MA (Hons) History and Music Bachelor's degree at the University of Aberdeen

This compulsory evaluation is designed to find out if your academic writing is of a sufficient standard to enable you to succeed at university and, if you need it, to provide support to improve. It is completed on-line via MyAberdeen with clear instructions to guide you through it.

This course, which is prescribed for level 1 undergraduate students and articulating students who are in their first year at the University, is studied entirely online, takes approximately 2-3 hours to complete and can be taken in one sitting, or spread across the first 4 weeks of term. Topics include University orientation overview, equality & diversity, MySkills, health, safety and cyber security, and academic integrity.

This course will introduce students to the subject of university level history. Team taught lectures will introduce students to approaches, sources, and the dilemmas facing academic historians.

This course will examine key ideas and methodologies in music studies, incorporating approaches from a range of 'disciplines' such as musicology, ethnomusicology, performance studies, music education and community music. We will discuss a diverse range of topics including: cross cultural definitions of music; the role of music in society; different methodological approaches to the study of music history; how music is learnt in different places and times; and the relationship between music, econo

This course will engage students in practical music making, developing skills in performing and composing. Students will receive 10 hours of tuition with a specialist instrumental / vocal tutor, and attend lectures on genre, performance style, composing / arranging techniques, rehearsal etiquette, and stagecraft. In groups of 5-8 performers, students attend a series of rehearsal sessions, where they will plan and manage a group creative project, culminating in a 10-minute performance as part of

Combining key components in digital technology and musicianship, Digital Musicianship encourages music students to acquire basic digital skills that will help them explore a wide range of music making in the 21st century, through skill building in the applications of technology to the discipline of Music. This hands-on, project-based course introduces basic knowledge in digital music technology, and key issues related to the music making in the 21st century.

In this course you will explore ways of writing and talking about music. Lectures will focus on recent work in music studies, showcasing the kind of scholarship you will encounter later in your degree. Tutorials will provide opportunities for experimenting in a range of formal and informal styles, working both individually and in small groups. By the end of the course you will gain a deeper understanding of both established writing conventions and emerging forms of multi-media communication.

In this course, basic concepts of Western tonal music such as primary triads, cadences, idiomatic chord progressions, and voice leading are taught using exercises in harmonic analysis, figured bass, and part writing. More advanced concepts such as secondary dominants and chromatically-altered chords are also introduced. In parallel to lectures and seminars, students will work with software designed to reinforce key concepts such as clefs, intervals, key signatures, and scale structures.

Building on "Performing and Composing 1", this course will guide students to developing their own range of interests in creative musical practice. Students will work towards a portfolio of creative outputs, which can include a range of compositions and musical arrangements, and recordings of solo / ensemble performances. Students receive 10 hours of one-to-one tuition on their chosen instrument / voice, and attend lectures and tutorials focussing variously on issues related to performance, compo

This course offers students an introduction to the field of ethnomusicology, including the historical development of the field, how to conduct fieldwork and some of the field's key theoretical perspectives. The course will introduce students to a range of musical traditions from around the world through case studies that demonstrate the close relationship between music, society and culture (topics include nationalism, colonialism, identity, race and globalisation). Teaching will take the form of

Students will develop a critical awareness of form and structure in music by studying various approaches to musical analysis. The course will draw on a range of analytical methods and musical genres, such as functional harmony and classical form, pitch-class set theory, rhetoric in music, and computer-aided analysis.

Ranging widely across space and time, this course introduces some of the reasons and methods for studying the musical past in a global context. Students will encounter case studies from across world history, with lectures summarising key topics and tutorials allowing for deeper discussion. Students will also consider how historical knowledge about music is itself the product of a global past and will be encouraged to question how we tell the stories of those who made music before us.

This course introduces students to the principal aspects of Scottish oral traditions from historical times to the present. It should appeal to both international and local students who are interested in learning more about traditional culture in Scotland, as well as the disciplines of Ethnology, Folklore, and Ethnomusicology.

This course looks at how history is written. It considers the problems involved in studying and explaining the past, and the many dilemmas faced by historians in reconstructing it. By examining the ways in which history has been written from the Ancient Greeks to Postmodernism, it considers the limits of historical study, asks whether history can ever be a science, and reveals the assumptions behind the various approaches to history that inform its writing. It is designed to provide honours hist

Architecture can be a synonym for power. Castles that loom over the landscape, the country house and its links with the British Empire and the Victorian prisons designed to incarcerate and extinguish hope. This course takes a thematic approach to the history of architecture to examine the institutions that define our landscapes and cities. Far from being neutral blocks of stone, brick and wood, the architecture of power is designed to define the ways we navigate the world, to intimidate and to r

The course will involve each student working individually on a historical project of his or her own choice, under the supervision of the course co-ordinator. Students will be required to produce a research proposal and progress reports, to prepare an essay and make a presentation of their findings to the class. The aim of the option is to give students the opportunity to research and present, individually, in spoken and written forms, a history of medicine topic of their own choice, using both p

This course examines the use of art as a tool for propaganda, diplomacy and education in England between 1520 and 1640. It explores how paintings were commissioned, created and consumed in a world of changing religious and political circumstances, and considers the role of art in both consolidating and challenging power. Case studies range from Queen Elizabeth I's construction of a distinct visual identity as a female monarch, and Peter Paul Rubens' creation of a grand mural scheme for King Char

Music has been fundamental to the way that cinema tells stories. Whether through a specially-composed soundtrack or through the careful selection of existing pieces, music cues characters, evokes a sense of place or atmosphere, be it suspense, horror, nostalgia, or romance. This course will offer students the opportunity to critically engage with some of the most emblematic film soundtracks in the history of cinema. This interdisciplinary course is suitable for students of Film & Visual Culture

Eurovision is the largest musical event in the world, followed by 70 million people every year. Since its beginnings in 1956, the concept of Eurovision has been changing over the years and through different historical periods, especially with regard to conflicts and European identity and sense of belonging.