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This module provides an introduction to music education and social justice. This involves exploring philosophical perspectives about the nature of education and social justice (such as decolonisation, race, class); overarching conceptual considerations to do with social justice in educational contexts (e.g. achieved by exploring educational issues through the lens of inclusion, equality, diversity). Students will be invited to attend events at Southampton’s Centre for Music Education and Social Justice (CMESJ) and engage in creative writing assessments and presentations and organising in community-based projects.

Connected to a network of professionals, performing venues, schools, charities, and local authorities, the course aims to develop collaborative and interpersonal skills, social awareness, and knowledge about the significance of social justice in the local music-making community. You are expected to gain insights into the role of social justice in music education setting. You will also explore the interaction between music and society through community-based learning opportunities on-site, addressing social justice issues.

Special Features of Module

This module integrates theoretical and practical aspects of the field of music education and social justice. It is tailored to enhance your employability skills by offering hands-on, practical experience through community-based projects. By exploring both the theoretical underpinnings and real-world applications, this module provides a comprehensive understanding of the intersection between music education and social justice. It equips you with valuable insights and skills, preparing you to engage meaningfully with community initiatives upon graduation, fostering a deeper connection between your academic knowledge and its practical applications in wider contexts.

The Music Education Final Project is the final stage of the MMus in Education, completing work started in the Preparation for Final Project module. The aim of this module is to complete a portfolio of 8000-10000 words or equivalent on a topic of your choice.
Your supervisor will guide your independent research design, observation, data collection and write up, according to accepted academic standards. You will be able to write an extended essay or a portfolio of inquiry and practice-centred capstone project accompanied by a written commentary.

The Music Education Final Project is the final stage of the MMus in Education, completing work started in the Preparation for Final Project module. The aim of this module is to complete a portfolio of 8000-10000 words or equivalent on a topic of your choice.
Your supervisor will guide your independent research design, observation, data collection and write up, according to accepted academic standards. You will be able to write an extended essay or a portfolio of inquiry and practice-centred capstone project accompanied by a written commentary.

This module aims to introduce students to a range of crucial themes and topics in the history of music, up until c.1750, with reference to their relevance in contemporary society. It will both explore and question traditional narratives, providing students with an opportunity to engage critically with and analyse the impact, value, and limitations of different approaches to the historical study of music. Specifically, we will question Western, White dominated frameworks, male-centric narratives, and observe the creation of power structures of patriarchy, inequality and difference and their relation to music of the past and their continued resonance today. Lectures introduce major cultural and historical topics such as worship and belief, technology and virtuosity, drama and spectacle, and power and resistance, exploring how musical practice reflects and shapes society. Seminars provide opportunities for contextual historical work and interactive discussions. Your knowledge and understanding of diverse musical styles and genres will be developed through familiarity with scores and recordings, aiming to develop critical reading and listening and academic writing skills.

This module aims to introduce students to a range of crucial themes and topics in the history of music, up until c.1750, with reference to their relevance in contemporary society. It will both explore and question traditional narratives, providing students with an opportunity to engage critically with and analyse the impact, value, and limitations of different approaches to the historical study of music. Specifically, we will question Western, White dominated frameworks, male-centric narratives, and observe the creation of power structures of patriarchy, inequality and difference and their relation to music of the past and their continued resonance today. Lectures introduce major cultural and historical topics such as worship and belief, technology and virtuosity, drama and spectacle, and power and resistance, exploring how musical practice reflects and shapes society. Seminars provide opportunities for contextual historical work and interactive discussions. Your knowledge and understanding of diverse musical styles and genres will be developed through familiarity with scores and recordings, aiming to develop critical reading and listening and academic writing skills.

This module introduces you to diverse topics in music from around 1750 to the late twentieth century. It challenges widespread notions and distinctions regarding “art" and “popular" music, it explores tensions and overlaps between public and private, it engages with the relationship between musical texts and performance, and it explores virtuosity and the rise of the star performer. Lectures provide ‘snapshots’ of major phenomena and trends in European and American musics of the period, including the development of musical instruments, private and public venues and institutions, professional musics, publishing and recording, music in the theatre, and the rise of modern music business models, while follow-up open discussion sessions offer opportunities to have a detailed look at individual pieces of music and to explore issues of gender, race, and sustainability and to foster the decolonisation of repertoires and historiographical approaches.

This module introduces you to diverse topics in music from around 1750 to the late twentieth century. It challenges widespread notions and distinctions regarding “art" and “popular" music, it explores tensions and overlaps between public and private, it engages with the relationship between musical texts and performance, and it explores virtuosity and the rise of the star performer. Lectures provide ‘snapshots’ of major phenomena and trends in European and American musics of the period, including the development of musical instruments, private and public venues and institutions, professional musics, publishing and recording, music in the theatre, and the rise of modern music business models, while follow-up open discussion sessions offer opportunities to have a detailed look at individual pieces of music and to explore issues of gender, race, and sustainability and to foster the decolonisation of repertoires and historiographical approaches.

In recent years, film culture has become increasingly aware of the film industry’s connections with the music industry. In some cases, critics have decried the use of films as vehicles for the sale of unconnected pop songs as if it were a new development, yet similar processes have been in place since before the advent of sound cinema in the late 1920s. This module will be concerned with the historical development of film and television music as a distinct aesthetic element. It will look into production strategies, commercial, promotional and reception concerns and the place of musical accompaniment in audiovisual products. This will include, among others, sessions focusing on the development of Classical Hollywood film music, the Classical Musical film, television incidental music, MTV and beyond.

In recent years, film culture has become increasingly aware of the film industry’s connections with the music industry. In some cases, critics have decried the use of films as vehicles for the sale of unconnected pop songs as if it were a new development, yet similar processes have been in place since before the advent of sound cinema in the late 1920s. This module will be concerned with the historical development of film and television music as a distinct aesthetic element. It will look into production strategies, commercial, promotional and reception concerns and the place of musical accompaniment in audiovisual products. This will include, among others, sessions focusing on the development of Classical Hollywood film music, the Classical Musical film, television incidental music, MTV and beyond.

This innovative module, developed and delivered in close collaboration with the BSO Participate Team, will allow you to develop a range of skills and experience in community music practice. You will undertake training with BSO Associates and members of the BSO Participate Team in how to develop, lead and run music workshops. You will document what you have learnt through a learning diary. You will also research and deliver an individual presentation focused on a topic related to community music.

A minimum of 20 students are required to run this module and there is a cap of 30 students with level 6 students having priority over level 5 and level 7 students.