DMus Electronic / Electro-acoustic Composition

Course detail
The DMus Electronic/Electro-acoustic Composition is an alternative to the traditional PhD for experienced practitioners who wish to show an outstanding and innovative contribution to the subject area.
MPhil

After a year of full-time study or two years of part-time study, you will have completed:
a portfolio of electronic or electro-acoustic music, 30 to 40 minutes in duration, with accompanying documentation, such as notation or MAX/MSP patches
a critical commentary of at least 5,000 words.
The MPhil portfolio may comprise several pieces, or just one extended, structurally ambitious work. It may be part of an even larger work, which you can use for the DMus portfolio. Your portfolio piece should be innovative, and show a new technique within, or an extension to, an existing practice.
Your critical commentary will provide:
a 'literature review' of contemporary practice in the same field
an analysis and explanation of existing techniques
an explanation of how the creative work represents an extension of, or reaction to, this practice. This may be as an extended technique or something more philosophical, ontological or aesthetically grounded - or preferably a combination of the two
an account of the creative research process
conclusions and suggestions for future developments.
You will normally be required to complete the Level 7 Research Methods module.

DMus

After approximately three years of full-time study or six years' part-time study, you will have completed:
a portfolio of electronic or electro-acoustic music, 75 to 90 minutes in performance duration - of which the MPhil portfolio forms the first 30 to 40 minutes. Accompanying documentation can include notation or MAX/MSP patches
a critical commentary of at least 20,000 words, of which the first 5,000 words will be your MPhil critical commentary.
The DMus portfolio may comprise several pieces or one extended, structurally ambitious work. Your portfolio piece should be innovative, and show a new technique within, or an extension to, an existing practice.
Your critical commentary will provide:
an explanation of how this practical work is an original and substantial contribution to the area of expertise
a 'literature review' of contemporary practice in the same field
an analysis and explanation of existing techniques
an explanation of how the creative work represents an extension of, or reaction to, this practice - this may be as an extended technique or something more philosophical, ontological or aesthetically grounded - or preferably a combination of the two
an account of the creative research process
conclusions and suggestions for future developments.

DMus by Submission
Your submission must include:
a portfolio of electronic or electro-acoustic music, 75 to 90 minutes in performance duration. Accompanying documentation can include notation or MAX/MSP patches
a critical commentary of at least 20,000 words.
The DMus by Submission portfolio may comprise several pieces or one extended, structurally ambitious work. At least one of your portfolio pieces will have been composed within the two years before you registered. They do not have to be in the public domain, but should be innovative, and show a new technique within, or an extension to, an existing practice.
Your critical commentary will provide:
an explanation of how this practical work is an original and substantial contribution to the area of expertise
a 'literature review' of contemporary practice in the same field
an analysis and explanation of existing techniques
an explanation of how the creative work represents an extension of, or reaction to, this practice - this may be as an extended technique or something more philosophical, ontological or aesthetically grounded - or preferably a combination of the two
an account of the creative research process
conclusions and suggestions for future developments.
The DMus by Submission is ideally suited to professional composers.

Proposal

Your proposal must not exceed 4,500 words. Unless you are studying for your DMus by Direct Entry or Submission, you will complete this proposal as part of the assessment regime for the Level 7 Research Methods module.
The proposal for the MPhil/DMus in Electronic/Electro-acoustic Composition is different from a proposal for a PhD. The core of the proposal will be a list of works you intend for portfolio submission. It should also include the anticipated duration of each piece. Proposals for DMus by Submission should also append the compositions. You should explain in your proposal how your portfolio constitutes an original and substantial contribution to the area of practice. For this, you should include:
a 'literature review' of contemporary practice in the same field
an analysis and explanation of existing techniques in the field
an explanation of how the creative work represents an extension of, or reaction to, contemporary practice. This may be as an extended technique or something more philosophical, ontological or aesthetically grounded - or preferably a combination of the two.
Your proposal should also include a timescale for each part of the project, and append an outline bibliography.
You may also identify areas of technical development, analysing how your portfolio pieces might enable this transition. You must indicate in your proposal, any pieces you intend to include through backdated registration.
You may also include a CV.
Assessment

This will involve an oral examination, conducted in much the same way as a traditional PhD. This will also be necessary when you 'exit' with the MPhil qualification.
Pathway Appendix 1: The 'literature review'

As the cutting edge of professional practice may not be well documented by academic texts, this may include interviews with practitioners (either published or conducted by the candidate), and analyses of productions by contemporary practitioners, and of specifications of relevant hardware and software technologies or products. Wherever possible, you will be expected to include relevant peer-reviewed academic writing on the subject.

Pathway Appendix 2: Examples of the kinds of extensions to practice that are applicable.
Developing a musical syntax like Tim Blackwell's swarming/flocking music or the Glitch music of artists like Achim Szepanski.
Applying existing techniques in a new context, like John Oswald's use of sampling in Plunderphonics or Paul Miller's use of 'turntablism' as DJ Spooky.
Developing a specific technique like Hank Shocklee's (Bomb Squad) layered sampling, or the extended sequencing techniques of Richard James (Aphex Twin).
Developing a structural formalism, like Stockhausen's unified theory of time.
Developing a new musical instrument or control surface for electronics.
Writing with generative or algorithmic computer programs or patches.