looking at the interaction of ‘faith’ and ‘reason’. In the first part, I construct a narrative regarding the origins of our modern conception of ‘reason’, contrasting this with our conception of what it is to have ‘faith’. This narrative begins with Francis Bacon and (which is the more usual philosophical starting point) Descartes. I develop this through certain key thinkers of the modern period (Spinoza, Locke, Hume), concluding with the 19th century’s conception of ‘natural theology’. I press the case that a certain conception of ‘reason’ squeezed ‘faith’ out of the picture (along with a great deal of other meaningful dimensions of human life), prompting us to ask whether we must hold to the traditional conception of ‘reason’ at any cost. The second part of the module looks at contemporary examples of the interaction of ‘reason’ and ‘faith’, in the form of the interaction of science and religion. We consider examples of science being used to support religion (‘Intelligent Design’, the ‘Fine Tuning’ argument), and to debunk religion (evolution, the cognitive science of religion), and ask whether science and religion must necessarily be in conflict with each other. No prior philosophical or scientific knowledge is presumed. A brief introduction to quantum theory will be included.
  • VPR-2303: Immanuel Kant (20) (Semester 1)
    This module provides an introduction to the thought of Immanuel Kant. It covers his contributions to metaphysics and epistemology, by discussing his ‘transcendental idealism’. It covers Kant’s significant contributions to ethics, introducing the various formulations of his ‘categorical imperative’. It covers his contributions to the philosophy of religion, in particular his moral argument for belief in God. Throughout the module, I place Kant in the context of the history of philosophy, identifying those key aspects of philosophy to which Kant was responding (i.e., rationalism and empiricism), and those philosophers whose work was shaped by Kant’s legacy. Finally, we reflect on the place Kant’s thought holds in contemporary philosophy, particularly moral philosophy.

Year 3 Modules

Compulsory Modules

30 to 60 credits from:

  • WXM-3275: Diss.: Music in the Community (20) (Semester 1 + 2)
    The dissertation in Music in the Community is an independent piece of writing focusing on some area of music in the community. It may be the only dissertation you are writing, or it may be a second dissertation in a contrasting area to your longer main dissertation. The dissertation in Music in the Community may be a self-contained study focusing on a set topic (such as an aspect of music therapy), or it may involve a practical element, such as market research undertaken on behalf of an Arts Centre or Festival, with a view to producing a series of recommendations on policy. In many cases the project will follow on from skills learned or small-scale projects undertaken during one of the pre-requisite modules (Arts Administration and/or Music in the Community). The topic will be selected by the student in consultation with a member of staff and approved by the Board of Examiners in the normal manner. This selection and approval takes place in the summer term immediately preceding Year 3. The writing should take account of previous and current relevant research but demonstrate originality of mind in approach and argument. Credit will be given for quality of ideas, clarity and logic of argument and presentation, suitability of bibliography, and elegance of presentation.
  • WXM-3276: Dissertation (30) (Semester 1 + 2)
    The dissertation is an independent piece of writing on a subject selected by the candidate in consultation with a member of staff and approved by the Board of Examiners. This selection and approval takes place in the summer term immediately preceding Year 3. The writing should take account of previous relevant research but demonstrate originality of mind in approach and argument. Credit will be given for quality of ideas, clarity and logic of argument and presentation, suitability of bibliography, and elegance of presentation. The dissertation will be accompanied by seminars on the research, bibliography and methodology skills required for writing the dissertation.
    or
    WXC-3276: Traethawd Hir (30) (Semester 1 + 2)
    Mae’r traethawd hir yn ddarn o ysgrifennu annibynnol ar destun a ddewisir gan yr ymgeisydd mewn ymgynghoriad ag aelod staff ac a gymeradwyir gan y Bwrdd Arholi. Mae’r dewis a’r cymeradwyo hwn yn digwydd yn ystod tymor yr haf yn union cyn Blwyddyn 3. Dylai’r ysgrifennu gymryd i ystyriaeth ymchwil flaenorol berthnasol, ond dylai ddangos gwreiddioldeb meddwl o ran dull ymdrin a dadl. Rhoddir credyd am ansawdd syniadau, eglurder a rhesymeg dadl, addasrwydd llyfryddiaeth a mireinder y cyflwyniad. I gyd-fynd â’r traethawd hir ceir seminarau ar y sgiliau ymchwil, llyfryddiaeth a methodoleg sydd eu hangen i ysgrifennu'r traethawd hir
    or
    WXC-3277: Traethawd Hir (40) (Semester 1 + 2)
    Mae'r traethawd hir yn ddarn o ysgrifennu annibynnol ar destun a ddewisir gan yr ymgeisydd mewn ymgynghoriad ag aelod staff ac a gymeradwyir gan yr Bwrdd Arholi. Mae'r dewis a'r cymeradwyo hwn yn digwydd yn ystod tymor yr haf yn union cyn Blwyddyn 3. Dylai'r ysgrifennu gymryd i ystyriaeth ymchwil flaenorol berthnasol, ond dylai ddangos gwreiddioldeb meddwl o ran dull ymdrin a dadl. Rhoddir credyd am ansawdd syniadau, eglurder a rhesymeg dadl, dull cyflwyno, addasrwydd llyfryddiaeth a mireinder y cyflwyniad. I gyd-fynd a'r traethawd hir ceir seminarau bob pythefnos lle bydd y myfyrwyr yn gweithio gyda thiwtoriaid y modiwl ar y sgiliau ymchwil, llyfryddiaeth a methodoleg sydd eu hangen i ysgrifennu'r traethawd hir
    or
    WXM-3277: Dissertation (40) (Semester 1 + 2)
    The dissertation is an independent piece of writing on a subject selected by the candidate in consultation with a member of staff and approved by the Board of Examiners. This selection and approval takes place in the summer term immediately preceding Year 3. The writing should take account of previous relevant research but demonstrate originality of mind in approach and argument. Credit will be given for quality of ideas, clarity and logic of argument and presentation, suitability of bibliography, and elegance of presentation. The dissertation will be accompanied by seminars on the research, bibliography and methodology skills required for writing the dissertation.
  • WXM-3277: Dissertation (40) (Semester 1 + 2)
    The dissertation is an independent piece of writing on a subject selected by the candidate in consultation with a member of staff and approved by the Board of Examiners. This selection and approval takes place in the summer term immediately preceding Year 3. The writing should take account of previous relevant research but demonstrate originality of mind in approach and argument. Credit will be given for quality of ideas, clarity and logic of argument and presentation, suitability of bibliography, and elegance of presentation. The dissertation will be accompanied by seminars on the research, bibliography and methodology skills required for writing the dissertation.
  • WXM-3282: Edition (30) (Semester 1 + 2)
    Participants of this module will prepare a critical edition of a suitable work from original sources or photographic reproductions of such sources. The work concerned will be selected by the candidate in consultation with a member of staff; the selection approved by the Board of Examiners, during the summer term of Year 2. The length of the work will depend upon various factors, including scoring, the number and complexity of sources, and the extent and degree of editorial intervention the materials demand; but in every instance full editorial apparatus will be required, including a detailed textual commentary. The edition should show awareness of previous editions of relevant music, but also demonstrate a capacity for solving specific editorial problems. Credit will be given for the quality of presentation as well as of editorial work. The project will be accompanied by seminars on the research, bibliography and methodology skills required for preparing the edition.
  • WXM-3283: Edition (40) (Semester 1 + 2)
    Participants of this module will prepare a critical edition of a suitable work from original sources or photographic reproductions of such sources. The work concerned will be selected by the candidate in consultation with a member of staff; the selection approved by the Board of Examiners, during the summer term of Year 2. The length of the work will depend upon various factors, including scoring, the number and complexity of sources, and the extent and degree of editorial intervention the materials demand; but in every instance full editorial apparatus will be required, including a detailed textual commentary. The edition should show awareness of previous editions of relevant music, but also demonstrate a capacity for solving specific editorial problems. Credit will be given for the quality of presentation as well as of editorial work. The project will be accompanied by seminars on the research, bibliography and methodology skills required for preparing the edition.
  • WXK-3288: Composition (project) (30) (Semester 1 + 2)
    The composition project is an opportunity for students to spend a sustained period engaged in compositional activity, working towards the production of a work, or works, of significant scale and duration. Students complete a composition or portfolio of compositions for any combination of instruments, voices, electroacoustic and studio resources, with the guidance of a supervisor. Project composers meet regularly as a group to consider broad issues and to share ideas and approaches. Compositions should demonstrate a thorough understanding of their genre, facility in the relevant technical skills, clarity of creative intent, and contemporary cultural relevance in their aesthetic approach. Compositions should be submitted in the form of a notated score, recording or a combination. If the work involves music for moving image, a DVD of music synchronised to picture must also be submitted. The piece or portfolio should normally be about 18 minutes in duration, by agreement with the supervisor, and depending on the tempo, the complexity of the music and the nature of the instrumental/vocal/ electroacoustic resources used. Portfolios may contain a mix of different genres. This module is not appropriate for students wishing to compose in historical or pastiche styles.
  • WXK-3289: Composition (project) (40) (Semester 1 + 2)
    The composition project is an opportunity for students to spend a sustained period engaged in compositional activity, working towards the production of a work, or works, of significant scale and duration. Students complete a composition or portfolio of compositions for any combination of instruments, voices, electroacoustic and studio resources, with the guidance of a supervisor. Project composers meet regularly as a group to consider broad issues and to share ideas and approaches. Compositions should demonstrate a thorough understanding of their genre, facility in the relevant technical skills, clarity of creative intent, and contemporary cultural relevance in their aesthetic approach. Compositions should be submitted in the form of a notated score, recording or a combination. If the work involves music for moving image, a DVD of music synchronised to picture must also be submitted. The piece or portfolio should normally be about 22 minutes in duration, by agreement with the supervisor, and depending on the tempo, the complexity of the music and the nature of the instrumental/vocal/ electroacoustic resources used. Portfolios may contain a mix of different genres. This module is not appropriate for students wishing to compose in historical or pastiche styles.
  • WXP-3297: Solo Performance Project (30) (Semester 1 + 2)
    Participants of the module will prepare and perform a public recital of 30 minutes’ duration, featuring stylistically-diverse solo repertoire from different periods. Individual instrumental or vocal tuition will be accompanied by seminars in which the students will work on advanced questions of repertoire, rehearsal strategies, performance practice and historically-informed performance. This module is capped at 15
    or
    WXC-3297: Project Perfformio Unawdol (30) (Semester 1 + 2)
    Bydd y rhai sy’n dilyn y modiwl yn paratoi a pherfformio datganiad cyhoeddus yn para am 30 munud, yn cynnwys repertoire unawdol mewn arddulliau amrywiol o gyfnodau gwahanol. Caiff myfyrwyr hyfforddiant offerynnol neu leisiol unigol ochr yn ochr â seminarau, lle bydd y myfyrwyr yn gweithio ar gwestiynau uwch ar repertoire, strategaethau ymarfer, ymarfer ar gyfer perfformio, a pherfformio dan ddylanwad hanesyddol. Dim ond 15 myfyriwr ar y modiwl yma
  • WXP-3298: Solo Performance Project (40) (Semester 1 + 2)
    Participants of the module will prepare and perform a public recital of 40 minutes’ duration, featuring stylistically-diverse solo repertoire from different periods. Individual instrumental or vocal tuition will be accompanied by seminars in which the students will work on advanced questions of repertoire, rehearsal strategies, performance practice and historically-informed performance. This module is capped at 15 students
    or
    WXC-3298: Project Perfformio Unawdol (40) (Semester 1 + 2)
    Bydd y rhai sy’n dilyn y modiwl yn paratoi a pherfformio datganiad cyhoeddus yn para am 40 munud, yn cynnwys repertoire unawdol mewn arddulliau amrywiol o gyfnodau gwahanol. Caiff myfyrwyr hyfforddiant offerynnol neu leisiol unigol ochr yn ochr â seminarau, lle bydd y myfyrwyr yn gweithio ar gwestiynau uwch ar repertoire, strategaethau ymarfer, ymarfer ar gyfer perfformio, a pherfformio dan ddylanwad hanesyddol. Dim ond 15 o fyfyrwyr ar y modiwl yma
  • All modules above are SPECIAL PROJECTS

Optional Modules

0 to 30 credits from:

  • Genre/Comp Studies Sem 1
  • WXM-3012: Music Revivals (10) (Semester 1)
    1. A number of selected case studies of music revival in the will form the basis of the module. 2. The music revivals studied will be drawn from classical, folk, and popular traditions. 3. Each revival will be examined in its historical and cultural context. 4. Current critical and theoretical perspectives on the issues of music revival will be presented and discussed. 5. Issues of cultural nationalism, contrasting preservationist and modernist ideologies, and the inevitable nature of transformation inherent in music revival will be examined in detail, as well as the impact of these on the music itself.
  • WXM-3016: Ancient Mexican Music (10) (Semester 1)
  • WXC-3154: Wagner (Cymraeg) (10) (Semester 1) or
    WXM-3154: Wagner (10) (Semester 1)
    Wagner is often viewed as the archetypal nineteenth-century composer: a creative genius whose life was affected by rebellion and new philosophies, and whose works were dangerously revolutionary. His operas changed the course of music history, and introduced to the discipline a whole range of concepts and techniques: Gesamtkunstwerk, music-drama, leitmotif and harmonic innovation. But how new were his methods in reality? This module explores the background to Wagner's mature operatic masterpieces, and focuses on the formal procedures that characterise them. Particular attention will be paid to the four parts of "The Ring of the Nibelung", but reference will also be made to otehr music-dramas, including "The Mastersingers of Nuremburg" and "Tristan and Isolde".
  • WXM-3176: The Music of Michael Nyman (10) (Semester 1)
    : Nyman's rise to international prominence during the past three decades has made him one of the world's most successful living composers. His music has nevertheless been criticized for its ‘parasitic’ borrowing of other composers' ideas and for its relentless self-borrowing. In this course, I will attempt to address these issues by placing Nyman's writings within the general context of Anglo-American experimentalism, minimalism and post-minimalism in order to develop a series of useful areas from which controversial aspects of Nyman's musical language can be more clearly understood and appreciated. Drawing upon terms informed by intertextual theory, I will introduce concepts relating to appropriation and borrowing within the context of twentieth-century art music and theory. I will then explain and define intertextuality, before placing Nyman's musical language in relation to a series of classifications and types. These types will form the basis of more in-depth studies of certain works during the second half of the course, ranging from opera and chamber music to film. Rather than restricting style and technique, Nyman's intertextual approach, on the contrary, provides his music with an almost infinite amount of variety, flexibility and diversity, and this has been used to illustrate a wide range of aesthetic and expressive forms. Nyman composes with his ear towards the past as if it were a rich quarry to mine, working like a musical archaeologist, uncovering artefacts and chiselling fresh and vibrant sonic edifices out of them.
    or
    WXC-3176: Cerddoriaeth Michael Nyman (10) (Semester 1)
    Wrth iddo ennill enwogrwydd yn rhyngwladol yn ystod y tair degawd ddiwethaf, mae Nyman wedi dod yn un o gyfansoddwyr mwyaf llwyddiannus y byd o blith y rhai sy’n dal yn fyw. Serch hynny, mae ei gerddoriaeth wedi’i beirniadu am fenthyca’n barasitig o syniadau cyfnasoddwyr eraill ac am fenthyca oddi wrthi ei hun yn ddidrugaredd. Ar y modiwl hwn, eir ati i roi sylw i’r materion hyn, gan osod gweithiau Nyman o fewn cyd-destun cyffredinol cerddoriaeth arbrofol Eingl-Ameiricanaidd, minimaliaeth ac ôl-finimaliaeth, mewn ymgais i ddatblygu cyfres o ddulliau buddiol o ddeall a gwerthfawrogi ieithwedd gerddorol Nyman. Gan dynnu ar dermau y mae theori ryng-destunol yn sail iddynt, cyflwynir cysyniadau yn ymwneud â meddiannu a bnthuca o fewn cyd-destun cerddoriaeth gelfyddydol a theori’r 20fed ganrif. Yna, bwriedir egluro a diffinio rhyng-destunedd, cyn gosod iaith gerddorol Nyman yng nghyswllt cyfres o ddosbarthiadau a mathau. Yna, daw’r mathau hyn yn sail ar gyfer mwy o astudiaethau manwl ar rai gweithiau penodol yn ystod ail hanner y modiwl, gan amrywio o opera a cherddoriaeth siambr i gerddoriaeth ffilm. Yn hytrach na chyfyngu arddull a thechneg, mae dull rhyng-destunol Nyman, i’r gwrthwyneb, yn rhoi i’r gerddoriaeth amrywiaeth a hyblygrwydd sydd bron yn ddi-ben-draw, ac mae hynny wedi’i ddefnyddio i gyfleu ystod eang o ffurfiau esthetig a mynegiannol. Cyfansodda Nyman gyda’i glust tua’r gorffennol fel petae’n chwarel gyfoethog i’w chloddio, yn gweithio fel archaeolegydd cerdd, gan ddatguddio arteffactau a chreu delweddau cerddorol deinamig allan ohonynt.
  • WXM-3198: Handel (10) (Semester 1)
    George Frideric Handel was one of the most important composers of the late Baroque era. However, since the nineteenth century his reputation has largely rested on a relatively small number of works, particularly among concert-going audiences and non-specialists; he is perhaps best known for large-scale dramatic works such as Messiah and orchestral works such as the Water Music. In fact, Handel composed in almost every instrumental and vocal genre of his day. He was essentially a conservative composer, but one whose genius was acknowledged and revered by contemporaries; he was one of the first composers to have his biography written (1760) and his birth marked by centennial celebrations (1784); he was also one of the first composers of whom a collected works was attempted (1787-97). Unlike Bach, Handel’s music never fell out of the repertoire and thus played a significant part in the historical development of the musical ‘canon’; moreover, his works have also played an important role in the historical performance movement of the late twentieth century.
  • WXC-3215: Cerdd Cymru 18 a 19 ganrif (10) (Semester 1)
    Er amled y cyfeiriadau ar hyd y canrifoedd at Gymru fel ‘Gwlad y gân’, dim ond yn ddiweddar iawn y rhoddwyd y sylw dyladwy i faes Cerddoriaeth yng Nghymru fel rhan o gwrs gradd (Cerddoriaeth). Gwelwyd tuedd gyffredinol ymhlith cerddorion proffesiynol y gorffennol i anwybyddu’r traddodiad ar draul derbyn agweddau ar gerddoriaeth gwledydd estron. I’r perwyl hwn, fe adawyd bylchau mawr yn ein llenyddiaeth gerddorol fel cenedl, dibrisiwyd gwerth nifer o’n traddodiadau a chollwyd golwg ar rai nodweddion unigryw Cymru a’i phobl. Cwrs rhagarweiniol yw hwn, ac astudir cerddoriaeth Cymru’r 18fed a’r 19eg ganrif o safbwynt hanesyddol, cymdeithasol a diwylliannol. Rhoddir sylw i faes casglu a chofnodi cerddoriaeth, llawysgrifau cerddorol, cerddoriaeth y delyn, canu gwerin, cerddoriaeth gysegredig a seciwlar, arloeswyr cerddorol y cyfnod a’r traddodiad corawl.

0 to 30 credits from:

  • Genre/Comp Studies Sem 2
  • WXM-3013: Post-War British Opera (10) (Semester 2)
    This module will begin with a focus on Britten and Tippett’s major contributions to the genre, and subsequent lectures will examine the ways in which British composers have explored different categories of opera. Many composers, for instance, have been drawn to chamber and/or comic opera, with Elizabeth Maconchy’s The Sofa (1956-57) and Grace Williams’s The Parlour (1960-66) as notable examples. During the 1960s, British musical life was vitalised by the expressivist theatricality of music theatre works by Alexander Goehr, Harrison Birtwistle and Peter Maxwell Davies, and these composers continued to enrich the operatic genre in subsequent years. The series will conclude by examining a selection of later, full-scale opera including William Mathias’s The Servants (1980) and Judith Weir’s A Night at the Chinese Opera (1987).
  • WXC-3160: Y Beatles (10) (Semester 2)
    Bydd y cwrs yn cyflwyno myfyrwyr i gerddoriaeth a recordiadau’r Beatles, trwy a) roi hanes y grŵp a b) gosod cyfres o fframweithiau beirniadol a dadansoddiadol ar gyfer deall eu caneuon. Bydd myfyrwyr yn astudio recordiadau dethol o gyfnodau cynnar, canol a diweddar datblygiad y grŵp. Ar yr un pryd, byddant yn astudio’r cyd-destun cymdeithasol a diwylliannol a esgorodd ar y gerddoriaeth yn y 1960au.
    or
    WXM-3160: The Beatles (10) (Semester 2)
    This course will explore the music and recordings of the Beatles by: a) Studying the group in its historical and biographical contexts b) supplying a series of critical and analytical frameworks for a more detailed understanding of their songs. Selected recordings will be studied from the early, middle and late periods of the group’s development. At the same time the social and cultural context out of which the music emerged during the 1960s will also be studied.

0 to 30 credits from:

  • Other Modules
  • WXM-3186: Music, Health and Wellbeing B (10) (Semester 2) or
    WXC-3186: Cerdd mewn Iechyd a Lles B (10) (Semester 2)
    Yn y modiwl hwn, edrychir mewn cryn fanylder ar rai o'r prif feysydd lle y defnyddir cerddoriaeth fel cyfrwng gwellhad. Edrychir ar y defnydd o gerddoriaeth mewn cyd-destun therapiwtig mewn amryw o sefyllfaoedd, megis awtistiaeth, anawsterau ymddygiadol, anableddau corfforol a seiciatreg. Bydd cyfle hefyd i gael seminarau a gweithdai anffurfiol gan gerddorion, therapyddion cerdd a seicolegwyr sy'n defnyddio cerddoriaeth o ddydd i ddydd fel cyfrwng gwellhad mewn lleoliadau clinigol amrywiol yn lleol.
  • WXM-3187: Music, Health and Wellbeing A (10) (Semester 1) or
    WXC-3187: Cerdd mewn Iechyd a Lles A (10) (Semester 1)
    Yn y modiwl hwn, bydd cyfle i ystyried y pŵer sydd mewn cerddoriaeth i ddylanwadu arnom ar lefel seicolegol, emosiynol a chymdeithasol. Edrychir hefyd ar gerddoriaeth mewn cyd-destun meddygol, a’r gydnabyddiaeth sydd wedi bodoli ers dechrau amser am y cyswllt rhwng cerddoriaeth ac iechyd a lles cyffredinol. Edrychir yn benodol ar ddefnydd y Groegiaid cynnar o gerddoriaeth wrth iachau, yn ogystal â’r datblygiadau mwyaf diweddar yn y maes yn yr 21ain ganrif, a pham fod gwyddonwyr erbyn heddiw yn cydnabod fod lle i gerddoriaeth mewn cyd-destun therapiwtig ym maes iechyd a lles.
  • WXK-3191: Songwriting (20) (Semester 1 + 2)
    Students will be introduced to many basic and advanced aspects of composing in various song genres, with particular reference to the presentation of rhythmic counterpoint, harmonic vocabulary, melodic shaping, formal archetypes and lyrics in their songs. These will be illustrated with reference to a number of song styles, ranging from folk to jazz and rock genres. At the end of the module, the student will have created a small portfolio their own songs, and be able to present their work to a good standard either on audio CD or in written form. (For recordings this means that the sounds are distortion-free unless intentionally so, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.) Pre-requisites: Satisfactory completion of Year 1 Music (single or joint honours), or satisfactory completion of Year 1 English with Songwriting. It is assumed that students will be able to record or computer-notate their own songs to a good standard for this module; therefore it is recommended that they have completed a music technology module or equivalent. For recordings ‘good’ means that the sounds are distortion-free, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet, and preferably computer-notated. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.
  • WXM-3201: Schenkerian Techniques (10) (Semester 2)
    This module studies the analytical theory and practice of Heinrich Schenker (1868-1935), with particular focus on his conceptual premises, analytical techniques and methods of presentation; specimen analyses of music by J S Bach, Beethoven and Chopin are considered in detail. Schenker's techniques and methods are applied to the analysis of further works by, for instance, Mozart, Schubert and Schumann. Additionally, the applicability of this methodology to repertory outside of Schenker’s area of study will be evaluated.
  • WXM-3205: Notation and Editing (20) (Semester 1 + 2)
    Students taking the course will transcribe and edit a variety of music, some vocal and some instrumental from the ninth to the nineteenth centuries, from reproductions of original sources. Some sources will be in score and others in parts; some will be manuscript and some printed. Certain pieces of work will involve a single source; others will require the collation and appraisal of more than one source, with variant readings tabulated and conclusions drawn about the relationship of the sources. As the title suggests, the module is divided into two halves, which will focus on different skills: Semester 1 (Dr Cunningham): ‘Editing’ covers techniques and approaches of critical editing and philology, which will enable you to produce a scholarly edition with all the standard ingredients. Case studies for this part of the module are taken mainly from the so-called ‘common practice era’. Semester 2: Introduction to the medieval and early Renaissance notation and editing.
  • WXM-3221: Intro to Arts Administration (10) (Semester 1)
    This module offers students the opportunity to achieve a degree of working knowledge – both theoretical and practical – in the field of arts administration by means of a variety of activities concerning many types of organisations devoted in some way or another to the arts. Topics will include: planning a major artistic event (e.g. concert series, festival); developing audiences for the arts; artist promotion; marketing arts events; fundraising, sponsorship and grant applications; developing an artistic and financial strategy. Skills to be developed will include: coherent programming;the design and production of promotional materials; writing press releases and funding applications; problem-solving for arts institutions and organisations.
  • WXM-3222: Music in the Community (10) (Semester 2)
    The module requires you to plan and undertake two community-based projects or placements, within the Bangor area or elsewhere. It enables you to observe, experience and gain insight into the activities of an identified area of the local community in some way associated with music, and to make an active contribution to the chosen host institution. This may involve working in conjunction with members of staff within that institution, but should involve a considerable degree of independent work which is your own specific responsibility. Students are not normally allowed to undertake School-based projects (e.g. Music Society Orchestra) which already form part of the usual routine. Examples of community-based projects might be: • coordinating and performing a series of concerts for a local church, youth club or old people’s home; • running a series of themed workshops; • assisting with music provision in a school; • working with children or adults with a learning disability; • observing and assisting the work of a figure within the community, such as a music therapist; • assisting with the work of an Arts Centre, music publishing company or local Music Festival. The module may (depending on group size) also involve group discussion of various aspects of community music with appropriate guest-speakers. Placement Planning You will be required to identify the two general areas where you wish to work (e.g. Junior School/Arts Centre) well in advance and submit a proposal for each one. You will normally undertake two distinct placements, one in each semester, though – exceptionally – a student may apply to continue the same placement over the whole year, providing that the responsibilities are sufficiently distinct in each semester. You are expected to utilize your own existing community contacts (often in your home area) in setting up your two projects. It is rarely possible for the course coordinator to set up a placement on behalf of a student. Projects may be shared by more than one student, but the role of each person within the pair or group must be clearly defined and stated within the proposal.
    or
    WXC-3222: Cerddoriaeth yn y Gymuned (10) (Semester 2)
    Mae’r modiwl yn gofyn am ichi gynllunio a chynnal dau broject neu leoliad yn y gymuned, o fewn ardal Bangor neu rhywle arall. Mae’n eich galluogi i arsylwi a phrofi gweithgareddau rhan benodol o’r gymuned leol sydd ryw ffordd yn gysylltiedig â cherddoriaeth, a chael dealltwriaeth ohonynt, a hefyd gellwch gyfrannu’n weithredol at y sefydliad gwesteiol yr ydych wedi’i ddewis. Gall hyn olygu eich bod yn gweithio ochr yn ochr ag aelodau staff o fewn y sefydliad hwnnw, ond dylai hefyd olygu cryn dipyn o waith annibynnol sy’n gyfrifoldeb penodol i chi. Fel rheol, ni chaniateir i fyfyrwyr gynnal projectau Adrannol (e.e. Cerddorfa’r Gymdeithas Gerdd) sydd yn rhan o’r rheolwaith arferol yn barod. Dyma enghreifftiau posibl o brojectau yn y gymuned: • Cydlynu a pherfformio cyfres o gyngherddau ar gyfer eglwys, clwb ieuenctid neu gartref hen bobl leol; • cynnal cyfres o weithdai ar thema; • cynorthwyo gyda darpariaeth gerddorol mewn ysgol leol; • gweithio gyda phlant neu oedolion sydd ag anabledd dysgu; • arsylwi a chynorthwyo gwaith rhywun o bwys o fewn y gymuned, megis therapydd cerdd; • cynorthwyo gyda gwaith rheolaidd Canolfan Gelfyddydau, cwmni cyhoeddi cerddoriaeth, neu Ŵyl Gerdd leol. Bydd y modiwl hefyd yn cynnwys trafodaeth grŵp ar amryw o agweddau ar gerddoriaeth yn y gymuned, gyda siaradwyr gwadd priodol lle bo’n bosibl.
  • WXK-3234: Composing for Film/Media (20) (Semester 1 + 2)
    The aim of the course is to equip students with the necessary technical and creative skills to prepare them for the world of music for film, television and the media – a field of composition that is full of challenges but very pleasurable. Instruction will be given on the use of specific software and hardware (such as Logic Pro and sibelius), as well as how to synchronise images with sound, the use of keyboards and software samples, and basic mixing techniques . Alongside this will be a series of lectures on topics relating to research, industry and criticism of musical styles and genres in the media. Examples from the work of some of the masters of the form will be analysed, such as John Williams, Alexandre Desplat and Harry Gregson-Williams, to enable the student to gain an understanding of the medium. Detailed attention will be paid to business and legal implications. CO-REQUISITES: Ideally students will have experience of Orchestration (WXK2231 or WXC2232) and Composition (WXC2233 or WXK2233) or Acousmatic Composition (WXK2235), but this is not essential.
  • WXK-3235: Acousmatic Composition (20) (Semester 1 + 2)
    Acousmatic music is sonic art which uses sound as its basic material and the loudspeaker as its mode of delivery. This module aims to introduce students to acousmatic composition in a more focused way than is possible in the Year 1 Practical Music Technology module, and with a more creative emphasis. It aims to equip students with the basic technological, compositional and aesthetic knowledge and understanding necessary for acousmatic composition. (This module is not intended for students wishing to compose popular music, or music using conventional approaches to harmony, melody or rhythm.)
  • WXP-3243: Advanced Ensemble Performance1 (10) (Semester 1)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-3244: Advanced Ensemble Performance2 (10) (Semester 2)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-3249: Conducting (10) (Semester 2)
    This module will equip students with the essential skills for conducting and rehearsing, and related musical and organisational skills. Work will be mostly practical and will include study of gesture, beating time, the detailed preparation of a score, rehearsal technique, and psychological skills required by a conductor.
  • WXP-3253: Fusion Ensemble 1 (10) (Semester 1)
  • WXP-3254: Fusion Ensemble 2 (10) (Semester 2)
  • WXM-3268: Studio Techniques (10) (Semester 1)
    To introduce students to digital sound recording and editing techniques. The various equipment found in a recording studio will be introduced and explained, and practical skills in its uses will be developed.
  • WXM-3270: Music Teaching in Context (20) (Semester 1 + 2)
  • WXP-3301: Teaching Singing (10) (Semester 2)
    • Vocal anatomy • Breathing, posture and support • Vowel shaping and tuning • Articulation and diction • Production of sound • Flexibility, range extension • Register blending and passaggio, repertoire selection
  • WXM-3302: Fugue (10) (Semester 1)
    Fugue, in one form or another, has been a prominent aspect of Western art music since the late Middle Ages. It can perhaps best be described as a contrapuntal compositional procedure, in two or more voices, in which a short theme (the subject) is introduced in imitation (based on tonal principles); this subject then recurs throughout the rest of the composition. Fugues typically have three sections, using terminology shared with sonata-form: exposition, development, recapitulation. Fugue is not a fixed form, however: it is best understood as a compositional procedure. By the end of the 17th century, fugue was widely regarded as the fullest expression of imitative polyphony. The fugues of Johann Sebastian Bach (1685–1750) represent the apex of the style, particularly his Die Kunst der Fuge (The Art of Fugue). The status of the fugue waned in the late 18th century, though we still find it cultivated in the works of Haydn, Mozart and Beethoven. This module will examine theories about fugue and its characteristics; the primary musical focus will be on the fugal style of JS Bach. Students will learn how to analyse and assess fugal compositions, and learn how to compose a fugal exposition.

0 to 30 credits from:

  • Other Modules
  • WXC-3186: Cerdd mewn Iechyd a Lles B (10) (Semester 2)
    Yn y modiwl hwn, edrychir mewn cryn fanylder ar rai o'r prif feysydd lle y defnyddir cerddoriaeth fel cyfrwng gwellhad. Edrychir ar y defnydd o gerddoriaeth mewn cyd-destun therapiwtig mewn amryw o sefyllfaoedd, megis awtistiaeth, anawsterau ymddygiadol, anableddau corfforol a seiciatreg. Bydd cyfle hefyd i gael seminarau a gweithdai anffurfiol gan gerddorion, therapyddion cerdd a seicolegwyr sy'n defnyddio cerddoriaeth o ddydd i ddydd fel cyfrwng gwellhad mewn lleoliadau clinigol amrywiol yn lleol.
  • WXM-3186: Music, Health and Wellbeing B (10) (Semester 2) or
    WXC-3186: Cerdd mewn Iechyd a Lles B (10) (Semester 2)
    Yn y modiwl hwn, edrychir mewn cryn fanylder ar rai o'r prif feysydd lle y defnyddir cerddoriaeth fel cyfrwng gwellhad. Edrychir ar y defnydd o gerddoriaeth mewn cyd-destun therapiwtig mewn amryw o sefyllfaoedd, megis awtistiaeth, anawsterau ymddygiadol, anableddau corfforol a seiciatreg. Bydd cyfle hefyd i gael seminarau a gweithdai anffurfiol gan gerddorion, therapyddion cerdd a seicolegwyr sy'n defnyddio cerddoriaeth o ddydd i ddydd fel cyfrwng gwellhad mewn lleoliadau clinigol amrywiol yn lleol.
  • WXC-3187: Cerdd mewn Iechyd a Lles A (10) (Semester 1)
    Yn y modiwl hwn, bydd cyfle i ystyried y pŵer sydd mewn cerddoriaeth i ddylanwadu arnom ar lefel seicolegol, emosiynol a chymdeithasol. Edrychir hefyd ar gerddoriaeth mewn cyd-destun meddygol, a’r gydnabyddiaeth sydd wedi bodoli ers dechrau amser am y cyswllt rhwng cerddoriaeth ac iechyd a lles cyffredinol. Edrychir yn benodol ar ddefnydd y Groegiaid cynnar o gerddoriaeth wrth iachau, yn ogystal â’r datblygiadau mwyaf diweddar yn y maes yn yr 21ain ganrif, a pham fod gwyddonwyr erbyn heddiw yn cydnabod fod lle i gerddoriaeth mewn cyd-destun therapiwtig ym maes iechyd a lles.
  • WXM-3187: Music, Health and Wellbeing A (10) (Semester 1) or
    WXC-3187: Cerdd mewn Iechyd a Lles A (10) (Semester 1)
    Yn y modiwl hwn, bydd cyfle i ystyried y pŵer sydd mewn cerddoriaeth i ddylanwadu arnom ar lefel seicolegol, emosiynol a chymdeithasol. Edrychir hefyd ar gerddoriaeth mewn cyd-destun meddygol, a’r gydnabyddiaeth sydd wedi bodoli ers dechrau amser am y cyswllt rhwng cerddoriaeth ac iechyd a lles cyffredinol. Edrychir yn benodol ar ddefnydd y Groegiaid cynnar o gerddoriaeth wrth iachau, yn ogystal â’r datblygiadau mwyaf diweddar yn y maes yn yr 21ain ganrif, a pham fod gwyddonwyr erbyn heddiw yn cydnabod fod lle i gerddoriaeth mewn cyd-destun therapiwtig ym maes iechyd a lles.
  • WXK-3191: Songwriting (20) (Semester 1 + 2)
    Students will be introduced to many basic and advanced aspects of composing in various song genres, with particular reference to the presentation of rhythmic counterpoint, harmonic vocabulary, melodic shaping, formal archetypes and lyrics in their songs. These will be illustrated with reference to a number of song styles, ranging from folk to jazz and rock genres. At the end of the module, the student will have created a small portfolio their own songs, and be able to present their work to a good standard either on audio CD or in written form. (For recordings this means that the sounds are distortion-free unless intentionally so, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.) Pre-requisites: Satisfactory completion of Year 1 Music (single or joint honours), or satisfactory completion of Year 1 English with Songwriting. It is assumed that students will be able to record or computer-notate their own songs to a good standard for this module; therefore it is recommended that they have completed a music technology module or equivalent. For recordings ‘good’ means that the sounds are distortion-free, all elements are appropriately audible and relatively balanced in terms of level. Scores must be presented in an accepted form such as jazz lead-sheet, full score or popular piano-and-vocal sheet, and preferably computer-notated. They should follow the conventions of the particular style chosen and be clear, intelligible, and make sense for the harmonic language, time signature and instruments chosen.
  • WXM-3201: Schenkerian Techniques (10) (Semester 2)
    This module studies the analytical theory and practice of Heinrich Schenker (1868-1935), with particular focus on his conceptual premises, analytical techniques and methods of presentation; specimen analyses of music by J S Bach, Beethoven and Chopin are considered in detail. Schenker's techniques and methods are applied to the analysis of further works by, for instance, Mozart, Schubert and Schumann. Additionally, the applicability of this methodology to repertory outside of Schenker’s area of study will be evaluated.
  • WXM-3205: Notation and Editing (20) (Semester 1 + 2)
    Students taking the course will transcribe and edit a variety of music, some vocal and some instrumental from the ninth to the nineteenth centuries, from reproductions of original sources. Some sources will be in score and others in parts; some will be manuscript and some printed. Certain pieces of work will involve a single source; others will require the collation and appraisal of more than one source, with variant readings tabulated and conclusions drawn about the relationship of the sources. As the title suggests, the module is divided into two halves, which will focus on different skills: Semester 1 (Dr Cunningham): ‘Editing’ covers techniques and approaches of critical editing and philology, which will enable you to produce a scholarly edition with all the standard ingredients. Case studies for this part of the module are taken mainly from the so-called ‘common practice era’. Semester 2: Introduction to the medieval and early Renaissance notation and editing.
  • WXC-3222: Cerddoriaeth yn y Gymuned (10) (Semester 2)
    Mae’r modiwl yn gofyn am ichi gynllunio a chynnal dau broject neu leoliad yn y gymuned, o fewn ardal Bangor neu rhywle arall. Mae’n eich galluogi i arsylwi a phrofi gweithgareddau rhan benodol o’r gymuned leol sydd ryw ffordd yn gysylltiedig â cherddoriaeth, a chael dealltwriaeth ohonynt, a hefyd gellwch gyfrannu’n weithredol at y sefydliad gwesteiol yr ydych wedi’i ddewis. Gall hyn olygu eich bod yn gweithio ochr yn ochr ag aelodau staff o fewn y sefydliad hwnnw, ond dylai hefyd olygu cryn dipyn o waith annibynnol sy’n gyfrifoldeb penodol i chi. Fel rheol, ni chaniateir i fyfyrwyr gynnal projectau Adrannol (e.e. Cerddorfa’r Gymdeithas Gerdd) sydd yn rhan o’r rheolwaith arferol yn barod. Dyma enghreifftiau posibl o brojectau yn y gymuned: • Cydlynu a pherfformio cyfres o gyngherddau ar gyfer eglwys, clwb ieuenctid neu gartref hen bobl leol; • cynnal cyfres o weithdai ar thema; • cynorthwyo gyda darpariaeth gerddorol mewn ysgol leol; • gweithio gyda phlant neu oedolion sydd ag anabledd dysgu; • arsylwi a chynorthwyo gwaith rhywun o bwys o fewn y gymuned, megis therapydd cerdd; • cynorthwyo gyda gwaith rheolaidd Canolfan Gelfyddydau, cwmni cyhoeddi cerddoriaeth, neu Ŵyl Gerdd leol. Bydd y modiwl hefyd yn cynnwys trafodaeth grŵp ar amryw o agweddau ar gerddoriaeth yn y gymuned, gyda siaradwyr gwadd priodol lle bo’n bosibl.
    or
    WXM-3222: Music in the Community (10) (Semester 2)
    The module requires you to plan and undertake two community-based projects or placements, within the Bangor area or elsewhere. It enables you to observe, experience and gain insight into the activities of an identified area of the local community in some way associated with music, and to make an active contribution to the chosen host institution. This may involve working in conjunction with members of staff within that institution, but should involve a considerable degree of independent work which is your own specific responsibility. Students are not normally allowed to undertake School-based projects (e.g. Music Society Orchestra) which already form part of the usual routine. Examples of community-based projects might be: • coordinating and performing a series of concerts for a local church, youth club or old people’s home; • running a series of themed workshops; • assisting with music provision in a school; • working with children or adults with a learning disability; • observing and assisting the work of a figure within the community, such as a music therapist; • assisting with the work of an Arts Centre, music publishing company or local Music Festival. The module may (depending on group size) also involve group discussion of various aspects of community music with appropriate guest-speakers. Placement Planning You will be required to identify the two general areas where you wish to work (e.g. Junior School/Arts Centre) well in advance and submit a proposal for each one. You will normally undertake two distinct placements, one in each semester, though – exceptionally – a student may apply to continue the same placement over the whole year, providing that the responsibilities are sufficiently distinct in each semester. You are expected to utilize your own existing community contacts (often in your home area) in setting up your two projects. It is rarely possible for the course coordinator to set up a placement on behalf of a student. Projects may be shared by more than one student, but the role of each person within the pair or group must be clearly defined and stated within the proposal.
  • WXM-3222: Music in the Community (10) (Semester 2)
    The module requires you to plan and undertake two community-based projects or placements, within the Bangor area or elsewhere. It enables you to observe, experience and gain insight into the activities of an identified area of the local community in some way associated with music, and to make an active contribution to the chosen host institution. This may involve working in conjunction with members of staff within that institution, but should involve a considerable degree of independent work which is your own specific responsibility. Students are not normally allowed to undertake School-based projects (e.g. Music Society Orchestra) which already form part of the usual routine. Examples of community-based projects might be: • coordinating and performing a series of concerts for a local church, youth club or old people’s home; • running a series of themed workshops; • assisting with music provision in a school; • working with children or adults with a learning disability; • observing and assisting the work of a figure within the community, such as a music therapist; • assisting with the work of an Arts Centre, music publishing company or local Music Festival. The module may (depending on group size) also involve group discussion of various aspects of community music with appropriate guest-speakers. Placement Planning You will be required to identify the two general areas where you wish to work (e.g. Junior School/Arts Centre) well in advance and submit a proposal for each one. You will normally undertake two distinct placements, one in each semester, though – exceptionally – a student may apply to continue the same placement over the whole year, providing that the responsibilities are sufficiently distinct in each semester. You are expected to utilize your own existing community contacts (often in your home area) in setting up your two projects. It is rarely possible for the course coordinator to set up a placement on behalf of a student. Projects may be shared by more than one student, but the role of each person within the pair or group must be clearly defined and stated within the proposal.
    or
    WXC-3222: Cerddoriaeth yn y Gymuned (10) (Semester 2)
    Mae’r modiwl yn gofyn am ichi gynllunio a chynnal dau broject neu leoliad yn y gymuned, o fewn ardal Bangor neu rhywle arall. Mae’n eich galluogi i arsylwi a phrofi gweithgareddau rhan benodol o’r gymuned leol sydd ryw ffordd yn gysylltiedig â cherddoriaeth, a chael dealltwriaeth ohonynt, a hefyd gellwch gyfrannu’n weithredol at y sefydliad gwesteiol yr ydych wedi’i ddewis. Gall hyn olygu eich bod yn gweithio ochr yn ochr ag aelodau staff o fewn y sefydliad hwnnw, ond dylai hefyd olygu cryn dipyn o waith annibynnol sy’n gyfrifoldeb penodol i chi. Fel rheol, ni chaniateir i fyfyrwyr gynnal projectau Adrannol (e.e. Cerddorfa’r Gymdeithas Gerdd) sydd yn rhan o’r rheolwaith arferol yn barod. Dyma enghreifftiau posibl o brojectau yn y gymuned: • Cydlynu a pherfformio cyfres o gyngherddau ar gyfer eglwys, clwb ieuenctid neu gartref hen bobl leol; • cynnal cyfres o weithdai ar thema; • cynorthwyo gyda darpariaeth gerddorol mewn ysgol leol; • gweithio gyda phlant neu oedolion sydd ag anabledd dysgu; • arsylwi a chynorthwyo gwaith rhywun o bwys o fewn y gymuned, megis therapydd cerdd; • cynorthwyo gyda gwaith rheolaidd Canolfan Gelfyddydau, cwmni cyhoeddi cerddoriaeth, neu Ŵyl Gerdd leol. Bydd y modiwl hefyd yn cynnwys trafodaeth grŵp ar amryw o agweddau ar gerddoriaeth yn y gymuned, gyda siaradwyr gwadd priodol lle bo’n bosibl.
  • WXK-3234: Composing for Film/Media (20) (Semester 1 + 2)
    The aim of the course is to equip students with the necessary technical and creative skills to prepare them for the world of music for film, television and the media – a field of composition that is full of challenges but very pleasurable. Instruction will be given on the use of specific software and hardware (such as Logic Pro and sibelius), as well as how to synchronise images with sound, the use of keyboards and software samples, and basic mixing techniques . Alongside this will be a series of lectures on topics relating to research, industry and criticism of musical styles and genres in the media. Examples from the work of some of the masters of the form will be analysed, such as John Williams, Alexandre Desplat and Harry Gregson-Williams, to enable the student to gain an understanding of the medium. Detailed attention will be paid to business and legal implications. CO-REQUISITES: Ideally students will have experience of Orchestration (WXK2231 or WXC2232) and Composition (WXC2233 or WXK2233) or Acousmatic Composition (WXK2235), but this is not essential.
  • WXK-3235: Acousmatic Composition (20) (Semester 1 + 2)
    Acousmatic music is sonic art which uses sound as its basic material and the loudspeaker as its mode of delivery. This module aims to introduce students to acousmatic composition in a more focused way than is possible in the Year 1 Practical Music Technology module, and with a more creative emphasis. It aims to equip students with the basic technological, compositional and aesthetic knowledge and understanding necessary for acousmatic composition. (This module is not intended for students wishing to compose popular music, or music using conventional approaches to harmony, melody or rhythm.)
  • WXP-3243: Advanced Ensemble Performance1 (10) (Semester 1)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-3244: Advanced Ensemble Performance2 (10) (Semester 2)
    Students will be required to form small instrumental or vocal ensembles before the course commences. If students have a specific instrumental formation in mind that cannot be formed within the module, they may invite guest performers. Pianists will have the option to choose collaborative piano (accompanying) as their specialism within the module. Collective rehearsal sessions will be organised by the students with individual coaching provided by members of the School of Music staff. Ensembles are encouraged to explore the existing repertoire during weeks 1–3, and then in subsequent weeks to work on their performance of the work(s) selected by the group. Please note that students may follow a maximum of 20 credits in EnsemblePerformance across Levels 5 and 6.
  • WXP-3249: Conducting (10) (Semester 2)
    This module will equip students with the essential skills for conducting and rehearsing, and related musical and organisational skills. Work will be mostly practical and will include study of gesture, beating time, the detailed preparation of a score, rehearsal technique, and psychological skills required by a conductor.
  • WXP-3253: Fusion Ensemble 1 (10) (Semester 1)
  • WXP-3254: Fusion Ensemble 2 (10) (Semester 2)
  • WXM-3268: Studio Techniques (10) (Semester 1)
    To introduce students to digital sound recording and editing techniques. The various equipment found in a recording studio will be introduced and explained, and practical skills in its uses will be developed.
  • WXM-3270: Music Teaching in Context (20) (Semester 1 + 2)
  • WXP-3301: Teaching Singing (10) (Semester 2)
    • Vocal anatomy • Breathing, posture and support • Vowel shaping and tuning • Articulation and diction • Production of sound • Flexibility, range extension • Register blending and passaggio, repertoire selection
  • WXM-3302: Fugue (10) (Semester 1)
    Fugue, in one form or another, has been a prominent aspect of Western art music since the late Middle Ages. It can perhaps best be described as a contrapuntal compositional procedure, in two or more voices, in which a short theme (the subject) is introduced in imitation (based on tonal principles); this subject then recurs throughout the rest of the composition. Fugues typically have three sections, using terminology shared with sonata-form: exposition, development, recapitulation. Fugue is not a fixed form, however: it is best understood as a compositional procedure. By the end of the 17th century, fugue was widely regarded as the fullest expression of imitative polyphony. The fugues of Johann Sebastian Bach (1685–1750) represent the apex of the style, particularly his Die Kunst der Fuge (The Art of Fugue). The status of the fugue waned in the late 18th century, though we still find it cultivated in the works of Haydn, Mozart and Beethoven. This module will examine theories about fugue and its characteristics; the primary musical focus will be on the fugal style of JS Bach. Students will learn how to analyse and assess fugal compositions, and learn how to compose a fugal exposition.

60 credits from:

  • VPR-3300: Undergraduate Dissertation (40) (Semester 1 + 2)
    In this final level dissertation students will mainly be working alone to produce a dissertation of approximately 10,000 words. The content of the dissertation will be determined by the students in conjunction with their supervisor. As students may choose to undertake project which involves research in both philosophy and religion, they may consult other members of the teaching team in addition to their supervisor. Students will also be asked to produce a 20 minute assessed oral presentation on their dissertation.
    or
    VPC-3300: Traethawd Hir (40) (Semester 1 + 2)
    Yn y traethawd hir lefel derfynol hwn bydd myfyrwyr yn gweithio'n bennaf ar eu pennau eu hunain i lunio traethawd hir o tua 10,000 o eiriau. Y myfyrwyr, mewn cydweithrediad â'u goruchwyliwr, fydd yn penderfynu ar gynnwys y traethawd hir. Oherwydd y gall myfyrwyr ddewis gwneud project sy'n cynnwys ymchwil mewn athroniaeth a chrefydd, gallant ymgynghori ag aelodau eraill y tîm addysgu yn ogystal â'u goruchwyliwr eu hunain. Gofynnir i fyfyrwyr hefyd ddarparu cyflwyniad llafar 20 munud ar eu traethawd hir a chaiff ei asesu.
  • VPR-3302: Applied Ethics (20) (Semester 2)
    The module will begin with a brief outline of the various ethical challenges which face contemporary society. It will then consider the following issues: (a) world poverty (is it the responsibility of individuals or governments or both to alleviate world poverty?); (b) the arguments justifying an environmental ethic; ethical considerations to be considered in the case of voluntary and non-voluntary euthanasia; the issue of abortion the notion of reverence for human life; war and peace (the just war theory; ethics and nuclear weapons etc.)
    or
    VPC-3302: Moeseg Gymhwysol (20) (Semester 1)
    Bydd y modiwl yn dechrau gydag amlinelliad byr o'r gwahanol sialensiau moesegol sy'n wynebu cymdeithas gyfoes. Bydd wedyn yn ystyried y materion canlynol: (a) tlodi byd-eang (ai cyfrifoldeb unigolion neu lywodraethau, neu'r ddau, yw lliniaru tlodi byd-eang?); (b) y dadleuon sy'n cyfiawnhau moeseg amgylcheddol; ystyriaethau moesegol i'w hystyried yn achos ewthanasia gwirfoddol ac anwirfoddol; mater erthyliad a'r syniad o barchu bywyd dynol; rhyfel a heddwch (theori'r rhyfel cyfiawn; moeseg ac arfau niwclear etc).
  • VPR-3303: Paradoxes of Self: Nietz..Jung (20) (Semester 2)
    We begin with a survey of how opposites have been construed within Western and Eastern philosophical traditions. Particular emphasis will be given to how they have been, and continue to be regarded as necessary postulates for making sense of the way we think and experience life, and also useful approaches for considering how we can enhance our lives and make them more meaningful. This introductory part of the module will recap some of the relevant themes studied in the Year One modules, ‘Existentialism’, and ‘Death of God’ (including metaphysics; truth; subjectivity; and freedom). Students will then identify these ideas within two contrasting models of opposites proposed by two iconic thinkers of twentieth-century philosophical and psychological thought: Friedrich Nietzsche and C.G. Jung. We shall explore their models side by side, drawing on their similarities and essential contrasts, and also drawing upon their key philosophical influences, whose ideas helped to shape their different models. (These include, Heraclitus, Aristotle and Plato, Schopenhauer, and Kant, and also Eastern philosophical traditions.) The implications of their different models of the nature and dynamics of opposites will be scrutinised in light of how they apply their theories to real life, and how they have different ideas about how oppositional thinking can be utilized and maximised in our own lives. To this end, students will explore their different ideas of the ideal human being who does just that: the Übermensch (or superman) of Nietzsche, and ‘the Self’ of Jung. The module will conclude with an analysis of the extent to which Nietzsche’s and Jung’s models of the union of opposites and their embodiment within their visions of an ideal human being can be regarded as viable, practical models for us to emulate. To this end, students will have the opportunity to see how Nietzsche and Jung themselves fare when compared to their own and each other’s ideal conceptions.
  • VPR-3318: Sociology of Religion (20) (Semester 1)
    This module provides a comprehensive discussion of the classical and modern theoretical underpinnings of the sociological study of religion. The module will cover several theoretical topics and issues: Firstly, the origins of religious belief and practice will be explored by reviewing the major theories related to the debates on the social origin of religion. Secondly, the module will provide different theoretical foundations for understanding religion in modern social life, its culture and institutions. Thirdly, the module will identify common themes across religious traditions, providing broader insight into different understandings of religion, of those who practice religion, and how religious motivations and justifications affect the social world. Fourthly, these common themes will be examined within a sociological framework, which will be built on the contributions of both classical sociologists, such as Durkheim, Marx, Troeltsch and Weber, and recent sociologists.
  • VPR-3319: Comp. Philosophy: East/West (20) (Semester 1)
    This module seeks to explore two distinct philosophical traditions: Eastern and Western. Framing the module in a comparative way enables students to identify key relationships and differences that relate to major philosophical themes. In particular, the module begins by defining the comparative philosophical approach, which will be used throughout the course as the means to study the East and the West. The vast majority of the module will be dedicated to examining different metaphysical and ethical concerns. The module will explore several key thematic notions: (1) Reason and Faith (ignorance, knowledge, causation, scepticism, revelation and divinity); (2) Reality (origins, existence, monism, dualism, pluralism and naturalism); (3) Virtue (tradition, divinity, rites, human nature and altruism); (4) Mind (enlightenment, emptiness, transcendence, introspection and immanence).
  • VPR-3330: Ancient Philosophy (20) (Semester 1)
    This module provides a broad overview of, and introduction to, ancient philosophy in the Western tradition. It will cover, mainly in chronological order, the entirety of the ‘ancient’ philosophical era, beginning with the pre-Socratics, moving through Socrates, Plato, and Aristotle, and onwards to Stoicism, some key Roman philosophers, and Neo-Platonism. Emphasis will be put on the connections between ancient philosophy and later philosophical or religious developments, and on the influence that ancient philosophy has had on human thought generally. Historical narrative detail will be included where relevant (e.g., Socrates’ death, the Peloponnesian War, Aristotle and Alexander the Great, etc.) to provide context. Significant emphasis will be placed on the continued relevance that ancient philosophical schools can have for our modern lives, enabling us to overcome adversity and ‘live well’.
  • VPR-3331: 20th Century Phil of Religion (20) (Semester 2)
    The module begins by clarifying the state of the analytic philosophy of religion at the turn of the 20th century, reflecting upon its inheritance of 19th century ‘modernity’. This is contrasted with some concurrent developments in the continental tradition (German Romanticism, Dostoevsky, Nietzsche). This is the context from which, and into which, Wittgenstein speaks. We will cover the early, middle, and late eras of Wittgenstein’s thought, and show the revolutionary impact that his thought had for the philosophy of religion. We track the various directions in which Wittgenstein’s influence was felt; for example, in A. J. Ayer’s verificationism, or those overtly ‘Wittgensteinian’ philosophers of religion such as D. Z. Phillips. The ‘meta-philosophy of religion’ is introduced throughout, as we tackle the question of how best to philosophise about religion.
  • VPR-3332: Faith and Reason (20) (Semester 2)
    The module is composed of two parts, each looking at the interaction of ‘faith’ and ‘reason’. In the first part, I construct a narrative regarding the origins of our modern conception of ‘reason’, contrasting this with our conception of what it is to have ‘faith’. This narrative begins with Francis Bacon and (which is the more usual philosophical starting point) Descartes. I develop this through certain key thinkers of the modern period (Spinoza, Locke, Hume), concluding with the 19th century’s conception of ‘natural theology’. I press the case that a certain conception of ‘reason’ squeezed ‘faith’ out of the picture (along with a great deal of other meaningful dimensions of human life), prompting us to ask whether we must hold to the traditional conception of ‘reason’ at any cost. The second part of the module looks at contemporary examples of the interaction of ‘reason’ and ‘faith’, in the form of the interaction of science and religion. We consider examples of science being used to support religion (‘Intelligent Design’, the ‘Fine Tuning’ argument), and to debunk religion (evolution, the cognitive science of religion), and ask whether science and religion must necessarily be in conflict with each other. No prior philosophical or scientific knowledge is presumed. A brief introduction to quantum theory will be included.
  • VPR-3333: Immanuel Kant (20) (Semester 1)
    This module provides an introduction to the thought of Immanuel Kant. It covers his contributions to metaphysics and epistemology, by discussing his ‘transcendental idealism’. It covers Kant’s significant contributions to ethics, introducing the various formulations of his ‘categorical imperative’. It covers his contributions to the philosophy of religion, in particular his moral argument for belief in God. Throughout the module, I place Kant in the context of the history of philosophy, identifying those key aspects of philosophy to which Kant was responding (i.e., rationalism and empiricism), and those philosophers whose work was shaped by Kant’s legacy. Finally, we reflect on the place Kant’s thought holds in contemporary philosophy, particularly moral philosophy.
  • Students may choose whether to take the dissertation in Phil osophy/Religion or their other subject