Master of Music pathway Music Design course guide 2013-2014

Master of Music pathway Music Design

course guide 2013-2014
This course guide is intended as a reference for students and lecturers at the School of Music and Technology, Master of Music, pathway Music Design. You can nd information about the curriculum, the structure of the organisation, policies and procedures, facilities and personnel. If you have any questions that are not answered in this document, please contact mrs Elsje Dicke (elsje.dicke@kmt.hku.nl) HKU, University of the Arts Utrecht school of Music and Technology location Hilversum visiting address: Oude Amersfoortseweg 131, 1212AA Hilversum mailing address: PO Box 2471, 1200 CL Hilversum T +31 - 35 - 683 6464 F +31 - 35 - 683 6480

content
Welcome .............................................................................................................................5
Program ......................................................................................................................................5

Studying at the HKU/School of Music and Technology............................................6

HKU, University of the Arts Utrecht ....................................................................................6 School of Music and Technology ...........................................................................................6

Master of Music pathway Music Design........................................................................6

Aims of the Master of Music Programme pathway Music Design ...................................7 Didactic concept .......................................................................................................................7 Fields of interest ........................................................................................................................8 Aer graduation ........................................................................................................................8

Study program ...................................................................................................................9

Strands ........................................................................................................................................9 Components...............................................................................................................................9 Artist in Residence (AiR)#......................................................................................9 Study plan#..............................................................................................................10 Summary Sheets PDP#...........................................................................................11 Projects and workgroups #......................................................................................13 Contextualisation#..................................................................................................13

Modules ............................................................................................................................14
Composition Projects & Supportive Studies I...................................................................14 Composition Projects & Supportive Studies II .................................................................17 Composition Projects & Supportive Studies III................................................................20 Composition Projects & Supportive Studies IV................................................................23 Music Production Projects & Supportive Studies I ..........................................................26 Music Production Projects & Supportive Studies II ........................................................28 Music Production Projects & Supportive Studies III .......................................................31 Music Production Projects & Supportive Studies IV........................................................33 Music Technology Projects & Supportive Studies I .........................................................35 Music Technology Projects & Supportive Studies II ........................................................38 Music Technology Projects & Supportive Studies III ......................................................41 Music Technology Projects & Supportive Studies IV.......................................................43 Sound Design Projects & Supportive Studies I .................................................................45 Sound Design Projects & Supportive Studies II................................................................47 Sound Design Projects & Supportive Studies III ..............................................................50 Sound Design Projects & Supportive Studies IV ..............................................................52 Module Research Methods & Skills I..................................................................................55 Module Research Methods & Skills II ................................................................................57 Module Research Methods & Skills III ..............................................................................59 Module Research Methods & Skills IV...............................................................................61 Professional Development Plan I: Orientation .................................................................63 Professional Development Plan II: Focus and Vision ......................................................65 Professional Development Plan III: Deepening................................................................67

Professional Development Plan IV: Dissemination..........................................................69

Assessment protocols and criteria................................................................................71 Grading scales .................................................................................................................94

Artistry and prociency.........................................................................................................94 Reective Practioner ..............................................................................................................96 Professional and entrepreneurial outlook ..........................................................................97 Final conclusion ......................................................................................................................98

Research programs .........................................................................................................99 Interfaculty Project Fund & Proleringsfonds..........................................................99 List of lecturers..............................................................................................................100 Student Counselor ........................................................................................................100 Annual schedule............................................................................................................101 Addresses........................................................................................................................102

Welcome
A word of welcome to all students of the Master of Music program! In this guide you will nd information on the Master of Music program, pathway Music Design. This program is taught at the HKU, University of the Arts Utrecht, location Hilversum. The various chapters deal with general information, program information, the structure of your course of study, the curriculum, supervision, projects and individual study activities. As in previous years, we are welcoming a large number of international students, as well as many Dutch students, which is why this guide is in English. All of the courses oered in our Masters program are taught in English in the event they are attended by international students.

Program
Our Master of Music program includes components such as projects, research, reection and writing. These are typical elements of a Masters program. By writing your professional development plan (PDP) under guidance of your supervisor, and have it approved by a panel, it is up to you to determine what to focus on in relation to your foreseen future, and what to develop in order to become a well-equipped professional. We hope you will enjoy the program, projects and activities and wish you the best of luck with your music studies! Jeroen van Iterson, MPhil head Master of Music Jeroen Jager coordinator Master of Music Elsje Dicke student counselor Master of Music

Studying at the HKU/School of Music and Technology

HKU, University of the Arts Utrecht
HKU, University of the Arts Utrecht is an institution based in the Netherlands with a broad and multi-facetted prole. It is one of the largest specialised Dutch institutions of professional higher arts education. HKU oers undergraduate, postgraduate, coursework and research degrees and diplomas in a multidisciplinary environment: Visual Arts and Design Art, Media and Technology Music Theatre Art and Economics. HKU aims to create an environment that encourages students in the exploration of their talents through an approach of tutoring and coaching, both individually and in groups. Learning by doing and contact and connection with the professional eld are integrated in all study programs. In addition to this, HKU oers its students and lecturers a culturally diverse environment as well as the opportunity to gain international experience, through study visits, internships, practical training abroad and master classes. It also collaborates with various other international institutions, organising exchange programs for students and lecturers and in developing and setting up joint training programs. The HKU oers a Master of Music pathway Performance, and a Master of Music pathway Music Design. The Music Design pathway is based in Hilversum at the school of Music and Technology. The pathway Performance is based at the Utrecht Conservatoire.

School of Music and Technology

The School of Music and Technology is part of the HKU and based at location Hilversum. It oers numerous courses at the intersection of music and technology, where technology and creative ideas come together: Audio Design, Composition Electronic Music, Composition for the Media, Composition and Music Production, Composition and Music Technology, Composition and Sound Design for Adaptive Systems, Music Production and Performance, Music Technology and Performance and Sound Design. Next to the bachelor courses the School oers various master programmes: Master of Arts in Creative Design for Digital Cultures, Master of Musicpathway Music Design, and a Master of Philosophy program. In all these courses technology is the means, not the goal. Due to the combination of technical disciplines and creativity students are highly sought after by companies in the creative industries.

Master of Music pathway Music Design

The Master of Music pathway Music Design (MMus-MD) is a 2-year programme taught at the School of Music and Technology, location Hilversum. This Masters degree is designed for graduates with a Bachelors degree in music or art and technology, and professionals working in the wide eld of music and technology who wish to explore the boundaries of their profession. MMus-MD is unique in providing individualized programmes in music and technology, and integrating expertise in composition, music production, sound design and music technology.

Aims of the Master of Music Programme pathway Music Design

The program aims at preparing Music Design professionals for the creative industries, such as composers, sound designers, music producers, software developers and music technologists. Students are expected to have established a certain degree of autonomy in their approach of and vision on professional life in their previous course of study. Students are stimulated and encouraged to develop and deepen their artistic and professional vision and focus, presuming they maintain a pronounced interest in general areas such as musical, technological and cultural/economical backgrounds. The MMus program aims at facilitating artistic and professional development and focus, within each individual and in each of the chosen elds of specialisation. The MMus course is a two-year curriculum programme (120 ECTS, 60 credits per year, each credit comprising 28 hours of study) for which each student has to write and negotiate a study plan (called a Professional Development Plan, or PDP) at the start of his course of study. Reaching depth in artistry demands a personal customised route that is described by each student in his study plan and serves as a basis for the desired development in vision and focus. Inseparably related thereto, the Music Design student has to develop skills and knowledge to become an active participant in this contemporary professional eld. Given the fact that the major part of music is created through teamwork in multi-disciplinary projects in varying contexts, a Music Designstudent is expected to develop the competencies needed for this type of projects in diverse contexts. The MMus in Music Design is a very individual pathway that the student designs with the help of a supervisor and other lecturers. Basis of this is the so called study plan that is based on four principle questions: 1 - what's your actual position from a professional and artistic point of view? 2 - what's the position you would like to have in let's say three or ve years? 3 - how to get there? what kind of 'experiences' you have to encounter to get there? think about certain projects, forms of collaboration, etc. 4 - how to use the two years of study?

Didactic concept
The work forms and study activities used within the programme are all geared towards exposure, evaluation and reection within the context current at that moment. The work forms can vary: -from individual coaching, in which the student is confronted with his professional development. During these discussions, the professional performance is evaluated and questions are addressed such as How do I transform personal characteristics into professional competencies?, How do I develop and maintain a personal, artistic agenda? and What variety of methods can I use to incorporate my personal artistic vision in my professional eld? How can I create the circumstances in which I can continue to develop my qualities and capacities? Furthermore lecturers are available by appointment for individual supervision on projects, research and the related processes. -to workgroups meetings, at which students conduct research into and reection on context, repertoire, process and product from the professional eld, as well as on the work of fellow students. Activities vary, ranging from projects to research, and from guest lectures to knowledge transfers: from complex professional projects in the professional eld, during which the knowledge, insights, attitudes and skills acquired must be deployed to the maximum. to research in the form of experiments, workshops, internships and artist-inresidence and other projects. The students have a concrete end objective in this

respect, namely researching combinations of the following aspects: process, product, context and repertoire. from guest lecturers & guest supervisors: based on their plans MMus-students can approach guest lecturers or guest supervisors, especially when this suits more than one MMus-plan and the students join forces to prepare for their particular guest. to knowledge transfer: the MMus student has to be able to transfer her/his knowledge to others. For example: a student who specializes in composition of electronic music can be asked to do some repertoire classes for 2nd year students on electronic music.

Fields of interest
The study program of the School of Music & Technology covers a very broad area from music for media to electronic music and sound for installations, from sound design for lm to audio games for blind children, etc. At HKU location Hilversum in specic, we collaborate with the two other schools (Art & Technology, Media & Technology) that are active in game design, interaction design, digital media design but also traditional media like animation, documentary and ction lm. Collaboration takes place most of the time during the fourth year of our Bachelor program and in our MA-program. You will nd sound designers that will do 'traditional' sound design for lms, commercials, animation, etc. but also people who are active in the area of composing with sound and applying this in very dierent contexts like traditional concert stage, for exhibitions in museums, installations in public space and specic sound interfaces for blind and visually disabled people. There are also a lot of students that start composing from 'sound' itself so they use a variety of synthesis techniques and programming skills to design their own sounds and compositions. On the other end of the spectrum you will nd composers who compose for acoustic ensembles in traditional contexts like concert stage, but you'll also nd singer/ songwriters and composers for the media (lm, tv, advertisement). And you'll nd music producers, studio and live audio engineers, musical software programming and system design.

After graduation
The programme prepares you particularly for self-sustaining independent initiatives and companies that are able to design and adapt their organisational and nancial models to their artistic needs. When graduated, you will be able to produce work in a diversity of creative contexts all over the world. Contexts include: music industry, media companies, composition practice, theatre, game context, organizations in and on the edges of several domains such as: media, education, science, health, and business. In the MMus-MD course you will strengthen your creative and business aspects and extend your working relationships and networks. All in all, HKU, location Hilversum is known as a very fertile location for all kind of forms of multidisciplinary collaboration.

Study program
Master of Music-pathway Music Design (MMus-MD) prepares you to design, produce and manage a broad range of musical projects, from composition and music production to game audio and art installations. You are involved in intensive teamwork, often within multi disciplinairy groups. You learn to engage with a variety of audiences and contexts (culture, media, music industry, science, health, etc.). MMus-MD is a project based programme with taught elements.

Strands
The Music Design pathway consists of four strands: Composition, Sound Design, Music Production and Music Technology. Musicians in the strand composition are composers who can relate to the present-day contexts of music and are capable of transforming their music and related design processes from one context to another. A strong artistic identity, awareness of design processes, reective and research skills are needed to become a successful and innovative composer in contexts like lm, dance, theatre, games, advertisement and the stage. Musicians in the strand sound design are designers distinguishing themselves through their awareness and knowledge of the design possibilities of sound. This ranges from designing sounds themselves to designing with sound, within various contexts like installations, games, the stage and lm. Musicians in the strand music production are producers with an awareness and knowledge of dierent music design processes and music production processes. They apply their knowledge and skills in various contexts leading to various outcomes like CD- and DVD-productions, musical material for educarial for educational purposes and cross media-publications of musical content. Musicians in the strand music technology are technologists with distinguishing research and development skills and knowledge of musical contexts. They are a potential source for innovation on the cutting edge of music and technology by designing new instruments or music systems for various uses like composition, sound design, music production, industrial use of sound of music, specic applications for the blind, or specic applications for music education or research.

Components
Your study is partly based on components you contribute yourself: the projects and related research you develop and underpin in your study plan (Professional Development Plan (PDP), also called study plan). Next to your own projects you can incorporate lectures and projects of the School of Music and Technology, and of other Schools at HKU, in your study plan. The study plan is the main thread during your study, and is therefore carefully reviewed by a supervisor, and a panel. Next to the activities you describe in your study plan you participate in several obligatory activities, such as workgroups and an Artist in Residence project. Artist in Residence (AiR) The rst activity in your study is the obligatory Artist in Residence (AiR) project. This takes several weeks, in which you work intensively on the rst version of your study plan (PDP). After the AiR you present your study plan to a committee of internal and

external experts. Every semester, as a follow up students work on their study plan with their supervisor. Study plan Every semester students work on their Professional Development Plan (PDP). In this plan, students describe their ambitions and planned actions for the coming semester. This plan should be considered as an integral development plan to focus the technical, artistic, contextual and professional prole of the student. This plan is also part of the integral assessment that takes places at the end of each semester. The PDP is composed of two elements. First, students write a study plan (with a maximum of 3 pages) whereby they articulate their professional ambitions for the semester to come. Second, a summary of this study plan (one page, according to a prescribed format), whereby the student focuses on four specic elements in this ambition. The summary can of course be of help in writing the study plan. A sequence in terms of focus has been identied for the four study plans, one for each semester. In the rst one, students write about the dierent skills they want to acquire. The last PDP focuses on vision & strategy, context, artistic prole and professional prole. The following matrix demonstrates the sequence in terms of articulated focus: PDP1 2 1 PDP2 1 1 1 1 PDP3 1 1 1 (specifically on dissemination) 1 PDP4 1 1 1 (specifically on dissemination) 1

Skills Artistic Profile Context

Professional Profile & 1 Entrepreneurship Vision & Strategy

At the start of each semester the portfolio supervisor will coach the students in setting and achieving ambitions. The supervisor acts as a critical friend, inquiring and posing suggestions. Four weeks after the start of a semester, the nal version of the PDP for that semester has to be agreed upon by the supervisor. On the Summary PDP form the supervisor puts his paragraph to show that he has seen the nal version. This sheet should be uploaded in the kmtweb documentation tool.

10

Summary Sheets PDP

Professional Development Plan Your PDP acts as an important tool for reection and assessment during the integral assessments. It is used to communicate about and providence for your professional growth. Assessors (of which one is an external) at the exams need to have a clear and quick picture about the essence or focus of your development in a semester. Therefore you need to extract information from your PDP study plan into the summary sheet (one A4 size). SMART Try to describe your ambitions as SMART as possible. This means that you describe your goals as if you already attained them, so the assessors can hear or see the result. SMART stands for Specic, Measurable, Acceptable, Realizable and Time bounded. e.g. skill goal : In the project portfolio for the next six months work I will compose three musical works for a complex audio environment (e.g. Nicolai Church) and for an orchestra of at least 15 musicians. e.g. artistic prole goal: In six months I am able to demonstrate three examples of innovative methods for sound design, contextualised both through research and expert reviews. e.g. context goal: In the project work I am able to demonstrate to make musical compositions suitable for a specic type of festival. e.g. professional prole & entrepreneurship : I will relate my own project work to 5 competitive types of products in the professional eld and will formulate two possible opportunities for marketing and dissemination. I will deliver a professional portfolio and website which clearly denes myself as a sound designer, including an description of my artistic signature and sound design approach, describing and targeting future clients. e.g. vision and strategy: I will deliver a description of my professional career in 5 years and will articulate the necessary steps and actions to pursue this career, taking into account strengths, weaknesses, opportunities and threats.

11

Name student: Name supervisor.. Paragraph supervisor ..

PDP Semester 1/2/3/4 Baseline (knowledge, skills at the start of the semester) Ambition (SMART if possible) Actions Expected results Means for verication Skills Skills Artistic Prole Professional Prole and entrepreneurship

12

Projects and workgroups By doing projects you work on your portfolio. This portfolio reects your development both artistically and professionally, and may exist of a variety of elements, ranging from performances to recordings, and from games to installations. Also any research done to support projects is considered part of your portfolio, as for instance the setting up of a business. Your projects must be included in your study plan, and approved by your supervisor. During regular meetings with you supervisor you discuss your progress and reect on your projects. Next to that you participate in workgroups, in which you exchange knowledge and experience with you peers, and study topics under the guidance of a lecturer. Contextualisation Your portfolio as a whole, all the (research) activities surrounding it, and your artistic and professional vision, are considered part of your (starting) professional practice. Being in a master program, you have to be able to thoroughly reect on this professional practice, and formulate this reection. Therefore you are required to contextualise your practice in a paper of approximately 3000-5000 words, to be presented at the nal exam. The purpose of this paper is research of theory, context and repertoire in order to design and contextualise your own professional practice. Writing of the paper is supervised by your supervisor.

13

Modules
Every semester consists of three modules: Projects & Supportive Studies, Research Methods and Skills, and Professional Development Plan. These modules are assessed during the examination that takes place at the end of each semester, respectively: midyear assessment (rst year, rst semester), end year assessment (rst year, second semester), midyear assessment (second year, rst semester) and nal exam (second year, second semester). The modules cover the various Master of Music competencies which you address in your study plan. Every semester you develop these competencies further by working on your projects and supportive study, working on the contextualisation of your professional practice in a written paper, writing your PDP, and doing research. Composition Projects & Supportive Studies I Module Description This module contains two related strands: Composition Projects, and Supportive Studies. In the strand Composition Projects students participate in monodisciplinary and multidisciplinary composition projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of composition through studies on repertoire and literature, and compositional skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Composition Projects strand: To provide a context for exploration and expanding the students talent through external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging their ability to create creative space while working within set boundaries. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for composition. To enable students to broaden their vocabulary of compositional techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from compositions for performing ensembles till applied music for TV-programmes, games and social applications. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves.

14

The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of composition theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: e-LIVE: composition for instrument, electronics and church acoustics (Nicolai Church), project in collaboration with UC; SoundTrack Cologne: composition and sound design for lm, a collaborative participation in the European Talent Competition. Examples are classes on: Advanced Harmony Notation (of contemporary multidisciplinary music) 20th Century Music History Film Music Methods of Composition Electronic Music (Virtual) Orchestration Music Cognition World Music Orientation and History Examples are supportive studie exercises in the domain of: Minimal Music Songwriting Serialism Electronic music Film music Klangfarbenmusik Algorithmic composition

Learning outcomes On successful completion of the module a student will be able to: start the production phase of a project with a well balanced concept that is realistic enough to be realised; dene a project result in co-operation with (multidisciplinary) team members while maintaining an individual contribution; determine the appropriate compositional techniques and methods; full a responsible task in a collaborative design and production process;

15

critically reect on diversions relative to the outcomes of the pre-production; communicate project progress to both mid term evaluation committee, course leader and possible external commissioner; reect on personal contribution, in collaborative learning environment; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in compositional methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes. Intensifying artistry. Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process.

16

Composition Projects & Supportive Studies II Module Description This module contains two related strands: Composition Projects, and Supportive Studies. In the strand Composition Projects students participate in monodisciplinary and multidisciplinary composition projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of composition through studies on repertoire and literature, and compositional skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Composition Projects strand: To provide a context for exploration and expanding the students talent through external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging their ability to create creative space while working within set boundaries. To ensure students develop the abilities to bring to resolution a project of self-directed work. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for composition. To enable students to broaden their vocabulary of compositional techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from compositions for performing ensembles till applied music for TV-programmes, games and social applications. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of composition theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal 17

development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: World Composition Project: composition for non-Western instruments in close collaboration with performers, research in non-Western musical cultures, project in collaboration with UC; Nederlands Film Festival/Film Museum: annual project on composition and performance for silent movies on the Dutch national lmfestival; Composer in Residence, compositions for a variety of ensembles to be performed at the Vredenburg Concert Hall and to be supervised by a composer-in-residence, project in collaboration with UC. Examples are classes on: Advanced Harmony Notation (of contemporary multidisciplinary music) 20th Century Music History Film Music Methods of Composition Electronic Music (Virtual) Orchestration Music Cognition World Music Orientation and History Examples are supportive studie exercises in the domain of: Minimal Music Songwriting Serialism Electronic music Film music Klangfarbenmusik Algorithmic composition

Learning outcomes On successful completion of the module a student will be able to: start the production phase of a project with a well balanced concept that is realistic enough to be realised; dene a project result in co-operation with (multidisciplinary) team members while maintaining an individual contribution; determine the appropriate compositional techniques and methods; full a responsible task in a collaborative design and production process; critically reect on diversions relative to the outcomes of the pre-production; communicate project progress to both mid term evaluation committee, course leader and possible external commissioner; reect on personal contribution, in collaborative learning environment; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld;

18

show progression in compositional methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments.

These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Intensifying artistry; Communication. Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process.

19

Composition Projects & Supportive Studies III Module Description This module contains two related strands: Composition Projects, and Supportive Studies. In the strand Composition Projects students participate in monodisciplinary and multidisciplinary composition projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of composition through studies on repertoire and literature, and compositional skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Composition Projects strand: Demonstrate the students ability to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. Demonstrate the students ability to bring to resolution a project of self-directed work. To ensure students are able to conduct self-directed creative work supported through research in the relevant eld of study. To ensure students are able to develop an individual, artistic vision on (multidisciplinary) projects, the related design and production processes and their outcomes. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for composition. To enable students to broaden their vocabulary of compositional techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from compositions for performing ensembles till applied music for TV-programmes, games and social applications. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of composition theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal 20

development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: e-LIVE: composition for instrument, electronics and church acoustics (Nicolai Church), a project in collaboration with UC; Composition, Improvisation and Performance-project by Marc van Vugt: intensive high pressure cooker workshop for composers and performers, a project in collaboration with UC; Collaboration project with Vietnamese Conservatories and Academies for Theatre & Cinema: composition and sound design for new audiovisuals based on Vietnamese cultures; Examples are classes on: Advanced Harmony Notation (of contemporary multidisciplinary music) 20th Century Music History Film Music Methods of Composition Electronic Music (Virtual) Orchestration Music Cognition World Music Orientation and History Examples are supportive studie exercises in the domain of: Minimal Music Songwriting Serialism Electronic music Film music Klangfarbenmusik Algorithmic composition

Learning outcomes On successful completion of the module a student will be able to: See Module Composition Projects & Supportive Studies I and II manage all aspects of one or more individual projects; develop appropriate projects in relation to a personal MMus-development plan; expand and explore personal boundaries in technical and creative ability; position the process of making in a musical, cultural and technological context. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes. Communicating; Assessment criteria

21

The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process; the ability to participate in complex multidisciplinary and cross cultural projects; the level of reection on the function of the project in question in relation to the personal MMus-trajectory.

22

Composition Projects & Supportive Studies IV Module Description This module contains two related strands: Composition Projects, and Supportive Studies. In the strand Composition Projects students participate in monodisciplinary and multidisciplinary composition projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of composition through studies on repertoire and literature, and compositional skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Composition Projects strand: Demonstrate the students ability to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. Demonstrate the students ability to conduct self-directed creative work supported through research in the relevant eld of study. Demonstrate the students ability to bring to resolution a project of self-directed work. Demonstrate the students individual, artistic vision on (multidisciplinary) projects, the related design and production processes and their outcomes. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for composition. To enable students to broaden their vocabulary of compositional techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from compositions for performing ensembles till applied music for TV-programmes, games and social applications. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of composition theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the 23

supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Blind Date: a annual and intensive workshop with composers (USMT). choreographers (Dance Unlimited) and stage designers (Minerva Academy Groningen); Composer in Residence, compositions for a variety of ensembles to be performed at the Vredenburg Concert Hall and to be supervised by a composer-in-residence, project in collaboration with UC. World Composition Project: composition for non-Western instruments in close collaboration with performers, research in non-Western musical cultures, project in collaboration with UC; Community Composition Project: composition of mini-operas based on stories of people located in homes for the elderly. Examples are classes on: Advanced Harmony Notation (of contemporary multidisciplinary music) 20th Century Music History Film Music Methods of Composition Electronic Music (Virtual) Orchestration Music Cognition World Music Orientation and History Examples are supportive studie exercises in the domain of: Minimal Music Songwriting Serialism Electronic music Film music Klangfarbenmusik Algorithmic composition

Learning outcomes On successful completion of the module a student will be able to: See Module Composition Projects & Supportive Studies I and II manage all aspects of one or more individual projects; develop appropriate projects in relation to a personal MMus-development plan; expand and explore personal boundaries in technical and creative ability; position the process of making in a musical, cultural and technological context. reect on the entire pre-production and production process formulating revised personal learning objectives for forthcoming projects. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Intensifying artistry;

24

Communicating; Community responsibility.

Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process; the ability to participate in complex multidisciplinary and cross cultural projects; the level of reection on the function of the project in question in relation to the personal MMus-trajectory.

25

Music Production Projects & Supportive Studies I Module Description This module contains two related strands: Music Production Projects, and Supportive Studies. In the strand Music Production Projects students participate in monodisciplinary and multidisciplinary music production projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of music production through studies on repertoire and literature, and production skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Music Production Projects strand: To provide a context for exploration and expanding the students talent through external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging their ability to create creative space while working within set boundaries. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for production. To enable students to broaden their vocabulary of production techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from music production for singer/songwriters, bands and ensembles till distributed music production or new ways for publishing music in the broadest sense of the word. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of music production theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with 26

supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Producing The Band: a collaborative music production project that aims at specic use of music technology in music production processes; Band in a Barn: a high pressure cooker project that aims at researching varied ways of music production. Examples are classes on: Music production methods and strategies . Examples are supportive studie exercises in the domain of: Music production techniques; Mixing techniques; Arranging; Mastering.

Learning outcomes On successful completion of the module a student will be able to: start the production phase of a project with a well balanced concept that is realistic enough to be realised; dene a project result in co-operation with (multidisciplinary) team members while maintaining an individual contribution; determine the appropriate productional techniques and methods; full a responsible task in a collaborative design and production process; critically reect on diversions relative to the outcomes of the pre-production; communicate project progress to both mid term evaluation committee, course leader and possible external commissioner; reect on personal contribution, in collaborative learning environment; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in productional methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes. Intensifying artistry. Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process.

27

Music Production Projects & Supportive Studies II Module Description This module contains two related strands: Music Production Projects, and Supportive Studies. In the strand Music Production Projects students participate in monodisciplinary and multidisciplinary music production projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of music production through studies on repertoire and literature, and production skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Music Production Projects strand: To provide a context for exploration and expanding the students talent through external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging their ability to create creative space while working within set boundaries. To ensure students develop the abilities to bring to resolution a project of self-directed work. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for production. To enable students to broaden their vocabulary of production techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from music production for singer/songwriters, bands and ensembles till distributed music production or new ways for publishing music in the broadest sense of the word. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of music production theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal 28

development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Singer/songwriter-projects: production of tracks in close collaboration with singer/ songwriters; Publishing Package: a research based project on new ways for the publication of music in the broadest sense of the word. Examples are classes on: Music production methods and strategies . Examples are supportive studie exercises in the domain of: Music production techniques; Mixing techniques; Arranging; Mastering.

Learning outcomes On successful completion of the module a student will be able to: start the production phase of a project with a well balanced concept that is realistic enough to be realised; research musical, cultural and technological contexts relevant to the project; dene a project result in co-operation with (multidisciplinary) team members while maintaining an individual contribution; determine the appropriate music productional techniques and methods; full a responsible task in a collaborative production process; apply research outcomes and concept to a production process; compose music in a multidisciplinary environment (sometimes together with fellow composers); critically reect on diversions relative to the outcomes of the pre-production; communicate project progress to both mid term evaluation committee, course leader and possible external commissioner; reect on personal contribution, in collaborative learning environment; evaluate and reect upon music productional processes in multidisciplinary environments; identify key representatives dealing with relevant theory in the eld; show progression in productional methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Intensifying artistry; Communication. Assessment criteria 29

The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process.

30

Music Production Projects & Supportive Studies III Module Description This module contains two related strands: Music Production Projects, and Supportive Studies. In the strand Music Production Projects students participate in monodisciplinary and multidisciplinary music production projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of music production through studies on repertoire and literature, and production skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Music Production Projects strand: Demonstrate the students ability to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. Demonstrate the students ability to bring to resolution a project of self-directed work. To ensure students are able to conduct self-directed creative work supported through research in the relevant eld of study. To ensure students are able to develop an individual, artistic vision on (multidisciplinary) projects, the related design and production processes and their outcomes. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for production. To enable students to broaden their vocabulary of production techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from music production for singer/songwriters, bands and ensembles till distributed music production or new ways for publishing music in the broadest sense of the word. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of music production theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal 31

development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Band-projects: production of tracks in close collaboration with bands; Distributed Music Production: a research based project on distributed music production processes; Collaboration project with Vietnamese Conservatories and Academies for Theatre & Cinema: music productions based on Vietnamese cultures. Examples are classes on: Music production methods and strategies . Examples are supportive studie exercises in the domain of: Music production techniques; Mixing techniques; Arranging; Mastering.

Learning outcomes On successful completion of the module a student will be able to: See Module Music Production Projects & Supportive Studies I and II manage all aspects of one or more individual projects; develop appropriate projects in relation to a personal MMus-development plan; expand and explore personal boundaries in technical and creative ability; position the process of making in a musical, cultural and technological context; identify key representatives dealing with relevant theory in the eld; show progression in productional methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Communicating; Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process; the ability to participate in complex multidisciplinary and cross cultural projects; the level of reection on the function of the project in question in relation to the personal MMus-trajectory.

32

Music Production Projects & Supportive Studies IV Module Description This module contains two related strands: Music Production Projects, and Supportive Studies. In the strand Music Production Projects students participate in monodisciplinary and multidisciplinary music production projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of music production through studies on repertoire and literature, and production skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Music Production Projects strand: Demonstrate the students ability to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. Demonstrate the students ability to conduct self-directed creative work supported through research in the relevant eld of study. Demonstrate the students ability to bring to resolution a project of self-directed work. Demonstrate the students individual, artistic vision on (multidisciplinary) projects, the related design and production processes and their outcomes. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for production. To enable students to broaden their vocabulary of production techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from music production for singer/songwriters, bands and ensembles till distributed music production or new ways for publishing music in the broadest sense of the word. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of music production theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the 33

supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Band-projects: production of tracks in close collaboration with bands; TopNotch: a research based project focusing on new ways of relive a concert; Collaboration project with TaSUBa: music production of Tanzanian songs in collaboration with Tanzanian musicians and producers. Examples are classes on: Music production methods and strategies . Examples are supportive studie exercises in the domain of: Music production techniques; Mixing techniques; Arranging; Mastering.

Learning outcomes On successful completion of the module a student will be able to: See Module Music Production Projects & Supportive Studies I and II manage all aspects of one or more individual projects; develop appropriate projects in relation to a personal MMus-development plan; expand and explore personal boundaries in technical and creative ability; position the process of making in a musical, cultural and technological context; identify key representatives dealing with relevant theory in the eld; show progression in productional methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Communicating; Community responsibility. Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process; the ability to participate in complex multidisciplinary and cross cultural projects; the level of reection on the function of the project in question in relation to the personal MMus-trajectory.

34

Music Technology Projects & Supportive Studies I Module Description This module contains two related strands: Music Technology Projects, and Supportive Studies. In the strand Music Technology Projects students participate in monodisciplinary and multidisciplinary music technology projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of music technology through studies on repertoire and literature, and music technology skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Music Technology Projects strand: To provide a context for exploration and expanding the students talent through external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging their ability to create creative space while working within set boundaries. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for music technology. To enable students to broaden their vocabulary of music technology techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from music technology for art contexts till social applications like games for blind and visually disabled people. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of music technology theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with 35

supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: e-LIVE: music technology for compositions for instrument, electronics and church acoustics (Nicolai Church), project in collaboration with UC; Trilvest: tactile interface that translates music into vibrations to enable deaf people to dance on music with rhythmic content. Examples are classes on: Software development System design Interaction design Interfaces Sensors and controllers Examples are supportive studie exercises in the domain of: Software programming Hardware (sensors and controllers) Adaptive systems Algorithms

Learning outcomes On successful completion of the module a student will be able to: start the production phase of a project with a well balanced concept that is realistic enough to be realised; dene a project result in co-operation with (multidisciplinary) team members while maintaining an individual contribution; determine the appropriate music technological techniques and methods; full a responsible task in a collaborative design and production process; critically reect on diversions relative to the outcomes of the pre-production; communicate project progress to both mid term evaluation committee, course leader and possible external commissioner; reect on personal contribution, in collaborative learning environment; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in music technological methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes. Intensifying artistry. Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of 36

communication (e.g. presentation) and collaboration during the process.

37

Music Technology Projects & Supportive Studies II Module Description This module contains two related strands: Music Technology Projects, and Supportive Studies. In the strand Music Technology Projects students participate in monodisciplinary and multidisciplinary music technology projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of music technology through studies on repertoire and literature, and music technology skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Music Technology Projects strand: To provide a context for exploration and expanding the students talent through external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging their ability to create creative space while working within set boundaries. To ensure students develop the abilities to bring to resolution a project of self-directed work. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for music technology. To enable students to broaden their vocabulary of music technology techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from music technology for art contexts till social applications like games for blind and visually disabled people. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of music technology theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal 38

development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Sound Toy: design of an audio game in close collaboration with game designers; KO-llectief: collective of sonic designers and music technologists who work on external assignments. Examples are classes on: Software development System design Interaction design Interfaces Sensors and controllers Examples are supportive studie exercises in the domain of: Software programming Hardware (sensors and controllers) Adaptive systems Algorithms

Learning outcomes On successful completion of the module a student will be able to: start the production phase of a project with a well balanced concept that is realistic enough to be realised; research musical, cultural and technological contexts relevant to the project; dene a project result in co-operation with (multidisciplinary) team members while maintaining an individual contribution; determine the appropriate music technologyal techniques and methods; full a responsible task in a collaborative production process; apply research outcomes and concept to a production process; design music technology applications in a multidisciplinary environment (sometimes together with fellow music technologists); critically reect on diversions relative to the outcomes of the pre-production; communicate project progress to both mid term evaluation committee, course leader and possible external commissioner; reect on personal contribution, in collaborative learning environment; evaluate and reect upon music technologyal processes in multidisciplinary environments; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in music technological methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; 39

Intensifying artistry; Communication.

Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process.

40

Music Technology Projects & Supportive Studies III Module Description This module contains two related strands: Music Technology Projects, and Supportive Studies. In the strand Music Technology Projects students participate in monodisciplinary and multidisciplinary music technology projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of music technology through studies on repertoire and literature, and music technology skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Music Technology Projects strand: Demonstrate the students ability to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. Demonstrate the students ability to bring to resolution a project of self-directed work. To ensure students are able to conduct self-directed creative work supported through research in the relevant eld of study. To ensure students are able to develop an individual, artistic vision on (multidisciplinary) projects, the related design and production processes and their outcomes. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for music technology. To enable students to broaden their vocabulary of music technology techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from music technology for art contexts till social applications like games for blind and visually disabled people. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of music technology theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal 41

development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: TACT: design of a tactile interface for double handicapped children; Community Art: design of installations in the neighbourhood Overvegt in Utrecht. Examples are classes on: Software development System design Interaction design Interfaces Sensors and controllers Examples are supportive studie exercises in the domain of: Software programming Hardware (sensors and controllers) Adaptive systems Algorithms Learning outcomes On successful completion of the module a student will be able to: See Module Music Technology Projects & Supportive studies I and II manage all aspects of one or more individual projects; develop appropriate projects in relation to a personal MMus-development plan; expand and explore personal boundaries in technical and creative ability; position the process of making in a musical, cultural and technological context; identify key representatives dealing with relevant theory in the eld; show progression in music technological methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Communicating; Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process; the ability to participate in complex multidisciplinary and cross cultural projects; the level of reection on the function of the project in question in relation to the personal MMus-trajectory.

42

Music Technology Projects & Supportive Studies IV Module Description This module contains two related strands: Music Technology Projects, and Supportive Studies. In the strand Music Technology Projects students participate in monodisciplinary and multidisciplinary music technology projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of music technology through studies on repertoire and literature, and music technology skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Music Technology Projects strand: Demonstrate the students ability to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. Demonstrate the students ability to conduct self-directed creative work supported through research in the relevant eld of study. Demonstrate the students ability to bring to resolution a project of self-directed work. Demonstrate the students individual, artistic vision on (multidisciplinary) projects, the related design and production processes and their outcomes.Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for music technology. To enable students to broaden their vocabulary of music technology techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from music technology for art contexts till social applications like games for blind and visually disabled people. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of music technology theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with 43

supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Ives Ensemble: design of sound installations for concerts of the Ives Ensemble; Bartimeus: design of binaural sound systems for guiding blind and visually disabled people. Examples are classes on: Software development System design Interaction design Interfaces Sensors and controllers Examples are supportive studie exercises in the domain of: Software programming Hardware (sensors and controllers) Adaptive systems Algorithms Learning outcomes On successful completion of the module a student will be able to: See Module Music technology Projects I and II manage all aspects of one or more individual projects; develop appropriate projects in relation to a personal MMus-development plan; expand and explore personal boundaries in technical and creative ability; position the process of making in a musical, cultural and technological context; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in music technological methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Communicating; Community responsibility. Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process; the ability to participate in complex multidisciplinary and cross cultural projects; the level of reection on the function of the project in question in relation to the personal MMus-trajectory.

44

Sound Design Projects & Supportive Studies I Module Description This module contains two related strands: Sound Design Projects, and Supportive Studies. In the strand Sound Design Projects students participate in monodisciplinary and multidisciplinary sound design projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of sound design through studies on repertoire and literature, and sound design skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Sound Design Projects strand: To provide a context for exploration and expanding the students talent through external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging their ability to create creative space while working within set boundaries. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for sound design. To enable students to broaden their vocabulary of sound design techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from sound design for lm till the design of sound installations for social applications. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of sound design theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with

45

supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Tik van de Molen: design of sound installations for the Tik van de Molen-festival; e-LIVE: sound design and sonic design in collaboration with composers for the e-LIVE concert in the Nicolai-church in Utrecht. Examples are classes on: Methods of Sound Design Sound Design processes Concepts in Sound Design Perception theory Examples are supportive studie exercises in the domain of: Synthesis techniques Studio recording techniques Mixing techniques e.g. 5.1 Mastering techniques

Learning outcomes On successful completion of the module a student will be able to: start the production phase of a project with a well balanced concept that is realistic enough to be realised; dene a project result in co-operation with (multidisciplinary) team members while maintaining an individual contribution; determine the appropriate sound design techniques and methods; full a responsible task in a collaborative design and production process; critically reect on diversions relative to the outcomes of the pre-production; communicate project progress to both mid term evaluation committee, course leader and possible external commissioner; reect on personal contribution, in collaborative learning environment; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in sound design methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes. Intensifying artistry. Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process.

46

Sound Design Projects & Supportive Studies II Module Description This module contains two related strands: Sound Design Projects, and Supportive Studies. In the strand Sound Design Projects students participate in monodisciplinary and multidisciplinary sound design projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of sound design through studies on repertoire and literature, and sound design skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Sound Design Projects strand: To provide a context for exploration and expanding the students talent through external professional projects. To ensure students are able to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. To enable students to apply their knowledge and skills in assigned projects, challenging their ability to create creative space while working within set boundaries. To ensure students develop the abilities to bring to resolution a project of self-directed work. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for sound design. To enable students to broaden their vocabulary of sound design techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from sound design for lm till the design of sound installations for social applications. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of sound design theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the 47

supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Tik van de Molen: design of sound installations for the Tik van de Molen-festival; Corrosia: design of sound installations for the Corrosia Festival in Almere; e-LIVE: sound design and sonic design in collaboration with composers for the e-LIVE concert in the Nicolai-church in Utrecht. Examples are classes on: Methods of Sound Design Sound Design processes Concepts in Sound Design Perception theory Examples are supportive studie exercises in the domain of: Synthesis techniques Studio recording techniques Mixing techniques e.g. 5.1 Mastering techniques

Learning outcomes On successful completion of the module a student will be able to: start the production phase of a project with a well balanced concept that is realistic enough to be realised; research musical, cultural and technological contexts relevant to the project; dene a project result in co-operation with (multidisciplinary) team members while maintaining an individual contribution; determine the appropriate sound design techniques and methods; full a responsible task in a collaborative production process; apply research outcomes and concept to a production process; compose music in a multidisciplinary environment (sometimes together with fellow composers); critically reect on diversions relative to the outcomes of the pre-production; communicate project progress to both mid term evaluation committee, course leader and possible external commissioner; reect on personal contribution, in collaborative learning environment; evaluate and reect upon sound designal processes in multidisciplinary environments; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in sound design methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Knowledge of and skills in artistic processes; Intensifying artistry; 48

Communication.

Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process.

49

Sound Design Projects & Supportive Studies III Module Description This module contains two related strands: Sound Design Projects, and Supportive Studies. In the strand Sound Design Projects students participate in monodisciplinary and multidisciplinary sound design projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of sound design through studies on repertoire and literature, and sound design skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Sound Design Projects strand: Demonstrate the students ability to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. Demonstrate the students ability to bring to resolution a project of self-directed work. To ensure students are able to conduct self-directed creative work supported through research in the relevant eld of study. To ensure students are able to develop an individual, artistic vision on (multidisciplinary) projects, the related design and production processes and their outcomes. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for sound design. To enable students to broaden their vocabulary of sound design techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from sound design for lm till the design of sound installations for social applications. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of sound design theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the 50

supervising lecturer. Next to these study groups, students have individual meetings with supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Sound design for shorts, animations and documentaries of the media department; Corrosia: design of sound installations for the Corrosia Festival in Almere; Collaboration project with Vietnamese Conservatories and Academies for Theatre & Cinema: sound design for new audiovisuals based on Vietnamese cultures. Examples are classes on: Methods of Sound Design Sound Design processes Concepts in Sound Design Perception theory Examples are supportive studie exercises in the domain of: Synthesis techniques Studio recording techniques Mixing techniques e.g. 5.1 Mastering techniques

Learning outcomes On successful completion of the module a student will be able to: See Module Sound design Projects I and II manage all aspects of one or more individual projects; develop appropriate projects in relation to a personal MMus-development plan; expand and explore personal boundaries in technical and creative ability; position the process of making in a musical, cultural and technological context; reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in sound design methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Intensifying artistry; Communicating; Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process; the ability to participate in complex multidisciplinary and cross cultural projects; the level of reection on the function of the project in question in relation to the personal MMus-trajectory.

51

Sound Design Projects & Supportive Studies IV Module Description This module contains two related strands: Sound Design Projects, and Supportive Studies. In the strand Sound Design Projects students participate in monodisciplinary and multidisciplinary sound design projects offered by the MMus-programme or initiated by themselves. In the strand Supportive Studies the student obtains new insights in the theory of sound design through studies on repertoire and literature, and sound design skills and techniques in relation to their projects through: classes on different theoretical topics individual practical exercises and assignments; critical review of the outcomes by peers and the supervising lecturer. Aims and Objectives Sound Design Projects strand: Demonstrate the students ability to detect and critically apply relevant knowledge, methods and skills in order to support and inform their creative practice. Demonstrate the students ability to conduct self-directed creative work supported through research in the relevant eld of study. Demonstrate the students ability to bring to resolution a project of self-directed work. Demonstrate the students individual, artistic vision on (multidisciplinary) projects, the related design and production processes and their outcomes. Supportive Studies strand: To enable students to obtain new insights with regard to different theories, models and methods for sound design. To enable students to broaden their vocabulary of sound design techniques. To challenge students to develop a critical attitude and awareness in relation to these theories, models, methods and techniques.

Method of Delivery Projects are developed by the research programmes, or initiated by students. Theres a variety in the projects and according contexts from monodisciplinarity through intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of the projects is varying from sound design for lm till the design of sound installations for social applications. To enable projects, the research programmes have developed long term co-operations with all kind of representatives of the creative industry (broadcasting companies, cultural and educational institutions, music ensembles, dance companies, etc.) and other sectors like health, cultural heritage and education. Students may also initiate projects themselves. The projects and related Supportive Studies have to be in line with students personal development plan which has to be approved by the MMus-programme. All projects (work-inprogress, related processes and outcomes) are supervised, discussed and reviewed in special project groups, in study groups and through individual supervision. Theres a large and varied offer in classes on different theoretical topics within the domain of sound design theory. Repertoire and theory is studied through reading, listening and analysis. Students join one (ore more) study groups of the MMus-programme. In meetings throughout the year (every two weeks), students get individual assignments to exercise specic skills and techniques. The content of the assignments is related to the prole and the personal development plan of the student in question. The outcomes are reviewed by peers and the supervising lecturer. Next to these study groups, students have individual meetings with 52

supervising lecturers of the MMus-programme. In these meetings, small assignments and exercises (which are in line with the actual project(s) of the student) are handed out. Syllabus Examples of projects are: Sound design for shorts, animations and documentaries of the media department; Sound design for shorts and animations of St. Joost Academy; Sound design for applied games; Design of sound installations for several festivals such as STRP, Eindhoven; Sound design for audiovisuals in collaboration with TaSUBa-students, Tanzania. Examples are classes on: Methods of Sound Design Sound Design processes Concepts in Sound Design Perception theory Examples are supportive studie exercises in the domain of: Synthesis techniques Studio recording techniques Mixing techniques e.g. 5.1 Mastering techniques

Learning outcomes On successful completion of the module a student will be able to: See Module Sound design Projects I and II manage all aspects of one or more individual projects; develop appropriate projects in relation to a personal MMus-development plan; expand and explore personal boundaries in technical and creative ability; position the process of making in a musical, cultural and technological context. reect on the entire pre-production and production process; identify key representatives dealing with relevant theory in the eld; show progression in sound design methods, insights and skills and the ability to use those skills, if necessary, in forthcoming projects; reect on examples, methods and techniques used in the assignments. These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Intensifying artistry; Communicating; Community responsibility. Assessment criteria The student will be assessed on: the level of the nal product(s) related to the context in question; the level of reection on product and process that includes amongst others the level of communication (e.g. presentation) and collaboration during the process; the ability to participate in complex multidisciplinary and cross cultural projects; the level of reection on the function of the project in question in relation to the personal MMus-trajectory. 53

54

Module Research Methods & Skills I Module Description This module supports the student in conducting supportive research underpinning: the projects of the student; the development of a clear and personal artistic focus and vision; the development of the students professional practice.
The module supports the student in the development of a professional and artistic awareness of relevant contexts through the analysis of contexts. The word context refers to a specific practice in which the following aspects interact: form/context of presentation, methods of conceptualisation, methods of design and methods of production, other music designers, repertoires, theories, reflection and evaluation, audience/users and their expectations, medium/platform and cultural setting and commercial aspects. During the successive modules the student produces a written contextualisation of his work, focusing on chapters in each module as described below.

Aims and Objectives To enable students to conduct self-directed research, both applied and theoretical, at master-level. To provide knowledge of research methodologies applicable to the eld. To develop a self critical attitude identifying the importance and necessity of critical self-reection as an important part of the learning process.

Method of Delivery Students are assigned to research groups according to their prole and MMus-plan. They are instructed and supervised in their individual research and subsequent writing of a contextualisation through lectures and consultancy meetings. The consultancy meetings are with lecturers, artist-in-residences and the individual supervisor throughout the course. The research programmes offer specic instruction on research methods related to the research area of the programme in question. The student is required to provide a rst draft of the written contextualisation with the focus on chapter I goals. A knowledge transfer is considered to be a relevant experience for postgraduate students. Through developing and executing knowledge transfers, students can practice their skills and enlarge their insights concerning research and possible methodologies. Therefore, each student is required to develop and set up one or more types of transfer (lecture, seminar, workshop, article, teaching material, etc.) during the course. The subjects of these transfers have to be closely connected to the individual MMus-plan. Syllabus Research methodology Different perspectives as a research requirement Research preparation Information gathering techniques Organising a contextual review Visual/artistic research methods Usage and methods of referencing Analytical methods and skills; context and content analysis The importance of self-reection Learning outcomes On successful completion of the module a student will be able to:

55

 research musical, technological, historical and market contexts relevant to the project; take a reective position with respect to composition/sound design/music production/ music technology in various contexts. apply research outcomes and concept to a production process; reect on research examples, techniques and methods. demonstrate a supportive and interactive research method which has become part of the design and production process of the student in question; critically reect on projects, outcomes and related processes.

These learning outcomes relate specically to the MMus intended learning outcomes: Innovation: Ability to judge and contribute to professional discourse; Cultural and Contextual Awareness: Community responsibility; Communication.

Assessment criteria The student will be assessed on: rst draft of the written contextualisation with the focus on chapter I goals.

56

Module Research Methods & Skills II Module Description This module supports the student in conducting supportive research underpinning: the projects of the student; the development of a clear and personal artistic focus and vision; the development of the students professional practice.
The module supports the student in the development of a professional and artistic awareness of relevant contexts through the analysis of contexts. The word context refers to a specific practice in which the following aspects interact: form/context of presentation, methods of conceptualisation, methods of design and methods of production, other music designers, repertoires, theories, reflection and evaluation, audience/users and their expectations, medium/platform and cultural setting and commercial aspects. During the successive modules the student produces a written contextualisation of his work, focusing on chapters in each module as described below.

Aims and Objectives To enable students to conduct self-directed research, both applied and theoretical, at master-level. To provide knowledge of research methodologies applicable to the eld. To develop a self critical attitude identifying the importance and necessity of critical self-reection as an important part of the learning process. To enable students to develop an awareness and knowledge of different relevant contexts and their characteristics. Method of Delivery Students are assigned to research groups according to their prole and MMus-plan. They are instructed and supervised in their individual research and subsequent writing of a contextualisation through lectures and consultancy meetings. The consultancy meetings are with lecturers, artist-in-residences and the individual supervisor throughout the course. The research programmes offer specic instruction on research methods related to the research area of the programme in question. The student is required to provide an updated version of the written contextualisation with the focus on chapter II critical review. A knowledge transfer is considered to be a relevant experience for postgraduate students. Through developing and executing knowledge transfers, students can practice their skills and enlarge their insights concerning research and possible methodologies. Therefore, each student is required to develop and set up one or more types of transfer (lecture, seminar, workshop, article, teaching material, etc.) during the course. The subjects of these transfers have to be closely connected to the individual MMus-plan. Syllabus Research methodology Different perspectives as a research requirement Research preparation Information gathering techniques Organising a contextual review Visual/artistic research methods Usage and methods of referencing Analytical methods and skills; context and content analysis The importance of self-reection

57

Learning outcomes On successful completion of the module a student will be able to: research musical, technological, historical and market contexts relevant to the project; take a reective position with respect to composition/sound design/music production/ music technology in various contexts. apply research outcomes and concept to a production process; reect on research examples, techniques and methods. demonstrate a supportive and interactive research method which has become part of the design and production process of the student in question; critically reect on projects, outcomes and related processes.

These learning outcomes relate specically to the MMus intended learning outcomes: Innovation: Ability to judge and contribute to professional discourse; Cultural and Contextual Awareness: Community responsibility; Communication. Assessment criteria The student will be assessed on: updated version of the written contextualisation with the focus on chapter II critical review.

58

Module Research Methods & Skills III Module Description This module supports the student in conducting supportive research underpinning: the projects of the student; the development of a clear and personal artistic focus and vision; the development of the students professional practice.
The module supports the student in the development of a professional and artistic awareness of relevant contexts through the analysis of contexts. The word context refers to a specific practice in which the following aspects interact: form/context of presentation, methods of conceptualisation, methods of design and methods of production, other music designers, repertoires, theories, reflection and evaluation, audience/users and their expectations, medium/platform and cultural setting and commercial aspects. During the successive modules the student produces a written contextualisation of his work, focusing on chapters in each module as described below.

Aims and Objectives To provide knowledge of research methodologies applicable to the eld. To develop a self critical attitude identifying the importance and necessity of critical self-reection as an important part of the learning process. To encourage the development of an individual, supportive (and interactive) research environment. Method of Delivery Students are assigned to research groups according to their prole and MMus-plan. They are instructed and supervised in their individual research and subsequent writing of a contextualisation through lectures and consultancy meetings. The consultancy meetings are with lecturers, artist-in-residences and the individual supervisor throughout the course. The research programmes offer specic instruction on research methods related to the research area of the programme in question. The student is required to provide an updated version of the written contextualisation with the focus on chapter III/IV methods/professional practice. A knowledge transfer is considered to be a relevant experience for postgraduate students. Through developing and executing knowledge transfers, students can practice their skills and enlarge their insights concerning research and possible methodologies. Therefore, each student is required to develop and set up one or more types of transfer (lecture, seminar, workshop, article, teaching material, etc.) during the course. The subjects of these transfers have to be closely connected to the individual MMus-plan. Syllabus Research methodology Different perspectives as a research requirement Research preparation Information gathering techniques Organising a contextual review Visual/artistic research methods Usage and methods of referencing Analytical methods and skills; context and content analysis The importance of self-reection Learning outcomes On successful completion of the module a student will be able to:

59

 research musical, technological, historical and market contexts relevant to the project; take a reective position with respect to composition/sound design/music production/ music technology in various contexts. apply research outcomes and concept to a production process; reect on research examples, techniques and methods. demonstrate a supportive and interactive research method which has become part of the design and production process of the student in question; critically reect on projects, outcomes and related processes.

These learning outcomes relate specically to the MMus intended learning outcomes: Innovation: Ability to judge and contribute to professional discourse; Cultural and Contextual Awareness: Community responsibility; The ability to realize artistic, musical productions; Entrepeneurship: Personal quality to judge and conduct in ones expansion of talent.

Assessment criteria The student will be assessed on: updated version of the written contextualisation with the focus on chapter III/IV methods/professional practice.

60

Module Research Methods & Skills IV Module Description This module supports the student in conducting supportive research underpinning: the projects of the student; the development of a clear and personal artistic focus and vision; the development of the students professional practice.
The module supports the student in the development of a professional and artistic awareness of relevant contexts through the analysis of contexts. The word context refers to a specific practice in which the following aspects interact: form/context of presentation, methods of conceptualisation, methods of design and methods of production, other music designers, repertoires, theories, reflection and evaluation, audience/users and their expectations, medium/platform and cultural setting and commercial aspects. During the successive modules the student produces a written contextualisation of his work, focusing on chapters in each module as described below.

Aims and Objectives To enable students to conduct self-directed research, both applied and theoretical, at master-level. To provide knowledge of research methodologies applicable to the eld. To develop a self critical attitude identifying the importance and necessity of critical self-reection as an important part of the learning process. To encourage the development of an individual, supportive (and interactive) research environment. To enable students to develop an awareness and knowledge of different relevant contexts and their characteristics. Method of Delivery Students are assigned to research groups according to their prole and MMus-plan. They are instructed and supervised in their individual research and subsequent writing of a contextualisation through lectures and consultancy meetings. The consultancy meetings are with lecturers, artist-in-residences and the individual supervisor throughout the course. The research programmes offer specic instruction on research methods related to the research area of the programme in question. The student is required to provide a nal version of the written contextualisation of his work, containing chapters I-V (goal/critical review/method/ professional practice/conclusion). A knowledge transfer is considered to be a relevant experience for postgraduate students. Through developing and executing knowledge transfers, students can practice their skills and enlarge their insights concerning research and possible methodologies. Therefore, each student is required to develop and set up one or more types of transfer (lecture, seminar, workshop, article, teaching material, etc.) during the course. The subjects of these transfers have to be closely connected to the individual MMus-plan. Syllabus Research methodology Different perspectives as a research requirement Research preparation Information gathering techniques Organising a contextual review Visual/artistic research methods Usage and methods of referencing

61

Analytical methods and skills; context and content analysis The importance of self-reection

Learning outcomes On successful completion of the module a student will be able to: research musical, technological, historical and market contexts relevant to the project; take a reective position with respect to composition/sound design/music production/ music technology in various contexts. apply research outcomes and concept to a production process; reect on research examples, techniques and methods. demonstrate a supportive and interactive research method which has become part of the design and production process of the student in question; critically reect on projects, outcomes and related processes.

These learning outcomes relate specically to the MMus intended learning outcomes: Innovation: Ability to judge and contribute to professional discourse; Cultural and Contextual Awareness: Community responsibility; The ability to realize artistic, musical productions; Entrepeneurship: Personal quality to judge and conduct in ones expansion of talent; Communbication.

Assessment criteria The student will be assessed on: nal version of the written contextualisation of his work, containing chapters I-V (goal/ critical review/method/professional practice/conclusion).

62

Professional Development Plan I: Orientation Module Description In consultation with lecturers and an artist-in-residence and an individual supervisor, students develop a professional development plan which is assessed by the midyear/endyear exam committee. Aims and Objectives To offer students different platforms to exchange and discuss ideas, problems and contexts with regard to their professional development plan. To challenge students to develop a critical attitude as a designer in a personal confrontation with these different platforms. Method of Delivery Students are assigned to an individual supervisor according to their prole and the rst draft of their professional development plan. This supervisor will coach the student in developing a mid-term version of the professional development plan through regular meetings. In addition, the student will have meetings with relevant lecturers to discuss the content of the professional development plan. After that, theres a three week artist-in-residence project. This is a fulltime period at a screened location. In this project the student works and reects together with peers and the artist-inresidence. The aim of this project is providing the student with a clearer view on his actual professional and artistic position and the possibilities for development. These aims are dealt with in different ways: one-to-one meetings with the artist-in-residence, group discussions, strenght/weakness-analysis, improvisation assignments, performances (unprepared), individual and team work on assignments. Students will also start forward archiving and set up a system to keep track of the students progress. The professional development plan will consist of an essay of approximately 1200 words, and a summary in a given format. Of the mandatory elements (skills, artistic prole, context, professional prole and entrepeneurship, vision and strategy) the professional development plan will focus on skills and artistic prole. The Mmus assessment criteria are actively used as a benchmark during the writing process, both by the student and his supervisor, to ensure the relation between the professional development plan and the MMus end criteria. The supervisor will accord the personal development plan within 2 weeks after the artist in residence project. At the end of the semester, there will be a presentation of the development and the related professional development plan, which will be assessed by an exam committee committee including an external examiner in an exam meeting. Syllabus Individual supervision by a coach Three week artist-in-residence project Individual meetings with relevant lecturers Writing the nal version of the professional development plan Learning outcomes On successful completion of the module a student will: have a clear view on the students actual professional and artistic position; have dened goals within this professional and artistic domain; 63

have an individual focus within these domains; be able to keep track of the students progress within these domains; have written a nal version of the professional development plan; be able to reect on the development of the plan and its content. These learning outcomes relate specically to the MMus intended learning outcomes: Communication; Entrepeneurship: Personal quality to judge and conduct in ones expansion of talent. Assessment criteria The student will be assessed on: the actual content of the plan in relation to the available time and resources; the level of reection on the development of the plan and its content.

64

Professional Development Plan II: Focus and Vision Module Description In consultation with lecturers and undr guidance of their individual supervisor, students archive their development and present this development and the related focus and vision for assessment by an exam committee. Aims and Objectives To offer students different platforms to exchange and discuss their development in the artistic and professional domain. To challenge students to start developing a focus and vision as a designer in a personal confrontation with these different platforms. To encourage the development of an individual and supportive archiving method. Method of Delivery Students meet their individual supervisor on a regular base (4 6 weeks) throughout the year. In these meetings, he will supervise the student in the professional and artistic development and in archiving this development. In addition, the student will also have meetings with relevant lecturers to discuss this development. These meetings are initiated by the student or on indication of the supervisor. Students will also continue archiving and keeping track of their progress using an individual format (creative log, database) that is created by themselves. Outcomes of this will be converted by the student into a new version of the professional development plan. The professional development plan will consist of an essay of approximately 1200 words, and a summary in a given format. Of the mandatory elements (skills, artistic prole, context, professional prole and entrepeneurship, vision and strategy) the professional development plan will focus on context. The Mmus assessment criteria are actively used as a benchmark during the writing process, both by the student and his supervisor, to ensure the relation between the professional development plan and the MMus end criteria. The supervisor will accord the personal development plan within 5 weeks after the start of the semester. At the end of the semester, there will be a presentation of the development and the related professional development plan, which will be assessed by an exam committee in an exam meeting. Syllabus Individual supervision by a supervisor Individual meetings with relevant lecturers Forward archiving Expression of a focus and vision Learning outcomes On successful completion of the module a student will: be able to reect critically on the professional and artistic development with regard to the professional development plan; be able to express an individual focus and vision in the professional and artistic domain; be able to keep track of the students progress within these domains in an individual developed format (creative log, database); have written a new version of the professional development plan based on the reection and the outcomes of the exam meeting. 65

These learning outcomes relate specically to the MMus intended learning outcomes: The ability to realize artistic, musical productions; Communication; Entrepeneurship: Personal quality to judge and conduct in ones expansion of talent. Assessment criteria The student will be assessed on: the level of the portfolio of the rst MMus-year related to the contexts in question; the level of reection on the MMus-trajectory as a whole.

66

Professional Development Plan III: Deepening Module Description In consultation with lecturers and under guidance of their individual supervisor, students archive their development and present their related focus and vision on this development. Aims and Objectives To offer students different platforms to exchange and discuss their development in the artistic and professional domain. Demonstrate the students development of a focus and vision as a designer in a personal confrontation with these different platforms. Demonstrate the students development of an individual and supportive archiving method. To encourage the dissemination of projects, outcomes and related design and production processes. Method of Delivery Students meet their individual supervisor on a regular base (4 6 weeks) throughout the year. In these meetings, he will supervise the student in the professional and artistic development and in the archiving of this development. The student will also be asked to develop a plan for the dissemination of the outcomes (projects, products and processes) of the MMus. In addition, the student will also have meetings with relevant lecturers to discuss this development and plan for dissemination. These meetings are initiated by the student or on indication of the supervisor. Students will also continue archiving and keeping track of their progress using an individual format (creative log, database) that is created by themselves. Outcomes of this will be converted by the student into a new version of the personel development plan. The professional development plan will consist of an essay of approximately 1200 words, and a summary in a given format. Of the mandatory elements (skills, artistic prole, context, professional prole and entrepeneurship, vision and strategy) the professional development plan will focus on professional prole and entrepeneurship, and vision and strategy. The MMus assessment criteria are actively used as a benchmark during the writing process, both by the student and his supervisor, to ensure the relation between the professional development plan and the MMus end criteria. The supervisor will accord the personal development plan within 5 weeks after the start of the semester. At the end of the semester, there will be a presentation of the development and the related personel development plan, which will be assessed by an exam committee in an exam meeting. Syllabus Individual supervision by a supervisor Individual meetings with relevant lecturers Forward archiving Expression of a focus and vision and a community responsibility Development of a plan for dissemination of the MMus-outcomes Learning outcomes On successful completion of the module a student will: be able to reect critically on the professional and artistic development with regard to the MMus-plan; be able to show a progression in the development of an individual focus and vision in the 67

professional and artistic domain; be able to keep track of the students progress within these domains in an individual developed format (creative log, database); be able to reect on social, ethical and communal aspects within the profession; have developed a plan for dissemination of the possible outcomes of the MMus (projects, products and processes). These learning outcomes relate specically to the MMus intended learning outcomes: Intensifying artistry; Communication; Entrepeneurship: Personal quality to judge and conduct in ones expansion of talent. Assessment criteria The student will be assessed on: the level of the portfolio of the rst semester of the second year MMus-year related to the contexts in question; the level of reection on the MMus-trajectory as a whole.

68

Professional Development Plan IV: Dissemination Module Description In consultation with lecturers and under guidance of their individual supervisor, students archive their development and present their related focus and vision on this development. Students evaluate, prepare publications and compile their development archives, projects, the outcomes and the related processes. Publications may take any possible form (DVD, website, recital, lecture, paper, etc.) and have to be founded on a clear and personal artistic and professional focus and vision. All is to be presented and evaluated at the nal exam. Aims and Objectives To offer students different platforms to exchange and discuss their development in the artistic and professional domain. Demonstrate the students focus and vision as a designer in a personal confrontation with these different platforms. Demonstrate the students individual and supportive archiving method. Demonstrate the students ability to prepare a proper dissemination of their work Demonstrate the students ability to produce publications of their work within the relevant contexts and in an appropriate way. Method of Delivery Students meet their individual supervisor on a regular base (4 6 weeks) throughout the year. In these meetings, the coach will supervise the student in the dissemination of the MMus outcomes in the artistic and professional domain. In addition, the student will also have meetings with relevant lecturers to discuss this dissemination. These meetings are initiated by the student or on indication of the supervisor. Outcomes of this will be converted by the student into a new version of the professional development plan. The professional development plan will consist of an essay of approximately 1200 words, and a summary in a given format. Of the mandatory elements (skills, artistic prole, context, professional prole and entrepeneurship, vision and strategy) the professional development plan will focus on vision and strategy. The Mmus assessment criteria are actively used as a benchmark during the writing process, both by the student and his supervisor, to ensure the relation between the professional development plan and the MMus end criteria. The supervisor will accord the personal development plan within 5 weeks after the start of the semester. At the end of the semester, theres a presentation of the publications, the related focus, vision and reection, which will be all assessed by an exam committee, regularly expanded with external examiners in the nal exam meeting. Syllabus Individual supervision by a supervisor Individual meetings with relevant lecturers Forward archiving Expression of focus, vision and reection Dissemination of the MMus-outcomes Learning outcomes On successful completion of the module a student will: be able to evaluate and reect critically on the professional and artistic development with regard to the professional development plan; 69

be able to show a clear and individual focus and vision in the professional and artistic domain; be able to reect on social, ethical and communal aspects within the profession; will be able to transform the outcomes of the MMus into diverse and proper forms of publication. These learning outcomes relate specically to the MMus intended learning outcomes: Intensifying artistry; Ability to judge and contribute to professional discourse; Communication; Entrepeneurship: Personal quality to judge and conduct in ones expansion of talent. Assessment criteria The student will be assessed on: the development of the students focus, artistic vision, and musical and professional skills, in relation to the relevant context(s); the visibility and level of the students focus, vision, and musical and professional skills, in the form of projects, products, research and associated processes; the visibility and level of the students focus, vision, and musical and professional skills, in the form of analysis of and reection on these projects, products, research and processes.

70

Assessment protocols and criteria

This chapter describes the assessment criteria and procedures for the pathway Music Design of the Master of Music. The MMus adopts an integrative or integral approach to assessments, whereby the student is assessed at regular six-months intervals. Assessments are via-voce examinations by assessment committees which are composed of not less than two lecturers (to ensure intersubjectivity, validity and reliability of examinations). Each module specication details aims, learning outcomes and assessment evidence for that module. Further details of assessment are given at the outset of each module. The grade for each module is determined on a summative judgement of all the assessment criteria and the level at which they have been met.During the assessments, staff members assess the learning from a consensus opinion, which is recorded on feedback forms. The assessments are viva-voce based. At least two members of staff will carry out the viva voce exams, minimum of three for the nal exam. Results are recorded in the online assessment environment. During assessments students work and competences are scored on articulated criteria, using a scale of insufcient-sufcient-good-very good. Feedback on assessment is offered in verbal and/or written form following each round of assessment. Assessment at the faculty is although based on criteria not operating grades but based on a pass/fail system. Hence, formal recognition of exceptional achievements through a degree with Distinction is not operated.

After the completion of the programme youll have acquired the latter objectives. The main programme outcomes (A up to C) are also specied into learning outcomes (A1 up to C2), which are mapped to the different modules. The learning outcomes and assessments are derived from the learning outcomes as established by the Muziek Netwerk and the so called Dublin Descriptors. Please refer to the MMus programme handbook for additional information.

Artistry and prociency A1: Knowledge of and skills in artistic processes The graduate shows a wide range of scholarly knowledge and skill through which systematic, thorough and critical craftsmanship may be delivered on the highest professional level and where applicable in a multi-disciplinary context. The ability to realize artistic, musical productions. Whether a musician, composer or music- technologist, the graduate of a Masters is able to function in specic professional situations, both on a national and international level. A2: The ability to realize artistic, musical productions The graduate possesses an artistic identity grown from an individual musical expression and authentic vision. Those, in combination with research, are the source of inspiration for musical productions, performances and publications. A3: Intensifying artistry The graduate has the aptitude to combine professional knowledge and skills with an analytic and reective attitude when realizing musical output.

Reective practitioner B1: Cultural and Contextual Awareness: Community responsibility Social, ethical and communal aspects within the profession are critically understood and evaluated. Weighed choices lead to an independent position

71

B2: Innovation: Ability to judge and contribute to professional discourse The graduate has the artistic experience, craftsmanship and skill to artistically judge relevant progression within the professional eld. The graduate is able to contribute to developing and/or applying ideas in the professional eld, possibly within the context of applied research

Professional and entrepreneurial outlook C1: Entrepreneurship Personal quality to judge and conduct in ones expansion of talents. The graduate is independently and self-condently being able to continuously conduct and participate in the professional discourse, internationally and in multi-disciplinary perspective, by being in command of the appropriate learning skills. C2: Communication The graduate is being capable of transferring information in professional development to both experts and community, using a transparent and efcient approach. ECTS Semester 1 Projects & Supportive Studies I Research methods & skills I Professional Development Plan I 30 17 10 3 x x x x x x x x x x A1 A2 A3 B1 B2 C1 C2

Semester II Projects & Supportive Studies II Research methods & skills II Professional Development Plan II

30 17 10 3 x x x x x x x x x x x

Semester III Projects & Supportive Studies III Research methods & skills III Professional Development Plan III

30 17 10 3 x x x x x x x x x x x x x x

72

Semester IV Projects & Supportive Studies IV Research methods & skills IV Professional Development Plan IV

30 17 10 3 x x x x x x x x x x x x x x x

Mid-year examination 1.1

Procedure
After six months in the programme, the rst integral summative assessment is conducted, the mid-year examination. During the mid-year examination the learning outcomes of all rst semester modules is assessed. The Mid-year assessment is a viva voce examination of 45 minutes. The student gives a short presentation (maximum of 15 minutes) based on the portfolio, written contextualisation of the portfolio and study plan. Subsequently the committee conducts a critical inquiry on these topics of around 15 minutes. After a short deliberation, the committee will feedback on your progress and assessment. Before the mid-year assessment the portfolio supervisor assesses the creative development of the student. The mid year committee assesses all modules and the integral development of the student. The mid year committee is composed of at least two lecturers, regularly supplemented with an external examiner. Subject of assessment and therefore the required deliverables are: a) portfolio of your work for all semester modules, maximum of 200 MB b) a written contextualisation of the portfolio c) study plan, which articulates artistic focus professional focus reection on personal development presentation and oral reection during viva voce interview with mid year examination committee The portfolio will be assessed conform the general standards of the context in which the portfolio is positioned. The mid-year assessment results in summative assessments of the completion of the modules of the semester concerned (pass, referred or fail). Also a formative judgement is formulated regarding the probability of completion of the whole programme.

73

Assessment forms: Mid year examination 1.1

Portfolio supervisor Music Design & Reection 1

Name student: Supervisor:

Fail Artistry and prociency Relevance / validity of the project work with regard to the professional development of the student Underpinning of assumptions underlying the project work Adequate embedding of the project work in a context / target audience Use of relevant concepts (artistic, technological) and design strategies in the project work Use of inventive concepts (artistic, technological) and design strategies in the project work Use of relevant design methods and techniques in the project work Use of research data related to the project work Successful implementation of the project work

Sufcie nt

Good

Very Good

Feedback (strengths and weaknesses):

Additional comments (or issues that needs to be addressed for the next end year assessment)

74

Fail Overall assessment project work

Sufcie nt

Good

Very Good

75

Mid-year examination panel 1.1.

Name student: Mid year committee:

Fail Artistry and prociency Use of relevant concepts (artistic, technological) and design strategies The work shows inventiveness in terms of concepts (artistic, technological) and design strategies The work shows effective use of of relevant methods and techniques The implementation of the work successful Reective practitioner The candidate is able to reect on his/her professional position in the eld and this reection has an entrepreneurial dimension The candidate is able to reect on his/her artistic position in the eld The candidate is capable of reection and research to work for the benet of his professional and artistic development The candidate is capable of reection on the differences and similarities between various contexts and apply this in his/her professional practice Professional and entrepreneurial outlook The candidate is capable of communicating clearly his/her knowledge and understanding to others (specialists and non-specialists) The candidate can independently initiate and perform music technology projects The candidate can take the lead in a professional project The candidate can collaborate in professional (multidisciplinary) partnerships

Sufcie nt

Good

Very Good

76

Feedback (strengths and weaknesses):

Additional comments (or issues that needs to be addressed for the next end year examination)

Module assessments semester 1.1 Module Projects & Supportive Studies I Pass

Fail

Resit

Module Professional Development Plan I Pass

Fail

Resit

Module Research Methods & Skills I Pass

Fail

Resit

Additional comments in case of a resit

MMus trajectory advise Mid year committee 1.1 The advise is based on the evidence presented during the Mid Year 1.1. The advise is independent of the nal examination at the end of the course, and functions as a progress indicator for the student. Based on current evidence of progress the commission advises the student regarding the successful completion of the Masters trajectory (120 ECTS) Red / negative advise

Orange / pending

Green / positive advise

Whereby red indicates a considerable risk of not reaching a satisfactory result. Orange indicates that their is considerable room for improvement). Green indicates unconditional go-ahead.

77

End-year examination 1.2

Procedure
After twelve months in the programme, the rst year of the MMus is nalized with an integral summative assessment, the end-year examination. During the end-year examination the learning outcomes of all second semester modules is assessed. The end-year examination is a viva voce examination of 45 minutes. The student gives a short presentation (maximum of 15 minutes) based on the portfolio, written contextualisation of the portfolio and study plan. Subsequently the committee conducts a critical inquiry on these topics of around 15 minutes. After a short deliberation, the committee will feedback on your progress and assessment. Before the end-year assessment the portfolio supervisor assesses the creative development of the student. The end year committee assesses all modules and the integral development of the student. The end year committee is composed of at least two lecturers, regularly supplemented with an external examiner. Subject of assessment and therefore the required deliverables are: a) portfolio of your work for all semester modules, maximum of 200 MB b) a written contextualisation of the portfolio c) study plan, which articulates artistic focus professional focus reection on personal development

d) presentation and oral reection during viva voce interview with mid year examination committee The portfolio will be assessed conform the general standards of the context in which the portfolio is positioned. The end-year assessment results in summative assessments of the completion of the modules of the semester concerned (pass, referred or fail). Also a formative judgement is formulated regarding the probability of completion of the whole programme.

78

Assessment forms: End year examination 1.2

Portfolio supervisor Music Design & Reection 2

Name student: Supervisor:

Fail Artistry and prociency Relevance / validity of the project work with regard to the professional development of the student Underpinning of assumptions underlying the project work Adequate embedding of the project work in a context / target audience Use of relevant concepts (artistic, technological) and design strategies in the project work Use of inventive concepts (artistic, technological) and design strategies in the project work Use of relevant design methods and techniques in the project work Use of research data related to the project work Successful implementation of the project work

Sufcie nt

Good

Very Good

Feedback (strengths and weaknesses):

Additional comments (or issues that needs to be addressed for the next mid year assessment)

79

Fail Overall assessment project work

Sufcie nt

Good

Very Good

80

End-year examination panel 1.2.

Name student: End year committee:

Fail Artistry and prociency Use of relevant concepts (artistic, technological) and design strategies The work shows inventiveness in terms of concepts (artistic, technological) and design strategies The work shows effective use of of relevant methods and techniques The implementation of the work is successful Reective practitioner The candidate is able to reect on his/her professional position in the eld and this reection has an entrepreneurial dimension The candidate is able to reect on his/her artistic position in the eld The candidate is capable of reection and research to work for the benet of his professional and artistic development The candidate is capable of reection on the differences and similarities between various contexts and apply this in his/her professional practice Professional and entrepreneurial outlook The candidate is capable of communicating clearly his/her knowledge and understanding to others (specialists and non-specialists) The candidate can independently initiate and perform music technology projects The candidate can take the lead in a professional project The candidate can collaborate in professional (multidisciplinary) partnerships

Sufcie nt

Good

Very Good

81

Feedback (strengths and weaknesses):

Additional comments (or issues that needs to be addressed for the next mid year examination)

Module assessments semester 1.2 Module Projects & Supportive Studies II Pass

Fail

Resit

Module Professional Development Plan II Pass

Fail

Resit

Module Research Methods & Skills II Pass

Fail

Resit

Additional comments in case of a resit

MMus trajectory advise End year committee 1.2 The advise is based on the evidence presented during the End Year 1.2. The advise is independent of the nal examination at the end of the course, and functions as a progress indicator for the student. Based on current evidence of progress the commission advises the student regarding the successful completion of the Masters trajectory (120 ECTS) Red / negative advise

Orange / pending

Green / positive advise

Whereby red indicates a considerable risk of not reaching a satisfactory result. Orange indicates that their is considerable room for improvement). Green indicates unconditional go-ahead.

82

Mid-year examination 2.1

Procedure
After six months in the second year of the programme, the third integral summative assessment is conducted, the mid-year examination 2.1. During the mid-year examination the learning outcomes of all third semester modules is assessed. The Mid-year assessment is a viva voce examination of 45 minutes. The student gives a short presentation (maximum of 15 minutes) based on the portfolio, written contextualisation of the portfolio and study plan. Subsequently the committee conducts a critical inquiry on these topics of around 15 minutes. After a short deliberation, the committee will feedback on your progress and assessment. Before the mid-year assessment the portfolio supervisor assesses the creative development of the student. The mid year committee assesses all modules and the integral development of the student. The mid year committee is composed of at least two lecturers, regularly supplemented with an external examiner. Subject of assessment and therefore the required deliverables are: a) portfolio of your work for all semester modules, maximum of 200 MB b) a written contextualisation of the portfolio c) study plan, which articulates artistic focus professional focus reection on personal development

d) presentation and oral reection during viva voce interview with mid year examination committee The portfolio will be assessed conform the general standards of the context in which the portfolio is positioned. The mid-year assessment results in summative assessments of the completion of the modules of the semester concerned (pass, referred or fail). Also a formative judgement is formulated regarding the probability of completion of the whole programme.

83

Assessment forms: Mid year examination 2.1

Portfolio supervisor Music Design & Reection 3

Name student: Supervisor:

Fail Artistry and prociency Relevance / validity of the project work with regard to the professional development of the student Underpinning of assumptions underlying the project work Adequate embedding of the project work in a context / target audience Use of relevant concepts (artistic, technological) and design strategies in the project work Use of inventive concepts (artistic, technological) and design strategies in the project work Use of relevant design methods and techniques in the project work Use of research data related to the project work Successful implementation of the project work

Sufcie nt

Good

Very Good

Feedback (strengths and weaknesses):

Additional comments (or issues that needs to be addressed for the next end year assessment)

84

Fail Overall assessment project work

Sufcie nt

Good

Very Good

85

Mid-year examination panel 2.1.

Name student: Mid year committee:

Fail Artistry and prociency Use of relevant concepts (artistic, technological) and design strategies The work shows inventiveness in terms of concepts (artistic, technological) and design strategies The work shows effective use of of relevant methods and techniques The implementation of the work is successful Reective practitioner The candidate is able to reect on his/her professional position in the eld and this reection has an entrepreneurial dimension The candidate is able to reect on his/her artistic position in the eld The candidate is capable of reection and research to work for the benet of his professional and artistic development The candidate is capable of reection on the differences and similarities between various contexts and apply this in his/her professional practice Professional and entrepreneurial outlook The candidate is capable of communicating clearly his/her knowledge and understanding to others (specialists and non-specialists) The candidate can independently initiate and perform music technology projects The candidate can take the lead in a professional project The candidate can collaborate in professional (multidisciplinary) partnerships

Sufcie nt

Good

Very Good

86

Feedback (strengths and weaknesses):

Additional comments (or issues that needs to be addressed for the next end year examination)

Module assessments semester 2.1 Module Projects & Supportive Studies III Pass

Fail

Resit

Module Professional Development Plan III Pass

Fail

Resit

Module Research Methods & Skills III Pass

Fail

Resit

Additional comments in case of a resit

MMus trajectory advise Mid year committee 2.1 The advise is based on the evidence presented during the Mid Year 2.1. The advise is independent of the nal examination at the end of the course, and functions as a progress indicator for the student. Based on current evidence of progress the commission advises the student regarding the successful completion of the Masters trajectory (120 ECTS) Red / negative advise

Orange / pending

Green / positive advise

Whereby red indicates a considerable risk of not reaching a satisfactory result. Orange indicates that their is considerable room for improvement). Green indicates unconditional go-ahead.

87

Final examination 2.2

During the nal examination your artistic and professional competencies are assessed to the nal learning outcomes of the MMus Programme. The nal examination is a viva voce examination of 90 minutes. The student gives a presentation (maximum of 30 minutes) based on the portfolio, written contextualisation of the portfolio and the artistic and professional focus. Subsequently the committee conducts a critical inquiry on these topics of around 30 minutes. After a short deliberation, the committee will feedback on your examination. Before the nal examination assessment the portfolio supervisor assesses the creative development of the student. The nal examination committee is composed of at least three lecturers, regularly supplemented with an external examiner. Subject of assessment and therefore the required deliverables are: a) portfolio, maximum of 200 MB b) a written contextualisation of the portfolio c) presentation and oral reection during viva voce interview with nal examination committee The portfolio will be assessed conform the general standards of the context in which the portfolio is positioned. The nal examination assessment results in a decision on completion of the programme (pass, referred or fail).

88

Assessment forms: Final examination 2.2

Portfolio supervisor Music Design & Reection 4

Name student: Supervisor:

Fail Artistry and prociency Relevance / validity of the project work with regard to the professional development of the student Underpinning of assumptions underlying the project work Adequate embedding of the project work in a context / target audience Use of relevant concepts (artistic, technological) and design strategies in the project work Use of inventive concepts (artistic, technological) and design strategies in the project work Use of relevant design methods and techniques in the project work Use of research data related to the project work Successful implementation of the project work

Sufcie nt

Good

Very Good

Feedback (strengths and weaknesses):

Additional comments

89

Fail Overall assessment project work

Sufcie nt

Good

Very Good

90

Final examination panel 2.2.

Name student: Final examination committee:

Fail Artistry and prociency Use of relevant concepts (artistic, technological) and design strategies The work shows inventiveness in terms of concepts (artistic, technological) and design strategies The work shows effective use of of relevant methods and techniques The implementation of the work is successful Reective practitioner The candidate is able to reect on his/her professional position in the eld and this reection has an entrepreneurial dimension The candidate is able to reect on his/her artistic position in the eld The candidate is capable of reection and research to work for the benet of his professional and artistic development The candidate is capable of reection on the differences and similarities between various contexts and apply this in his/her professional practice Professional and entrepreneurial outlook The candidate is capable of communicating clearly his/her knowledge and understanding to others (specialists and non-specialists) The candidate can independently initiate and perform music technology projects The candidate can take the lead in a professional project The candidate can collaborate in professional (multidisciplinary) partnerships

Sufcie nt

Good

Very Good

91

Feedback (strengths and weaknesses):

Additional comments

Module assessments semester 2.2 Module Projects & Supportive Studies IV Pass

Fail

Resit

Module Professional Development Plan IV Pass

Fail

Resit

Module Research Methods & Skills IV Pass

Fail

Resit

Additional comments in case of a resit

MMus nal examination result

Fail A. Artistry and Prociency B. Reective Practitioner C. Entrepreneurial outlook

Sufcient

Good

Very Good

Final conclusion

92

Pass

Referred

Fail

In case of referred, please describe nature of resit and date of re-examination

93

Grading scales
The various assessment forms dene the different criteria on which the student is evaluated. The forms contain two parts: the criteria themselves, and the grading scales. The assessment criteria can be divided in three categories: 'artistry and prociency', 'reective practitioner' and 'professional and entrepreneurial outlook'. You will nd these categories on all the assessment forms. This chapter explains the grading scales that are used with respect to the different categories. We distinguish four different levels in our grading scale: very good, good, sufcient, fail.

Artistry and prociency

This category deals with your artistic achievements and your craftmanship. The assessment is based on the work you present. During your MMus studies this can range from nished product in the form of a portfolio, to work in progress. When graduating all your material should be nished product, of course. It can contain compositions, studio productions, (registration of) performances, software, hardware, media productions, installations, businessplans, etcetera. Prior to the assessment by a committee during a viva, your work will be assessed by your supervisor. The assessment criteria in the category artistry and prociency contain various angles. When it comes to the level of the work, the set of criteria ranges from 'the use of relevant concepts (artistic, technological) and design strategies' to 'the use of of relevant methods and techniques'. This means, for example, from the concept behind a composition for musical theatre, or the strategy used for producing a band, to microphone setups used for a recording project or a technological methods used during software developing. Finaly, if the actual implementation of a work is successful is an important criterion. This seems obvious, but: you might take a lot of risk in a project on the part of concepts and methods, with as a result that you learn a lot while the end result of the project is not what you expected. There is a high chance you have a high score on the rst two criteria, but low on the implementation. In a professional setting this is problematic, but in the context of your study this can be very usefull, which makes the project as a whole is still sufciently assessed. Of course there is a problem if all your projects score low on implementation. The other angles in the category 'artistry and prociency' are more contextual, your work is assessed in relation to its environment. Is your work innovative compared to other work in the same eld? Is the work underpinned by research and a thorough project design, in any sense whatsoever? Is the project in a meaningful way related to the context in which it is intended, for example, by thinking in terms of audience, repertory, user, client, social context, technological developments, etcetera? very good (pass) This indicates a level of excellence. It reects the fact that a students work is of very high artistic and professional standards, and/or of highly innovative character. It is thoroughly founded by an explicit design strategy and has a high level of quality and detail in its nal representation. The student has gone the extra mile by setting high ambitions - thus taking considerable risk -, and manages to come out well in the end. In cases where a student has set high ambitions but was not successful due to circumstances outside of control, if the student is able to comment critically on what has happened, there is still the possibility of receiving 'very good'. The work is potentially good enough to be followed up in professional, entrepreneurial or academic context.

good (pass) The student's work shows a convincing use and grasp of techniques, methods and design processes relevant to the eld of study. The work is original and shows a high level of detail and nish. The work is compelling and bears evidence of the student going the extra mile in terms of ambition and scope. This is also apparent through: the student showing a high degree of reexivity and critical insight with regards to his/her work a good use of relevant concepts, technology and artistic solutions an extensive knowledge of relevant examples of similar or related work in the eld of study a design strategy based on clear aims and objectives

94

sufcient (pass) The student's work shows competent use and grasp of relevant techniques, methods and design processes. It shows adequate knowledge of relevant repertoire and other source materials; aims and objectives of the work are sufciently articulated by the student; there is sufcient understanding of context by the student; but it is characterised by one or more of the following: mediocre artistic work, where both design process and work can be characterised a safe bet, lacking relevant research, quality, detail, or innovativeness a lack of critical analysis by the student a limited sense of reexivity and critical insight by the student with regards to the work

fail The student's work indicates that the student does not meet the minimal benchmark for MMus level creative work output. The work is characterized by: an insufcient use and grasp of relevant concepts, techniques, methods and design processes poorly articulated aims and objectives by the student very little sense of reexivity and critical insight very little grasp of the underpinning of design decisions very little understanding of context by the student

95

Reective Practioner
This category deals with reection on your doings. On a master level you must be able to reect on your own work, your creative processes and your position in the eld, and subsequently use this reection to steer your own activities. The assessment is based on several sources: the viva with the comittee where for instance your study plan is evaluated, and the written contextualisaition of your work and (starting) professional practice. Important within the category of 'reective practitioner' is whether you can reect on your position from different angles: 'what is my professional position in the eld?' and 'what is my artistic position in the eld?' Next to that you must show that you can think transcending the contexts your work in. This means that you understand the similarities and differences between various contexts, and are able to use this knowledge in the context you operate in. Think of someone with knowledge of both serious electronic music and hiphop, being able to transform this knowledge effectively to a modern dance project. Important within this category is if you are able to feedback your reection combined with research, into your day to day practice.

very good (pass) This indicates a level of excellence. It reects the fact that a student not only masters the material (content, context, repertoire, scholars' and experts viewpoints, eld of discipline etc). The reection is also characterised by: a demonstration of original thought a high level of critical thinking the ability to adjudicate between different views and to evaluate arguments the ability to make clear connections between research conducted and the use of its outcomes in the student's work a positive contribution to current insights and knowledge in the eld of study a thorough understanding of the artistic, professional, entrepreneurial and/or academic aspects of the contexts the student is operating in

good (pass) The reection represents a decent standard of artistic and professional achievement. It is characterised by: a high degree of reexivity and critical insight a good use of relevant methodologies for reection a good awareness of current issues and debates in the eld of study a good awareness of contexts and the student's position therein clear artistic and professional aims and objectives a clear connection between research outcomes and their use in a student's work

sufcient (pass) The reection represents a sufcient standard of artistic and professional achievement. It shows evidence of a competent use and grasp of relevant concepts, issues and debates; adequate knowledge of relevant contexts; the artistic and professional aims and objectives are sufciently articulated; but the reection is characterised by one or more of the following: fail a limited sense of reexivity and critical insight a lack of detailed reference to the work in question a limited awareness of contexts and the student's position therein a limited understanding of theoretical issues a limited connection of research to the practical work

96

The student's reection indicates that the student does not meet the minimal benchmark for MMus level reection.There is a consistent lack in mastery of reection on content, context, repertoire, scholars' and experts viewpoints, eld of discipline, etc. The reection is characterised by a combination of the following: very little sense of reexivity and critical insight insufcient use and grasp of relevant methodologies for reection poor knowledge of relevant theoretical issues poor reference to the work in question poor awareness of contexts and the student's position therein the artistic and professional aims and objectives are poorly articulated a poor application of research outcomes in the design process and work

Professional and entrepreneurial outlook

The category 'professional and entrepeneurial outlook' deals with how you actively position yourself in the eld. This can be any eld, from a more commercial setting to subsidized art, and with various angels: as an artist, entrepeneur, freelancer, employee, etcetera. The assessment is based on the same sources as the category 'reective practitioner', namely the viva with the committee, and the written contextualisation of your work and professional practice. Within this category several criteria are important, for example 'being able to independently develop and run music technological projects'. Music technological projects can be seen here in the broadest sense: composition for the media, music production, art installations, software development, etcetera. 'The candidate is capable of communicating clearly his/her knowledge and understanding to others (specialists and non-specialists)' stresses the importance of effectively communicate your ideas and insights in all kinds of situations. Partly you show this in your written contextualisation, but within a project you must be able to communicate with peers, clients, contractors, audiences, etcetera. This is consistent with 'being able to collaborate in professional (multi-disciplinary) partnerships', where it is important that you can relate to the creative processes of other disciplines, and have insight in what that means for your own creative process.

very good (pass) This indicates a level of excellence. It reects the fact that a student can initiate and perform music design projects of very high artistic and professional standards, and/or highly innovative character. The student's professional attitude is also characterised by: - the student being able to take the lead in a professional environment - the student demonstrating a thorough overview of the projects in question - a clear connection between thorough insight in the artistic, professional, entrepreneurial and/or academic aspects of the contexts the student is operating in, and an effective application of these to the design strategy of the projects - the student being capable of communicating clearly his/her knowledge and understanding to others (specialists and non specialists) in complex multidisciplinair environments good (pass) The student's professional attitude represents a decent standard considering the eld, and is able to independently set up music design projects. The student's professional attitude is characterised by: the student demonstrating overview and being able to contribute constructively to a professional project a good awareness of relevant artistic, professional, entrepreneurial and/or academic aspects of the contexts the student is operating in the student is capable of communicating effectively his/her knowledge and understanding to others (specialists and non specialists)

sufcient (pass)

97

The student's professional attitude represents a sufcient standard considering the eld. It shows evidence of a competent use and grasp of relevant concepts and design processes; adequate knowledge of relevant contexts; but the professional attitude is characterised by one or more of the following: a limited capability of initiating music design projects a limited capability of communicating effectively his/her knowledge and understanding to others (specialists and non specialists) a limited reection on professional aspects of the contexts in question

fail The student's professional attitude indicates that the student does not meet the minimal benchmark for the eld. There is a consistent lack in mastery of reection on content, context, repertoire, scholars' and experts viewpoints, eld of discipline, etc. The student's professional attitude is characterised by a combination of the following: - not being able to contribute constructively to a professional project - not being able to communicate his/her knowledge and understanding to others (specialists and non specialists) - a poor awareness of professional aspects of the contexts in question

Final conclusion
The different indicators result in a nal conclusion at the examination. This nal conclusion can have three possible outcomes: pass, referred or fail. pass The student will obtain a pass when the programme work is nished on the appropriate MMus level. referred A student is referred if he/she needs to resit (a part of) the examination. The student hasnt been able to present all the evidence on a satisfactory level. fail A student receives a fail if he/she does not meet the requirements of the programme in all its facets.

98

Research programs
MMus pathway Music Design projects can be embedded in the research programs the School is afliated to. Info on research programs can be found at the following URL (mainly dutch): http://www.hku.nl/web/OverHKU/Onderzoek/OnderzoeksprogrammasKMT.htm

Interfaculty Project Fund & Proleringsfonds

Scholarships and Grants The HKU has a limited number of funds available to students. Often these are for specic purposes or projects. Profileringsfonds The proleringsfonds is a provision for the nancial support of students. There are three parts to the fund. It covers study delay (A), board grants (B) and talent grants for non-EEA students (C). It is important that you always report special circumstances to the student counsellors at the SSC as they occur, in order to be able to put in a request for support at a later date. A - Study delay Students who receive Dutch student nancing and have incurred a delay in their study, due to special circumstances, could be entitled to compensation from the proleringsfonds. Requests can be made from September 1 - December 1 following the academic year in which you have incurred a delay. The student counsellors can help you submit your application. B - Board grants Students who, during their studies, serve on the board of a student organisation such as ESN or USF or join the CMR, FMR, or OC of the HKU may qualify for a board grant. The terms are dened in the regulation. For questions and assistance with submitting an application, please contact a student counsellor. C - Talent grants The last part of the proleringsfonds concerns talent grants for non-EU students. These are automatically awarded to students who meet the conditions. If you qualify, the grant is deducted from your tuition. The amount of the talent grant is set annually by the central board and will be published on sscweb.hku.nl before the start of the new academic year. The ofcial Regulations of the proleringsfonds can be found on sscweb.hku.nl/regulations To make an appointment with a student counsellor, contact the SSC 030-2349440. HKU Inter-faculty project fund The purpose of this HKU fund (interfacultaire projectenfonds) is to nancially support projects initiated by students from two or more faculties. The fund supports two types of projects: 1. Educational projects that are part of the curriculum. 2. Inter-faculty student projects that can be supported for up to #1000,- per project. Detailed information and the application form are available on: sscweb.hku.nl/beurzen Other websites: www.grantinder.nl www.scholarshipportal.eu www.student-grants.eu

99

List of lecturers
The school of Music and Technology has a long tradition of collaboration between lecturers. You might work not only with your assigned supervisor, but also with various other lecturers. Below a list of lecturers who act as supervisors. Music production and studio technology Eelco Grimm eelco.grimm@kmt.hku.nl Alex Geurink alex.geurink@kmt.hku.nl Jeroen van Iterson jeroen.vaniterson@kmt.hku.nl Composition Hans Timmermans Rens Machielse Niko Langenhuijsen Sound Design Jorrit Tamminga Kees Went Music Technology Hans Timmermans Jorrit Tamminga Kees Went Research Gerard van Wolferen hans.timmermans@kmt.hku.nl rens.machielse@kmt.hku.nl niko.langenhuijsen@kmt.hku.nl jorrit.tamminga@kmt.hku.nl kees.went@kmt.hku.nl hans.timmermans@kmt.hku.nl jorrit.tamminga@kmt.hku.nl kees.went@kmt.hku.nl gerard.vanwolferen@kmt.hku.nl

Student Counselor
The student counselor (also called tutor): -informs students about the study programme -can be contacted in case of personal/practical problems effecting the progress of your studies -is available for personal coaching on topics as time management and other skills The MMus pathway Music Design tutor is Elsje Dicke, elsje.dicke@kmt.hku.nl

100

Annual schedule
The academic year is divided into two semesters. Each semester contains 20 weeks: 1st semester: September 3, 2012- February 3, 2013 2nd semester: February 4 - May 26, 2013

2013-2014 2-Sep 9-Sep 16-Sep 23-Sep 30-Sept 7-okt 14-Okt 21-Okt 28-Okt 4-Nov 11-Nov 18-Nov 25-Nov 2-Dec 9-Dec 16-Dec 23-Dec 30-Dec 6-Jan 13-Jan 20-Jan 27-Jan 3-Feb 10-Feb 17-Feb 24-Feb 3-Mrt 10-Mrt 17-Mrt 24-Mrt 31-Mrt 7-Apr 14-Apr 21-Apr 28-Apr 5-Mei 12-Mei 19-Mei 26-Mei 2-Jun 9-Jun 16-Jun 23-Jun

Week 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

MMus year 1 Kick off Plenary kick off; introduction School of Music and Technology AIR AIR AIR assignment supervisor

MMus year 2 Plenary kick off

MPhil entrance exam presentation study plan (PDP)

holidays holidays 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 Midyear assessment Midyear assessment Midyear assessment

holidays holidays Midyear assessment Midyear assessment Midyear assessment

CIR CIR CIR

CIR CIR CIR

holidays

holidays Mock examens

End year assessment holidays holidays resit end year exam

Final exam holidays holidays resit final exam

4-Aug 11-Aug

-3 -2

101

Addresses
Music and Technology Oude Amersfoortseweg 131 1212 AA Hilversum Phone: 035 - 683 64 64 Telefax: 035 - 683 64 80 info@kmt.hku.nl Further info (house rules, opening hours, etc) can be found at the following URLs: http://www.hku.nl/web/English/English/PracticalInformation/Directions/FacultyOfArtMediaTechnology.htm http://kmtweb.hku.nl/clk/show/id=638393

Art & Economics Lange Viestraat 2 3500 BM Utrecht Phone: 030 - 233 22 56 Telefax: 030 - 233 20 96 info@ke.hku.nl Utrecht Conservatory Mariaplaats 28 3511 LL Utrecht Phone: +31(0)30-231 4044 Telefax: +31(0)30-231 4004 info@muziek.hku.nl Theatre Janskerkhof 18 3512 BM Utrecht Phone: 030 - 239 33 00 Telefax: 030 - 232 24 65 info@theater.hku.nl Visual Arts & Design Ina Boudier-Bakkerlaan 50 3582 VA Utrecht Phone: 030 - 252 03 34 Telefax: 030 - 252 38 34 info@bkv.hku.nl Central Ofce Utrecht School of the Arts Lange Viestraat 2B 3500 BM Utrecht Phone: +31(0)30-233 2256 Telefax: +31(0)30-233 2096

102