Master of Music

Modules Appendix
2019-2020
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 (first year, first semester), end year assessment
(first year, second semester), midyear assessment (second year, first semester)
and final 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 student’s 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. There’s 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.

3
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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 (or more) study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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 film, 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 study 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;
• define a project result in co-operation with (multidisciplinary) team members

4
 while maintaining an individual contribution;
• determine the appropriate compositional techniques and methods;
• fulfil a responsible task in a collaborative design and production process;
• critically reflect 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;
• reflect on personal contribution, in collaborative learning environment;
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in compositional methods, insights and skills and the ability to
use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection on product and process that includes amongst others the
level of communication (e.g. presentation) and collaboration during the process.

5
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 student’s 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. There’s 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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed
in special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings throughout
the year (every two weeks), students get individual assignments to exercise specific skills

6
and techniques. The content of the assignments is related to the profile 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:
• 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 filmfestival;
• 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 study 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;
• define a project result in co-operation with (multidisciplinary) team members
while maintaining an individual contribution;
• determine the appropriate compositional techniques and methods;
• fulfil a responsible task in a collaborative design and production process;
• critically reflect on diversions relative to the outcomes of the pre-production;
• communicate project progress to both midterm evaluation committee, course
leader and possible external commissioner;
• reflect on personal contribution, in collaborative learning environment;
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in compositional methods, insights and skills and the ability to
use those skills, if necessary, in forthcoming projects;

7
 • reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection on product and process that includes amongst others the
level of communication (e.g. presentation) and collaboration during the process.

8
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 student’s ability to detect and critically apply relevant
knowledge, methods and skills in order to support and inform their creative
practice.
• Demonstrate the student’s 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 field 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. There’s 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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings throughout
the year (every two weeks), students get individual assignments to exercise specific skills

9
and techniques. The content of the assignments is related to the profile 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), 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 study 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:
• 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 specifically 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 final product(s) related to the context in question;

10
 • the level of reflection 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 reflection on the function of the project in question in relation to the
personal MMus-trajectory.

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 student’s ability to detect and critically apply relevant
knowledge, methods and skills in order to support and inform their creative
practice.
• Demonstrate the student’s ability to conduct self-directed creative work
supported through research in the relevant field of study.
• Demonstrate the student’s ability to bring to resolution a project of self-directed
work.
• Demonstrate the student’s 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. There’s 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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

11
There’s 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 (or more) study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• Blind Date: a annual and intensive workshop with composers (HKU M&T),
choreographers (Dance Unlimited) and stage designers (Minerva Academy
Groningen);
• Composer in Residence, compositions for a variety of ensembles to be performed
at the Tivoli 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-opera’s 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 study 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:
• 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.
• reflect on the entire pre-production and production process formulating revised

12
 personal learning objectives for forthcoming projects.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection 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 reflection on the function of the project in question in relation to the
personal MMus-trajectory.

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 student’s 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. There’s 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

13
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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• Producing The Band: a collaborative music production project that aims at specific
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 study 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;
• define a project result in co-operation with (multidisciplinary) team members
while maintaining an individual contribution;
• determine the appropriate productional techniques and methods;
• fulfil a responsible task in a collaborative design and production process;
• critically reflect 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;
• reflect on personal contribution, in collaborative learning environment;
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;

14
 • show progression in productional methods, insights and skills and the ability to
use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection on product and process that includes amongst others the
level of communication (e.g. presentation) and collaboration during the process.

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 student’s 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. There’s 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

15
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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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;
• define a project result in co-operation with (multidisciplinary) team members
while maintaining an individual contribution;
• determine the appropriate music productional techniques and methods;
• fulfil 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 reflect 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;

16
 • reflect on personal contribution, in collaborative learning environment;
• evaluate and reflect upon music productional processes in multidisciplinary
environments;
• identify key representatives dealing with relevant theory in the field;
• show progression in productional methods, insights and skills and the ability to
use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection on product and process that includes amongst others the
level of communication (e.g. presentation) and collaboration during the process.

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 student’s ability to detect and critically apply relevant
knowledge, methods and skills in order to support and inform their creative
practice.
• Demonstrate the student’s 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 field 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.

17
Method of Delivery
Projects are developed by the research programmes, or initiated by students. There’s 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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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:
• 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 field;
• show progression in productional methods, insights and skills and the ability to

18
 use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection 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 reflection on the function of the project in question in relation to the
personal MMus-trajectory.

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 student’s ability to detect and critically apply relevant
knowledge, methods and skills in order to support and inform their creative
practice.
• Demonstrate the student’s ability to conduct self-directed creative work
supported through research in the relevant field of study.
• Demonstrate the student’s ability to bring to resolution a project of self-directed
work.
• Demonstrate the student’s 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. There’s a
variety in the projects and according contexts from monodisciplinarity through
intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of

19
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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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:
• 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 field;
• show progression in productional methods, insights and skills and the ability to
use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically to the MMus intended learning outcomes:
• The ability to realize artistic, musical productions;

20
 • Knowledge of and skills in artistic processes;
• Communicating;
• Community responsibility.

Assessment criteria
The student will be assessed on:
• the level of the final product(s) related to the context in question;
• the level of reflection 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 reflection on the function of the project in question in relation to the
personal MMus-trajectory.

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 student’s 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. There’s 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

21
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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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: 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 study 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;
• define a project result in co-operation with (multidisciplinary) team members
while maintaining an individual contribution;
• determine the appropriate music technological techniques and methods;
• fulfil a responsible task in a collaborative design and production process;
• critically reflect 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;
• reflect on personal contribution, in collaborative learning environment;
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in music technological methods, insights and skills and the

22
 ability to use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection on product and process that includes amongst others the
level of communication (e.g. presentation) and collaboration during the process.

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 student’s 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. There’s 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

23
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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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;
• define a project result in co-operation with (multidisciplinary) team members
while maintaining an individual contribution;
• determine the appropriate music technological techniques and methods;
• fulfil 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 reflect 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;
• reflect on personal contribution, in collaborative learning environment;

24
 • evaluate and reflect upon music technological processes in multidisciplinary
environments;
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in music technological methods, insights and skills and the
ability to use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection on product and process that includes amongst others the
level of communication (e.g. presentation) and collaboration during the process.

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 student’s ability to detect and critically apply relevant
knowledge, methods and skills in order to support and inform their creative
practice.
• Demonstrate the student’s 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 field 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.

25
Method of Delivery
Projects are developed by the research programmes, or initiated by students. There’s 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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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:
• 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 field;
• show progression in music technological methods, insights and skills and the
ability to use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

26
These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection 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 reflection on the function of the project in question in relation to the
personal MMus-trajectory.

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 student’s ability to detect and critically apply relevant
knowledge, methods and skills in order to support and inform their creative
practice.
• Demonstrate the student’s ability to conduct self-directed creative work
supported through research in the relevant field of study.
• Demonstrate the student’s ability to bring to resolution a project of self-directed
work.
• Demonstrate the student’s 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. There’s 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.

27
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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• Ives Ensemble: design of sound installations for concerts of the Ives Ensemble;
• Bartiméus: 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 study 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:
• 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;
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in music technological methods, insights and skills and the
ability to use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically to the MMus intended learning outcomes:
• The ability to realize artistic, musical productions;
• Knowledge of and skills in artistic processes;

28
 • Communicating;
• Community responsibility.

Assessment criteria
The student will be assessed on:
• the level of the final product(s) related to the context in question;
• the level of reflection 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 reflection on the function of the project in question in relation to the
personal MMus-trajectory.

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 student’s 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. There’s 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 film 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.

29
The projects and related Supportive Studies have to be in line with student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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;
• define a project result in co-operation with (multidisciplinary) team members
while maintaining an individual contribution;
• determine the appropriate sound design techniques and methods;
• fulfil a responsible task in a collaborative design and production process;
• critically reflect 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;
• reflect on personal contribution, in collaborative learning environment;
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in sound design methods, insights and skills and the ability to
use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically to the MMus intended learning outcomes:

30
 • 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 final product(s) related to the context in question;
• the level of reflection on product and process that includes amongst others the
level of communication (e.g. presentation) and collaboration during the process.

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 student’s 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. There’s 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 film 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.

31
The projects and related Supportive Studies have to be in line with student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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;
• define a project result in co-operation with (multidisciplinary) team members
while maintaining an individual contribution;
• determine the appropriate sound design techniques and methods;
• fulfil 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 reflect 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;
• reflect on personal contribution, in collaborative learning environment;
• evaluate and reflect upon sound designal processes in multidisciplinary
environments;

32
 • reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in sound design methods, insights and skills and the ability to
use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection on product and process that includes amongst others the
level of communication (e.g. presentation) and collaboration during the process.

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 student’s ability to detect and critically apply relevant
knowledge, methods and skills in order to support and inform their creative
practice.
• Demonstrate the student’s 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 field 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

33
Projects are developed by the research programmes, or initiated by students. There’s 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 film 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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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:
• 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;
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in sound design methods, insights and skills and the ability to

34
 use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection 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 reflection on the function of the project in question in relation to the
personal MMus-trajectory.

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 student’s ability to detect and critically apply relevant
knowledge, methods and skills in order to support and inform their creative
practice.
• Demonstrate the student’s ability to conduct self-directed creative work
supported through research in the relevant field of study.
• Demonstrate the student’s ability to bring to resolution a project of self-directed
work.
• Demonstrate the student’s 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. There’s a
variety in the projects and according contexts from monodisciplinarity through
intradisciplinarity till multidisciplinarity with the accompanying complexity. The nature of

35
the projects is varying from sound design for film 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 student’s personal
development plan which has to be approved by the MMus-programme. All projects (work-
in-progress, related processes and outcomes) are supervised, discussed and reviewed in
special project groups, in study groups and through individual supervision.

There’s 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 or more study groups of the MMus-programme. In meetings
throughout the year (every two weeks), students get individual assignments to exercise
specific skills and techniques. The content of the assignments is related to the profile 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:
• 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 study 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:
• 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.
• reflect on the entire pre-production and production process;
• identify key representatives dealing with relevant theory in the field;
• show progression in sound design methods, insights and skills and the ability to
use those skills, if necessary, in forthcoming projects;
• reflect on examples, methods and techniques used in the assignments.

36
These learning outcomes relate specifically 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 final product(s) related to the context in question;
• the level of reflection 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 reflection on the function of the project in question in relation to the
personal MMus-trajectory.

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 student’s 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 supportive
narrative 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 field.
• To develop a self critical attitude identifying the importance and necessity of
critical self-reflection as an important part of the learning process.

Method of Delivery
Students are assigned to research groups according to their profile 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 specific instruction on research methods related
to the research area of the programme in question. The student is required to provide a
first draft of the supportive narrative 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.

37
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-reflection

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 reflective position with respect to composition/sound design/music
production/music technology in various contexts.
• apply research outcomes and concept to a production process;
• reflect 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 reflect on projects, outcomes and related processes.

These learning outcomes relate specifically 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:
• first draft of the supportive narrative with the focus on chapter I ‘goals’.

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 student’s 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 supportive
narrative of his work, focusing on chapters in each module as described below.

Aims and Objectives

38
 • To enable students to conduct self-directed research, both applied and
theoretical, at master-level.
• To provide knowledge of research methodologies applicable to the field.
• To develop a self critical attitude identifying the importance and necessity of
critical self-reflection 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 profile 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 specific 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 supportive narrative 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-reflection

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 reflective position with respect to composition/sound design/music
production/music technology in various contexts.
• apply research outcomes and concept to a production process;
• reflect 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 reflect on projects, outcomes and related processes.

These learning outcomes relate specifically 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:

39
• updated version of the supportive narrative with the focus on chapter II ‘critical
review.

40
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 student’s 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 supportive
narrative of his work, focusing on chapters in each module as described below.

Aims and Objectives

• To provide knowledge of research methodologies applicable to the field.
• To develop a self critical attitude identifying the importance and necessity of
critical self-reflection 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 profile 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 specific 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 supportive narrative 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-reflection

Learning outcomes
On successful completion of the module a student will be able to:
• research musical, technological, historical and market contexts relevant to the

41
 project;
• take a reflective position with respect to composition/sound design/music
production/music technology in various contexts.
• apply research outcomes and concept to a production process;
• reflect 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 reflect on projects, outcomes and related processes.

These learning outcomes relate specifically 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;
• Entrepreneurship: Personal quality to judge and conduct in one’s expansion of
talent.

Assessment criteria
The student will be assessed on:
• updated version of the supportive narrative with the focus on chapter III/IV
‘methods/professional practice’.

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 student’s 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 supportive
narrative 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 field.
• To develop a self-critical attitude identifying the importance and necessity of
critical self-reflection 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

42
Students are assigned to research groups according to their profile 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 specific instruction on research methods related
to the research area of the programme in question. The student is required to provide a
final version of the supportive narrative 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
• Analytical methods and skills; context and content analysis
• The importance of self-reflection

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 reflective position with respect to composition/sound design/music
production/music technology in various contexts.
• apply research outcomes and concept to a production process;
• reflect 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 reflect on projects, outcomes and related processes.

These learning outcomes relate specifically 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;
• Entrepreneurship: Personal quality to judge and conduct in one’s expansion of
talent;
• Communication.

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

43
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 mid year/end
year 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 profile and the first
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, there’s a three week artist-in-residence project. This is a fulltime period at a
screened location. In this project the student works and reflects together with peers and
the artist-in-residence. 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, strength/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 student’s 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 profile,
context, professional profile and entrepreneurship, vision and strategy) the professional
development plan will focus on skills and artistic profile. 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 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 final version of the professional development plan

Learning outcomes
On successful completion of the module a student will:
• have a clear view on the student’s actual professional and artistic position;
• have defined goals within this professional and artistic domain;
• have an individual focus within these domains;

44
 • be able to keep track of the student’s progress within these domains;
• have written a final version of the professional development plan;
• be able to reflect on the development of the plan and its content.
These learning outcomes relate specifically to the MMus intended learning outcomes:
• Communication;
• Entrepreneurship: Personal quality to judge and conduct in one’s 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 reflection on the development of the plan and its content.

Professional Development Plan II: Focus and Vision

Module Description
In consultation with lecturers and under 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 profile,
context, professional profile and entrepreneurship, 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

45
 • Forward archiving
• Expression of a focus and vision

Learning outcomes
On successful completion of the module a student will:
• be able to reflect 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 student’s 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
reflection and the outcomes of the exam meeting.

These learning outcomes relate specifically to the MMus intended learning outcomes:
• The ability to realize artistic, musical productions;
• Communication;
• Entrepreneurship: Personal quality to judge and conduct in one’s expansion of
talent.

Assessment criteria
The student will be assessed on:
• the level of the portfolio of the first MMus-year related to the contexts in
question;
• the level of reflection on the MMus-trajectory as a whole.

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 student’s development of a focus and vision as a designer in a
personal confrontation with these different platforms.
• Demonstrate the student’s 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

46
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 profile,
context, professional profile and entrepreneurship, vision and strategy) the professional
development plan will focus on professional profile and entrepreneurship, 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 reflect 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 professional and artistic domain;
• be able to keep track of the student’s progress within these domains in an
individual developed format (creative log, database);
• be able to reflect 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 specifically to the MMus intended learning outcomes:
• Intensifying artistry;
• Communication;
• Entrepreneurship: Personal quality to judge and conduct in one’s expansion of
talent.

Assessment criteria
The student will be assessed on:
• the level of the portfolio of the first semester of the second year MMus-year
related to the contexts in question;
• the level of reflection on the MMus-trajectory as a whole.

47
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 final exam.

Aims and Objectives

• To offer students different platforms to exchange and discuss their development
in the artistic and professional domain.
• Demonstrate the student’s focus and vision as a designer in a personal
confrontation with these different platforms.
• Demonstrate the student’s individual and supportive archiving method.
• Demonstrate the student’s ability to prepare a proper dissemination of their work
• Demonstrate the student’s 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 profile,
context, professional profile and entrepreneurship, 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, there’s a presentation of the publications, the related focus,
vision and reflection, which will be all assessed by an exam committee, regularly expanded
with external examiners in the final exam meeting.

Syllabus
• Individual supervision by a supervisor
• Individual meetings with relevant lecturers
• Forward archiving
• Expression of focus, vision and reflection
• Dissemination of the MMus-outcomes

Learning outcomes
On successful completion of the module a student will:
• be able to evaluate and reflect critically on the professional and artistic

48
 development with regard to the professional development plan;
• be able to show a clear and individual focus and vision in the professional and
artistic domain;
• be able to reflect 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 specifically to the MMus intended learning outcomes:
• Intensifying artistry;
• Ability to judge and contribute to professional discourse;
• Communication;
• Entrepreneurship: Personal quality to judge and conduct in one’s expansion of
talent.

Assessment criteria
The student will be assessed on:
• the development of the student’s focus, artistic vision, and musical and
professional skills, in relation to the relevant context(s);
• the visibility and level of the student’s focus, vision, and musical and professional
skills, in the form of projects, products, research and associated processes;
• the visibility and level of the student’s focus, vision, and musical and professional
skills, in the form of analysis of and reflection on these projects, products, research
and processes.

49