Key words
Objectives
This study unit is to help students prepare thoroughly (under supervision and monitoring) for the personal artistic project and thesis, both of which are part of the Masterwork. Since the master’s thesis has only recently become a part of the musical education world, the evolution of each individual student’s thesis will be closely watched, evaluated and adjusted – on the basis of a portfolio in which he documents his progress.
Topics
Introduction
In the second semester of the fifth year, the student takes a Masterwork to end his Master’s programme.
This Masterwork consists of the following three parts:
1) The recital (for students of Performing Music);
or the composition portfolio and the concert presentation of a portfolio selection (for the students of Creative Music / Composition);
or the composition portfolio and the production and presentation of pieces of music from the portfolio (for the students of Creative Music / Music Production,);
or the presentation of the portfolio built instruments (for the students of Musical Instrument Construction).
2) The personal artistic project or personal artistic-pedagogical project.
3) The thesis.
NOTE: the Masterwork of the Music Theory student consists of the personal artistic project or personal artistic-pedagogical project and the thesis.
Portfolio personal artistic project or personal artistic-pedagogical project and the thesis
Under the guidance of a thesis supervisor, the realisation of the personal artistic project or personal artistic-pedagogical project and of the thesis is prepared in three phases, corresponding to the three first semesters of the Masters. The concrete realisation and presentation take place during the fourth semester as an integral part of the Masterwork.
During each phase, the student needs to complete a number of set phases.
All evidence that the set standards have been complied with, is collected in the portfolio.
Central coordination and direction of this study unit is in the hands of a coordinator who collects all data, closely watches the students’ progress, and if need be, adjusts their course.
During this process the student is advised by a thesis supervisor, and possibly a co-supervisor, both of whom he has to choose himself.
Detailed information will be provided by the coordinator at the start of the academic year. The rules on the ‘final project’, quoted in DOER, also apply to the personal artistic project or personal artistic-pedagogical project.
Prerequisites
Final Objectives
Analytical insight and critical reflection attitude
The student is able to place and interpret his own realisations and those of others in a broad historical and contemporary cultural and artistic context.
• is able to do independent musical research at the level of a beginning musician and musical researcher.
• can situate music in its historical, social and cultural context. Has an insight in the characteristics of the various style periods as far as musical aesthetics and music theory are concerned.
• is deeply interested in theories on music history, cultural history and musicology.
Organisational skills
The student can establish and preserve an inspiring functional working environment for himself.
The student is able to choose (or develop) and apply an effective musical research method for the realisation of musical performances.
• is able to organize a work procedure taking into account short-term and long-term conditions.
• documents and archives his work
Potential for growth and development
The student has the attitude enabling him to continually improve himself as a musician.
• is clearly capable of reflection, analysis and evaluation.
• can take the demands and expectations of patrons into consideration.
• compares his own intentions with the perception of the public, users, patrons ….
• is open-minded and capable of being surprised; can mobilize his/her experiences and findings for furthering the development of his/her own musical oeuvre.
• possesses insight and faith in his own capabilities to further develop as an independent musician.
• can handle and, if need be, withstand criticism by external observers (patrons, musical reviewers …).
• has a clear ambition to excel.
Communicative Skills
The student has a clear and active wish to perform in an orchestra or an ensemble as a soloist
• is able to find contacts, who may be helpful for his later job or profession.
• is able to negotiate the content, organisational and contractual aspects of practising his profession.
• has the ambition to publicize his own artistic realisations.
Collaboration skills
The student can make a substantial artistic contribution to the musical group process.
• can take the demands, the (implicit) expectations and the relevant observations of the patrons into consideration.
• exhibits candour, sympathy, respect and appreciation towards the responsibilities and interests of others he cooperates with.
• can cooperate with others even on a subject that is of no immediate interest to him personally.
Materials used
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Study costs
Study guidance
Coordinator.
Thesis supervisor.
Research coach.
Teaching Methods
Guided independent work.
Assessment
Evaluation of the portfolio.
Lecturer(s)
Lecturers
Coordinator: Florian Heyerick
Thesis supervisor
Research coach: Liselotte Sels / Olmo Cornelis
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