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Music Dissertation Topics

Published by Carmen Troy at January 4th, 2023 , Revised On August 11, 2023

Music is one of the most beautiful forms of art that involves an organized and hierarchical sound and silence. It is generally performed in terms of pitch, rhythm, and sound quality. Music is a passion that many enthusiasts aspire to pursue. While the art of music can be an innate ability, it can be pruned with proper learning. Therefore, musicology is an academic field that offers the teaching of music.

Suppose you are an avid music learner, you have chosen musicology for higher studies. Then, you need to complete your degree with a final dissertation. If you are unsure what dissertation to write about, you can check out some of the topics suggested by experienced, professional experts in music.

You may also want to start your dissertation by requesting a brief research proposal from our writers on any of these topics, which includes an introduction to the problem, research question , aim and objectives, literature review , along with the proposed methodology of research to be conducted. Let us know if you need any help in getting started.

Check our example dissertation to get an idea of how to structure your dissertation .

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2022 Music Dissertation Topics

Topic 1: examining the benefits of using music therapy for curing mental health patients – a study on the hospitals under nhs foundation trust..

Research Aim: The aim of this study is to identify the benefits of using music therapy for curing mental health patients. The study will mainly focus on the use of music therapy in hospitals under the NHS Foundation Trust.

Objectives:

To figure out the key advantages of using music therapy to cure mental health patients.
To elaborate on how music therapy is being used by the hospitals under NHS Foundation Trust aims to cure mental health patients.
To share a stringent set of recommendations for the hospitals under the NHS Foundation Trust to strategically use music therapy for curing mental health patients.

Topic 2: A detailed study on the transformation of British electronic dance music (EDM) over the last 10 years.

Research Aim: The study aims to conduct research on the transformation of British electronic dance music (EDM) over the last 10 years.

To share knowledge about the key aspects and specifications of British electronic dance music (EDM).
To provide a comprehensive analysis of the transformation of British electronic dance music (EDM) in the last decade.
To develop an understanding of how overall EDM practices can be improved and led towards advancement thereby aligning with the British culture.

Topic 3: Examining the growing influence of electronic and digital technology on music education in the UK.

Research Aim: The present research study aims to examine the growing influence of electronic and digital technology on music education in the UK.

To shed light on the changes in modern-age music education alongside the increasing dominance of advanced technologies.
To demonstrate how the growing use of electronic and digital technologies is redefining music education in the UK.
To recommend how electronic and digital technologies can be used in the best possible way to influence music education in the UK.

Topic 4: Describing the benefits of using music for children’s learning specifically during the stage of early development – a study on the UK government's changing perspective and investment in children's music and art.

Research Aim: The aim of this research study is to describe the benefits of using music for children’s learning specifically during the stage of early development. The UK government’s changing perspective and investment in children’s music and art will be emphasised in this study.

To identify the key benefits of using music in children’s learning, especially during their early development.
To exemplify the changing perspective of the UK government and how the government is investing in children’s music and art.
To recommend strategies that can help in the use of music in the best way to support children’s learning at their early development stage.

Topic 5: Investigating the impacts of removing gender disparity on music composition and performance in the British music industry.

Research Aim: The aim of this study is to investigate the impacts of removing gender disparity on music composition and performance in the British music industry.

To contextualise the importance of maintaining gender equality for maintaining healthy practices in music composition and performance.
To describe how the removal of gender disparity may help in music composition and performance in the British music industry.
To suggest strategies to eliminate gender discrimination and inequality in the British music industry.

Topic. 1: Major music platforms in the world:

Research Aim: There are many channels through which we can stream music. Each of the platforms has its perks and flaws that either excite or infuriate the users. The aim of the research will be to critically analyze the major music platforms in the world.

Topic. 2: Impact of music talent shows on music:

Research Aim: Almost all countries around the world produce music talent shows usually aimed to find out new, young, emerging talent. The music talent shows have significant effects on the music, musicians, and music industry. Now, whether the impact is good or bad, the research will aim to find it out. The focal purpose of the study will be to identify the positive and negative repercussions of music talent shows.

Topic. 3: Health benefit of music:

Research Aim: We all have heard that music is the food for the soul, but it is yet to find out if it is any good to our body. However, it is true that music cheers us up and helps us unwind things. It is significant to study if it aids an ailment. The research will aim to find out if music has health benefits and explore the details about the ailments and the remedy.

Topic. 4: Pop music in the contemporary world

Research Aim: Pop music was the undisputed king in the back times. Today, although we get to see the spark of pop in music, it is not truly pop. The research will analyze and evaluate the nature of pop music today and how it is amalgamated with contemporary music all around the world.

Topic. 5: Role of technology in music

Research Aim: Technology is a crucial determiner that cannot be overlooked. It has affected all of the significant aspects of our lives, and music is no exception. The music that existed without technologically driven machines used to be different from what it is today. The aim of the research is to make a comparison and contrast between the nature of the two products of music and understand their similarities and differences under the light of technology.

Topic. 6: Music in Hollywood

Research Aim: The main aim of the research would be to make a standard music format that is followed in Hollywood. The type of music produced in Hollywood is different from other major film industries. The researcher will analyze and evaluate the music and create a generic algorithm of music production followed by music composers in Hollywood.

Topic. 7: The obsolete music instruments

Research Aim: Today, not all musical instruments are in their original shape. In fact, most of them have been buried inside a land do a lack of marketing and usage. The researcher will conduct thorough research to investigate the obsolete musical instruments that are unfamiliar to most people of a specific area.

Topic. 8: pros and cons of legal music sharing platforms

Research Aim: The aim of the research will be to find out and highlight the advantages and disadvantages of legal music-sharing platforms. It will also investigate their impact on the music itself and discover the user’s inclination or motivations for using the platforms.

Topic. 9: Music piracy in the age of the internet

Research Aim: Music piracy has always existed, but in the age of the internet, it has become predominant. The aim of the research will be to explore and find out how easy or difficult it has become to pirate music because it has significant outcomes in both ways.

Topic. 10: Role of music in human life

Research Aim: When we are happy, we listen to music. When we are sad, we listen to music. Music has something to offer to each of our moods, and therefore, it is an integral part of our lives. This research will deeply analyze the role of music in human life and in what ways it affects our feelings, mood, actions, behaviors, and mundane activities.

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Topic. 11: How does music therapy work:

Research Aim: Music therapy is practiced in a large proportion of the world. The researcher will monitor people taking music therapy and identify its level of effectiveness.

Topic. 12: Music and economy:

Research Aim: Good music transcends boundaries and therefore gets most disseminated and widespread. As a result, it is able to generate more money. The counties whose music is listened around the world have music as a key contributor to their Gross domestic product. The aim of the research is to survey and find out the statistics of music and its contribution to the economy.

Topic. 13: music and culture

Research Aim: There are different kinds of music produced around the world, much of which depends on the culture of the respective area. The research will study the influence of culture on music and vice versa.

Topic. 14: Role of music in spirituality

Research Aim: Music has a unique and close relationship with spirituality. Music is an instrument used to invoke feelings of spirituality. The researcher will study different religions and their way of connecting to God through music.

Topic. 15: Music bands- their relevance today

Research Aim: The popularity and craze of music bands were very high in the 90s than what it is today. The aim of the research is to find out the potential of music bands in the contemporary music industry in different ways.

Topic. 16: Music and patriotism

Research Aim: Music and poetry are used all around the world to boost the patriotism and nationalism of the inhabitants. The researcher will broadly study and investigate the instrumentation of music for patriotism and how music is used for political gains and at avenues. The researcher can do case studies and find accurate answers to the research questions.

Topic. 17: Understanding the music market

Research Aim: The music market is just like any other product market: it is vast and diverse. You cannot make an audience persona for music, but you can make audience personas for different genres of music. And this research will do that. The research will aim to make audience personas of varying music genres understand the music market.

Topic. 18: Most influential musicians today

Research Aim: The main aim of the research would be to explore and understand the current trends in music and pinpoint the most influential musicians today. Different musicians will be evaluated against different variables such as music they have produced, outreach, and followers, etc.

Topic. 19: Music in the 21st century

Research Aim: Music has evolved significantly over the period of time, and there is no doubt that it will keep on transforming in the coming years. The aim of the research is to study and evaluate the current nature of music produced in the world and, more particularly, about the taste of people.

Topic. 20: The evolution of music:

Research Aim: The researcher will delve into the history of the music to learn about its roots. The main aim of the research is to find and evaluate the evolution of music than how it developed over time and the phases that it went through to reach its current position.

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Frequently Asked Questions

How to find music dissertation topic.

To find a music dissertation topic:

Explore genres, history, or cultural aspects.
Analyze music theory, composition, or performance.
Investigate technology’s impact on music.
Consider social or psychological dimensions.
Review recent research in musicology.
Select a topic that resonates with your passion and expertise.

PhD student research topics

Our PhD students are part of a thriving research community, participating in seminars and workshops to support their research and developing advanced, transferable skills. These attributes help our graduates succeed both within and beyond the course.

Music Technology and Composition

Ethnomusicology, musicology , performance, psychology of music.

Search for PhD opportunities at Sheffield and be part of our world-leading research.

Music Research MPhil/PhD

Key information

The department has an international reputation for music research in history, theory, anthropology/ethnography, composition, and creative practice. We are particularly strong in film music, jazz, opera, performance studies, Western music from the 12 th century to the present, and the music of Latin America, the Middle East, South and South East Asia, and West Africa.

For 2024/25 entry, the Music Department is only accepting applications for PhDs in Eighteenth-Century Music History and Composition .

For 2025/26 entry, we will be welcoming applications for PhDs in all supervisory areas.

PhDs can be co-supervised with other arts & humanities or social sciences departments at King's, or with a department at another of our London Arts & Humanities Partnership (LAHP) partners ( www.lahp.ac.uk ).

As a department, we believe in the complete equality of all areas of music research, and welcome students from all backgrounds, especially those who are currently under-represented in musicology, ethnomusicology, performance, and composition.

Department of Music – jointly ranked 4th in the UK with Film (REF 2021). 100% per cent of the research impact and research environment was rated either ‘world leading’ (4*) or ‘internationally excellent’ (3*).

Current number of academic staff: 14.

Current number of research students: 19 FT and 15 PT.

Recent publications:

Picture a Day Like This [opera] (George Benjamin).
The Influence of Technology on Performance: Classical Perspectives (Amy Blier-Carruthers).
The Sense of Sound: Musical Meaning in France, 1260-1330 (Emma Dillon).
Thinking on our Feet: A Somatic Enquiry into a Haydn Minuet (Joseph Fort).
Paris Blues: African American Music and French Popular Culture, 1920–1960 (Andy Fry).
Sovereign Feminine: Music and Gender in Eighteenth-Century Germany (Matthew Head).
That Man Stephen Ward [chamber opera] (Thomas Hyde).
Contemporary Carioca: Technologies of Mixing in a Brazilian Music Scene (Frederick Moehn).
Songs of Sorrow, for baritone and piano (Edward Nesbit).
Music and Musicians in Late Mughal India: Histories of the Ephemeral, 1748–1858 (Katherine Schofield).
Music and Citizenship (Martin Stokes).
Listening for Realism in Charpentier’s Louise (Flora Willson).

Current research projects:

UKRI Major Research Projects:

Beyond 1932—Rethinking Musical Modernity in the Middle East and North Africa;
Musical Lives—Towards an Historical Anthropology of French Song, 1100–1300;
Dissemination, Ownership, and Reading of Music in Early Modern Europe.

British Academy:

Sonic Diasporas —Technology and Selfhood in New York Musical Imaginaries, c. 1935–41.
The Invention of Lightness, Or, Musical Politics of 1920s Italy

Joint PhDs available: Opportunities exist to gain a joint PhD with Hong Kong University or with King's own Department of Digital Humanities.

Our department forms part of the London Arts and Humanities Partnership (LAHP), which offers Arts and Humanities Research Council (AHRC) studentships ( www.lahp.ac.uk )

Head of Department: Dr Katherine Schofield

Head of PhD Programme: Dr Flora Willson

How to apply
Fees or Funding

UK Tuition Fees 2023/24

Full time tuition fees:

£5,820 per year (MPhil/PhD, Music Research)

£5,820 per year (MPhil/PhD, Music Research with University of Hong Kong)

Part time tuition fees: £2,910 per year (MPhil/PhD, Music Research)

International Tuition Fees 2023/24

£22,900 per year (MPhil/PhD, Music Research)

£22,900 per year (MPhil/PhD, Music Research with University of Hong Kong)

Part time tuition fees: £11,450 per year (MPhil/PhD, Music Research)

UK Tuition Fees 2024/25

£6,168 per year (MPhil/PhD, Music Research)

£6,168 per year (MPhil/PhD, Music Research with University of Hong Kong)

Part time tuition fees: £3,084 per year (MPhil/PhD, Music Research)

International Tuition Fees 2024/25

£24,786 per year (MPhil/PhD, Music Research)

£24,786 per year (MPhil/PhD, Music Research with University of Hong Kong)

Part time tuition fees: £12,393 per year (MPhil/PhD, Music Research)

These tuition fees may be subject to additional increases in subsequent years of study, in line with King’s terms and conditions.

Study environment

Base campus

Strand Campus

Located on the north bank of the River Thames, the Strand Campus houses King's College London's arts and sciences faculties.

The department has an international reputation for music research in the areas of history, theory, anthropology/ethnography, composition, and creative practice. We are particularly strong in film music, jazz, opera, performance studies, Western music from the 12 th century to the present, and the music of Latin America, the Middle East, South and South East Asia, and West Africa. In our PhD programmes in Music Research you will write a thesis of max. 100,000 words; in Creative Practice write a thesis of c. 50,000 words alongside a creative practice portfolio; and in Composition create a portfolio of compositions with technical commentary.

Please note that King’s does not have a doctoral pathway purely in performance (e.g. a DMA); performers should consider whether the creative practice pathway might suit their abilities and interests.

Prospective students are welcome to contact any academic member of staff whose field of research interests them. Alternatively, applicants may discuss their plans in the first instance with the Head of department Dr Katherine Schofield or the PhD programme lead Dr Flora Willson.

Joint PhD Opportunities

The joint PhD in Music with Hong Kong University affords students the opportunity to work with leaders in the fields of Ethnomusicology, Musicology and Composition. We invite applications on any area of research represented by faculty interests. We also draw your attention to areas of overlapping interest among faculty in the departments of Music at King's College London and University of Hong Kong: composition; 19th-century music studies; music and film. Students in the joint PhD programme will benefit from one-to-one supervision with a number of scholars working in their field. The programme also offers them access to the lively intellectual communities in these two world-class centres for music research, as well as to all the cultural riches on offer in the cities of London and Hong Kong.

Postgraduate training

The London Arts and Humanities Partnership offers a full and varied programme of training events to King's students, whether or not they are recipients of LAHP doctoral scholarships.

Entry requirements

Find a supervisor

Search through a list of available supervisors.

Accommodation

Discover your accommodation options and explore our residences.

Connect with a King’s Advisor

Want to know more about studying at King's? We're here to help.

Learning in London

King's is right in the heart of the capital.

Prospective Graduate Students

Questions for Admissions? 617-495-5315 [email protected]

PhD programs

The Harvard Department of Music does not discriminate against applicants or students on the basis of race, color, national origin, ancestry or any other protected classification.

Musicology at Harvard offers intensive training in historical and cultural approaches to the study of music. While our program has an emphasis on Western music, students increasingly explore wide-ranging geographies and subjects. We take an expansive view of the field and encourage our students to do the same. Most graduate courses in musicology are research seminars; many treat specific topics and theoretical approaches, while others deal with methodology and recent trends in the field. The musicology faculty also offer proseminars that are open to both graduate and undergraduate students. At the end of two years of study, graduate students take a General Examination. In year three, having passed the General Exam, students begin to teach and craft a Ph.D. dissertation proposal; subsequent years are devoted to teaching, research, writing, and professional development. An important aspect of the Harvard program in musicology is its interdisciplinary breadth, which includes training in ethnomusicology and music theory. Students often also take seminars in other departments – and are encouraged to do so. Accreditation in secondary fields is available through many programs, such as American Studies , Critical Media Practice , Medieval Studies , Romance Languages and Literatures , and Studies of Women, Gender, and Sexuality , to name a few.

Special Resources

The deep holdings of the Eda Kuhn Loeb Music Library include a substantial recording archive, and the Isham Memorial Library houses rare original books, scores, and personal archives ranging from the Randy Weston Archive to Sir Georg Solti’s annotated conducting scores. Additional resources on campus include the Special Collections at Houghton Librar y and the Harvard Theater Collection , one of the largest performing arts collections in the world. The department also maintains a selection of musical instruments for study and performance, including early keyboards and a consort of viols. The Mahindra Humanities Center , Film Study Center , Minda de Gunzburg Center for European Studies , Harvard University Center for Italian Renaissance Studies at Villa I Tatti (Florence), Hutchins Center for African & African American Research, David Rockefeller Center for Latin American Studies, Charles Warren Center for the Study of American History, and several other campus institutions provide additional intellectual resources and funding for graduate student research. Faculty and graduate students hold conferences each year on a variety of topics; artists in residence and visiting artists often enrich coursework, and some courses provide opportunities for students to perform.

Language Requirements for Musicology

Two languages are required. The languages will be chosen in consultation with the program’s graduate advisor, and wherever possible should be relevant to future research. We encourage students to pass both languages before taking the general exam. In the event this is not possible, both languages need to be passed by the end of the fall semester of the third year.

Ethnomusicology at Harvard offers intensive training in ethnographic method as well as study of theories, problems, and approaches relevant to the study of any living musical tradition in its cultural setting. By the end of the second year of study, students select primary and secondary fields of specialization, which may be defined by region (for example, Turkish or West African music); by musical styles (such as jazz or popular music); or by topic or theoretical approach (organology or aesthetics). The Harvard program has particular strengths in regions stretching from the Mediterranean to India, in Africa and African diasporas, and in urban America. There are excellent resources both in the music department and across the disciplines at Harvard in critical theory. Collaborations are encouraged among ethnomusicology and other music department programs in historical musicology, music theory, composition, and creative practice and critical inquiry. Six to eight ethnomusicology courses—usually four seminars and four proseminars or undergraduate classes—are offered each year as part of the regular curriculum. Graduate seminars explore ethnomusicological methods and theories as they are applied to the study of music, as well as a wide range of issues and materials, while proseminars focus on music styles or distinctive musical settings. An important aspect of the Harvard ethnomusicology program is that students receive training in Western music and its history as well as exposure to the methods and theories of historical musicology and music theory. A vital aspect of ethnomusicological training at Harvard is exposure to other disciplines, with particular emphasis upon anthropology, history, area studies, linguistic training, and theoretical frameworks related to the student’s specialization.

The Ethnomusicology laboratory , Archive of World Music , special library collections, Peabody Museum , musical instrument collection (India, Iran, Mali, Zimbabwe), extensive sound and video archives (including the Archive of World Music and Hiphop Archive & Research Institute ). The Asia Center , Reischauer Institute , Center for African Studie s, Center for Middle Eastern Studies , Hutchins Center for African & African American Research, South Asia Institute, David Rockefeller Center for Latin American Studies, and several other campus institutions provide additional intellectual resources and funding for student research and language study. Faculty and graduate students hold conferences each year on a variety of topics; music faculty, artists in residence, and visiting artists often enrich coursework and provide opportunities for students to perform.

Language Requirements for Ethnomusicology

The PhD in music theory is characterized both by a deep involvement in the inner workings of music and by an engagement with the wider philosophical, cultural, and psychological questions surrounding music. The program reflects this interdisciplinary interest of our students, and its structure is designed to explore the links of music theory to other areas of critical engagement. The graduate curriculum in music theory was fundamentally revised in 2018 with the view to the specific needs of professional music theorists in the twenty-first century. The diverse dissertation projects that our doctoral students propose reflect the unique combination of interests. Recent and current PhD topics include microtonality and colonialism in the 19th century, musical forgery and forensics, the practice of recomposition in music theory, Scandinavian death metal, transformation theory and Hollywood film, and musical and visual lines in the early 20th century. Many of our students establish their interdisciplinary credentials by taking formal qualifications in a secondary field outside of music. Students receive a solid basis for their research by honing their musicianship and analytical skills, particularly during their first year in the program. All students take courses on Schenkerian theory and on a range of tonal and post-tonal analytical practices, as well as an introductory course to explore current issues in the field. At the same time, the program also encourages students to build a framework in which to place these techniques and to reflect on the underpinnings of music theory. Regular courses on questions in psychology, temporality, history of music theory, hermeneutics, and aesthetics round off our course offerings and often take music theory into interdisciplinary territory. In addition to studying canonic repertories, graduate courses on challenging repertoires—e.g. modal theory, non-Western music, or very recent composition—expand the field in new directions. Our course offerings are complemented by a regular workshop in music theory, currently called Theory Tuesdays, in which faculty and students discuss current work, practice analytical techniques, or engage disciplinary and transdisciplinary questions in an informal setting. Our faculty are actively engaged in Harvard’s numerous interdisciplinary centers ( MBB , Medieval Studies , CES , HUCE , etc.). Harvard’s state-of-the-art Sound Lab provides the tools and expertise for digital and media-based research, and provides a conduit for music theory to the field of sound studies.

Language Requirement for Theory

Theorists must pass translation exams in two relevant research languages. The languages will be chosen in consultation with the graduate advisor, and should reflect, wherever possible, languages that will be useful to future research. One language requirement must normally be completed before generals, and the second must be completed in the fall semester of the third year.

Harvard’s program in composition is designed to give students the time and opportunity to develop as composers by offering general musical guidance as well as specific individual criticism of their works. The program is centered around the students’ achieving clarity of expression through developing their command of compositional technique. In addition, acquaintance with the literature of the past and present through analysis and performance is considered indispensable. Most courses are seminars and deal with specific topics or student works.PhD candidates in composition take 16 courses throughout their first two years. Students get a weekly individual composition lesson, and choose from composition and electronic music courses and other offerings within the department in theory, historical musicology, ethnomusicology, and CPCI, or graduate courses from other departments at Harvard. When needed, in the first year there is also a remedial course in harmony and analysis. Students of all years are required to attend the weekly composition colloquium.

The third, fourth, and fifth years are devoted to work on the dissertation and teaching, as well as active participation in composition colloquia and Harvard Group for New Music concerts. Composers may spend one term during their 4th year at another art institution or university if a particular research project or artistic residency can be obtained.

On the completion of preparatory training and the passing of the General Examinations (during the summer before the third year), PhD dissertations comprising a substantial portfolio of between five and seven pieces of varied scoring and length may be submitted.

Language Requirement: once enrolled, Composition students must pass a language exam in German, Italian or French unless an alternative language is approved in writing by the graduate advisor.

The program in Creative Practice and Critical Inquiry is designed as a special opportunity for exceptional, engaged artist-scholars. Such individuals might frame themselves as composer-performers whose work is driven by a research sensibility, or as committed scholars whose concurrent active involvement in music-making informs and propels their intellectual projects. Candidates interested in this category should clearly lay out their academic interests and musical experience, including research goals and a portfolio of creative work. They should present a clear rationale for the integrated, cross-disciplinary nature of their work.

In the first two years of coursework, students survey multiple fields of intellectual inquiry while nurturing and refining their creative work. Students in the program may take any of the graduate courses offered by the Department of Music, and occasional courses in other departments and programs with approval from the graduate advisor, as well as practice-based music-making courses (composition, improvisation, creative music, and interdisciplinary collaborations).

During the summer after the second year of study, candidates will take three to four exams, to be determined in close consultation with the faculty. These include a preliminary portfolio of creative work, written exams on theoretical/analytical and historical/cultural topics relevant to the candidate’s individual research goals, and an oral exam encompassing all of the above.

The dissertation should offer original research and creative work that strikes a balance within this unique combination of interests.

Language Requirement: Once enrolled, CP/CI students must pass a language exam in a language relevant to their research interests, to be approved in writing by the graduate advisor.

Admission to the Graduate Program: Frequently Asked Questions

The Music Department does not require applicants to submit GRE scores. Submission of scores is permitted, and when submitted, GRE scores are taken into account during the admissions process. But those who do not submit such scores will not be penalized.

Note: Those who choose to take the GRE and submit their results do not need to take the Music GRE test, and should take the general GRE (math/language).

We take GRE scores into consideration along with the entire dossier, not as a single factor that determines the outcome of an application.

The annual deadline is usually January 2 for entrance the following fall term. Check the Harvard Kenneth C. Griffin GSAS website for each year’s deadline.

Yes. If you are accepted into our PhD program, the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences will offer you a financial package that guarantees funding for six years, and includes both tuition and living expenses. Teaching stipends may make up part of the package from the student’s third year on. There are also opportunities for additional funding. The Department (and Harvard Griffin GSAS) awards prizes, fellowships, stipends, and grants each year to graduate students for language study, dissertation completion, research assistance, and travel, among other pursuits.

Yes. You need to support your application with samples of your work, be it scholarly or creative.

Students whose native language is not English or who do not have an undergraduate degree from English-speaking university are required to take and pass the TOEFL. The recommended passing score is 80.

While many of our entering students do have degrees in music, backgrounds and degrees vary widely. We look at all-around preparation of our applicants and their overall excellence. As a Music Department, we do look for training and expertise in one or more music traditions and an ability to deal successfully with a curriculum that has requirements across the music subdisciplines as well as interdisciplinary studies.

The Harvard graduate program in Music is a doctoral program. The subdisciplines of musicology, ethnomusicology, composition, creative practice/critical inquiry, and music theory do not admit candidates for the Master’s Degree only.

We permit transfer of credit for no more than two courses. Students are allowed to request transfer credit if they are in good standing after the first year of coursework at Harvard and on submission of details about the course for which credit is requested. Graduate courses taken as an undergraduate student may not be presented for credit if those courses counted toward the undergraduate degree.

Our programs both require and encourage coursework in other sub-disciplines of music.

We have graduate programs in historical musicology, ethnomusicology, theory, creative practice/critical inquiry, and composition. Our programs are small, so it is important that you apply to the program closest to your major interests. If the faculty feel your application would be better served in another sub-discipline, they will direct it there.

Harvard has extraordinary course offerings across the disciplines and we encourage our graduate students to take courses that will enhance their knowledge.

You can enroll in language courses to meet the language requirements of our programs, but these courses do not count toward credit for the PhD.

The Harvard Griffin GSAS offers admitted Music students six years of full funding, in the form of stipends, teaching fellowships and finishing grants (this amount covers living expenses as well as tuition). Departmental resources include special funds for summer research and some additional fellowships.

Although we encourage performance, our graduate program is an academic one and performance activities do not count towards a degree (with the exception of creative practice/critical inquiry). As a Department of Music which does not have a performance faculty, we are not able to provide vocal or instrumental lessons. There is a lively musical scene on campus and graduate students are welcome to join many University ensembles, including those sponsored by Dudley House. Graduate student musicians sometimes perform on the special noontime University Hall Recital Series. The Harvard Group for New Music performs student compositions. Boston is home to an active musical world and many students participate as performers in music traditions ranging from early music to jazz.

No. Unfortunately, faculty are not usually available to meet with prospective students.

Prospective graduate students can email [email protected] to ask questions. If you visit the campus you may be able to talk with other students, sit in on a class, or attend a concert or lecture; email ahead to see what is possible.

Admissions Requirements

Phd program.

To apply to the PhD program in musicology, ethnomusicology, theory, composition or CPCI, you must make an application to the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences (Harvard Griffin GSAS). All applications are online, and may be found (along with all the requirements, fee information, and procedures) at http://www.gsas.harvard.edu/apply All recipients of a four-year college degree or its international equivalent may apply (students with and without master’s degrees may apply). If you are unsure whether you are eligible, please read the Harvard Griffin GSAS guidelines. Admissions decisions are made by Music Department faculty, who weigh a combination of factors such as past academic record, strength of scholarly (or compositional or performance) work, and recommendations. The TOEFL test may be required if English is not your first language (recommended minimum score is 80). Detailed information pertaining to requirements for admission are on the Harvard Griffin GSAS site listed above. The GRE General Examination is optional for all applicants.

Samples of previous work

Applicants to the all programs must submit, along with their applications, samples of their previous scholarly work (for composition applicants, this means scores and recordings; see below). The online application will allow you to upload up to 20 pages of material.

Applicants to the Creative Practice and Critical Inquiry PhD program must also submit 20 to 30 minutes of original creative work, in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc.) or links to a file download (via Dropbox or similar). You may upload or share accompanying scores in PDF format to SLATE. Students should include a one page PDF containing links to online recordings. Applicants to the composition PhD program must submit three compositions in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc). Recordings can be submitted as links to SoundCloud or other online resources. Students should include a one page PDF containing links to online recordings and PDF scores where applicable. The year of composition must be marked on all scores and recordings.

Submitting an Application

Harvard Griffin GSAS handles the admissions materials. All questions about the admissions process, as well as all application supplementary materials, should be sent to them by December 31 for candidates who seek entrance in the following fall term.

Admissions and Financial Aid Graduate School of Arts and Sciences Harvard University 1350 Massachusetts Avenue Holyoke Center 350 Cambridge, MA 02138-3654

Download an application electronically: http://www.gsas.harvard.edu/apply You are required to upload all supporting documents (transcripts, writing samples, recommendations, etc) to the online application. If you have questions about your application, call 617-496-6100 (2-5pm EST) or write [email protected] For financial aid questions call 617-495-5396 or email [email protected] NOTE: Please do not call the Music Department about the status of your application or the return of your materials. Application materials only come to the Music Department at the very last stages of the process, and are held here in complete confidentiality until admissions recommendations are made.

We have a robust graduate student community, including through the Graduate Music Forum, weekly colloquia and lunch talk series, and performances ensembles in the GSAS Student Center. For more information about community activities happening in the music department, please consult the resources for graduate students page .

Visiting the Department

You are welcome to visit the Department at any time, although we in no way require or expect you to make the trip. We regret that we are not able to make appointments with individual faculty members during a pre-admissions visit.

If you do decide to make a visit prior to the admissions deadline there are optimum times to visit, such as between October and our December holiday break. If you visit at another time of the year, check the academic schedule to avoid reading/exam periods and semester breaks. It is not necessary to visit, nor should you see it as a way to improve your chances of admission.

Rather, a visit is simply a good way to learn about our Department’s intellectual environment and infrastructure. We urge you to consult the course schedule so that you can plan to sit in on one or more graduate seminars (please ask permission of the instructing professor first: music professors can be reached via email at [email protected]). This is the best way to get to know the professors and students.

You may also want to attend any colloquia, lectures, or faculty seminars that coincide with your visit (check our calendar ), or to tour the Music Library and other Harvard libraries. It may also be possible to chat informally with some of our current graduate students, who are apt to be working in the department and library during the academic year.

Admitted students are invited to visit as part of our admissions process (usually in March). At that time, admitted students meet with faculty, get to know our current students, and are introduced to other students who have also been admitted. This is not required, but is a good way for admitted students to get a sense of the program before they make their final decision.

Secondary Field in Musicology/Ethnomusicology

• Completion of a minimum of four courses in Music. • One of these courses must be an introductory course: Music 201a: Introduction to Historical Musicology, Music 201b: Introduction to Ethnomusicology, or Music 221: Current Issues in Theory. • The remaining three courses may be chosen from other graduate courses (200 level: “Primarily for Graduates”) or intermediate courses (150 level or above: “For Undergraduates and Graduates”). (No more than two courses may be chosen from the 150 or above level.) • Neither Pass/Fail nor audited courses will count towards a secondary PhD field. Contact the advisor in Ethnomusicology or in Musicology in the Department of Music for additional information on a secondary PhD field.

Declaring a Secondary Field

Students interested in declaring a secondary field in music should submit the “GSAS Secondary Field Application” to the Director of Graduate Studies as evidence of their successful participation in four appropriate courses in the Music Department. Once they obtain the approval of the DGS they and the registrar will receive certification of successful completion of secondary field requirements.

For further information contact the Director of Graduate Studies, Harvard University Department of Music, Music Building, Harvard University, Cambridge, MA 02138 617-495-2791 [email protected]

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You will have access to an incredible array of resources, including the Eda Kuhn Loeb Music Library, the John Knowles Paine Concert Hall, the Isham Memorial Library, the Harvard University Studio for Electroacoustic Composition, and the Sound Lab, which offers media production suites and equipment.

With a large endowment fund, the program is able to offer you funding from sources outside Harvard Griffin GSAS. You will also have the opportunity to take advantage of many available fellowships and travel, research and writing, and conference funding throughout the year.

Examples of theses and dissertations that graduates have completed include “Activism and Music in Poland, 1978–1989,” “Art of Noise: Sound and Media in Milan, ca. 1900,” “Black Musics, African Lives, and the National Imagination in Modern Israel,” and “Technologies of Transgression and Musical Play in Video Game Cultures.”

Most graduates go on to positions in academia at institutions like the University of Southern California, Michigan State University, and University of Cambridge in England.

AM in Performance Practice *

* Applications are not currently being accepted

The AM in music with a specialty in performance practice is designed to provide intellectual and scholarly background to finished musicians who are preparing or engaged in careers as performers and teachers. The emphasis is on preparing students to work with sources, editions, theoretical writings, organology, and other matters of importance to performance styles as related to repertories. Additional areas such as differences in the meaning of terminology and notation from composer to composer or from era to era, ornamentatio, liberties of tempo and declamation, and improvisation will be addressed. It is a two-year program in which students take a selection of departmental courses focused on this specialty and write an AM thesis.

Additional information on the graduate program is available from the Department of Music and requirements for the degree are detailed in Policies .

Areas of Study

* Applications for Performance Practice AM are not currently being accepted

Admissions Requirements

Please review admissions requirements and other information before applying. You can find degree program-specific admissions requirements below and access additional guidance on applying from the Department of Music .

Samples of Previous Work

Applicants to all programs must submit samples of their previous scholarly work by uploading it in the Additional Materials section of the application. Applicants to the Creative Practice and Critical Inquiry PhD program must also submit 20 to 30 minutes of original creative work, in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc.) or links to a file download (via Dropbox or similar) by using the Digital Portfolio section of the application. Applicants to the composition PhD program must submit three compositions in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc.). Recordings can be submitted as links to SoundCloud or other online resources by using the Digital Portfolio section of the application. Students should include a one-page PDF containing links to online recordings and PDF scores where applicable. The year of composition must be marked on all scores and recordings.

Standardized Tests

GRE General: Optional

AM In Performance Practice*

* Applications are not currently being accepted Ordinarily, the department expects to enroll one to two AM students a year or every two years. No auditions are required. Financial aid for this program is very limited. Students may apply for Paine Traveling Fellowships and/or the Department Travel Fund to support some of their research. All fellowship funding is at the discretion of the Scholarship Committee. Other University funding may be available. NOTE: AM students wishing to continue at Harvard for the PhD will submit a new application through the standard admission process. Students admitted to the PhD program will be granted credit for work done at Harvard or elsewhere according to departmental guidelines.

Theses & Dissertations

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Music: Music Studies, PhD

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Music: Jazz and Popular Music, Minor
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Music: Composition, PhD

The graduate program in Music Studies at the University of Pennsylvania serves students who intend to conduct cutting-edge research, produce high-quality scholarship, and develop teaching and professional skills in order to pursue academic positions in music studies; it also serves those who want to consider career opportunities beyond academia in both music and non-music domains. Faculty apply methodological tools from ethnomusicology, sound studies, musicology, and music theory to a wide range of research projects. The goal of the graduate program is not to entrench these disciplinary distinctions, but rather to seek out productive and innovative means of placing them in dialogue with each other. This orientation toward holding all of the sub-disciplines in view is reflected in the graduate curriculum as well as in the multiple colloquium series that animate departmental life. The curriculum is designed with flexibility in mind—designed specifically to offer students the freedom to craft a path of study that best addresses the research needs and methodological concerns of their particular dissertation projects. It combines the wide range of courses offered by the world-class faculty in the music department with the possibility of enrolling in seminars in other Penn departments and taking classes at consortium schools such as Princeton, Yale, and Columbia. Our colloquium series provides another means of engaging in both disciplinary and interdisciplinary conversations. In addition, workshops, public performances, and working papers presented by graduate students, post-doctoral fellows and faculty offer a wide range of perspectives on musical practice and scholarship, focusing variously on public lives in music, current research, craft and compositional issues. The faculty is particularly interested in teaching and research in the following areas: Archives, Textualities, and Materialities; Audio Politics and Sound Studies; Conflict, Healing, and Displacement; Gender, Sexuality, and the Body; Global Medieval/Renaissance; the Global South; History, Memory, and Intangible Heritage; Life Forms and Forms of Life; Opera and Performance Studies; Race, Ethnicity, and Empire; and Religion, Ritual, and Secularism. The Department of Music at the University of Pennsylvania also offers a Ph.D. program in composition.

For more information: https://music.sas.upenn.edu/

View the University’s Academic Rules for PhD Programs .

Practicum Exam

During the first semester of study, each student will work collaboratively with two faculty (these faculty members will be identified by the Director of Graduate Studies according to student research interests) to determine their areas of strength and opportunities for growth in repertorial knowledge. During the first meeting, each student should offer a self-assessment which will guide faculty toward a better sense of their listening habits and sound worlds. In subsequent meetings, students and faculty will explore a variety of possible areas/topics/repertories for listening and music study. During the second semester of study, the faculty and student will settle on 5 areas to be examined at the end of the first summer. These areas will be selected as follows: Faculty will select 2-3 areas; faculty and student will agree on a further 1-2 areas; the student will propose the final area. The structure of the exam should be settled and communicated to the Director of Graduate Studies during the Annual Review meeting (see below).

The exam will consist of two questions per area and students will answer 6 (one question from each area must be answered). Questions may take the form of scores, recordings, videos, and/or other objects. Answers should interact with and work toward an identification of the score, recording, or video in question. Emphasis in evaluation will be placed more on the quality of the interaction and less on exact identification. Students will sit for the exam in the week before classes resume (late August) and students will be allotted 4 hours to select and prepare their answers.

Practicum exams will be evaluated based on the following structure:

Pass: A Pass on all portions of the examination is required for admission to the Ph.D. program.

Partial Pass : The student must take some portion of the examination again (normally at least four months later) before the question of admission to the doctoral program is decided.Failure to achieve a Pass during the second sitting may result in an offer of a terminal master’s degree(see Annual Review).

Comprehensive Review

During the third year of study, students will complete three comprehensive essays and prepare a dissertation proposal (see below for descriptions). These comprehensive essays and the dissertation proposal (both approved by the dissertation committee) must be submitted for review to the graduate group faculty no later than two weeks prior to the Comprehensive Review. In April of that year (dates set by the faculty exam committee at the beginning of the Spring Semester), each student will sit for their Comprehensive Review. The faculty exam committee, along with the student’s principal advisor will be in attendance. Topics of discussion will include the comprehensive essays, the intellectual terrain that they trace, the quality of the work, and the opportunities it suggests for ongoing research. The dissertation proposal will also be discussed, both in terms of content and also with a view toward the research phase of the project.

Comprehensive Essays

The comprehensive essays will consist of three essays of no more than 3,000 words each. Each student will select topics for these essays in consultation with their advisor, the Exam Committee, and the Director of Graduate Studies. The essays will take the form of literature reviews, tracing the history and current state of research in fields related to but not directly overlapping with the dissertation project. While each student will constitute these essays in different ways, students will often include at least one essay on a theoretical topic and another on a more regional or temporal topic. The comprehensive essays must be submitted for review to the graduate group faculty no later than two weeks prior to the student’s comprehensive review.

Dissertation Proposal

The dissertation proposal is an essay of approximately 15-20 pages plus bibliography outlining the dissertation project, illustrating the disciplinary and theoretical stakes of the work, indicating the interventions that this project will make within music studies and related disciplines, and laying out the arc of the research and writing plan for the project. The proposal is prepared under the supervision of a dissertation advisor and at least two additional faculty (the dissertation committee). The dissertation committee must be chaired by a member of the graduate group in music and an additional member of the committee must be drawn from within the department. The third member of the committee may be selected from within the department, from other departments at Penn, or from an outside institution. Some students choose a committee of four. Students will find additional support for their work on the dissertation proposal in the Dissertation Proposal/Grant Writing Workshop. A final draft of the dissertation proposal, approved by the dissertation committee, must be submitted for review to the graduate group faculty no later than two weeks prior to the student’s comprehensive review.

Dissertation

Each student is responsible for making certain that the dissertation conforms to all requirements and specifications of the Provost's office, details of which should be requested at an early date. Early in the semester in which students expect to complete the dissertation, they should carefully review the Graduation Calendar . It is each student’s responsibility to see that all the deadlines listed therein are met. The Department of Music requires that a bibliography be provided in all dissertations. A final draft of the dissertation should be circulated to the entire dissertation committee at least one month prior to the submission deadline so that any changes suggested by the committee can be incorporated into the final version.

Approved dissertations must be submitted on-line; see the Graduate Degrees website for more details. Additional details can be found in the Handbook for Graduate Students in Music .

Public Dissertation Defense

In consultation with the dissertation committee, and with reference to the yearly deadlines for dissertation submission, students will schedule a dissertation defense. This public event constitutes the final examination for the Ph.D. degree. A final draft of the PhD dissertation must be submitted for review to the graduate group faculty no later than two weeks prior to the student’s dissertation defense. Please see the Graduation Calendar for deadlines.

Language Requirement

Reading knowledge of two languages is required for students in music studies. Reading knowledge of one language is required for students in composition. Students will select their language exams in consultation with the graduate chair and faculty, with the understanding that their selections should relate clearly to the their projected plan of study and proposed dissertation topic. Students for whom English is not their native language may choose their native language as one of their two language exams if they plan to conduct significant research/fieldwork in that language or in cases where a major corpus of literature pertinent to the student’s field of research exists in that language.

Language Examinations

Language examinations are given twice each year: at the beginning of the fall term and at the beginning of the spring term. Students must take an examination at each of these times until their language requirements have been met. Each language examination consists of a passage of approximately 500 words selected from a representative work of musical scholarship. The student is given two hours to write an English translation. Use of a dictionary is permitted.

Reading courses in French, Italian, and German are administered by the Graduate Division during the summer (May through June), and are available to Ph.D. students at no cost. Students may register for undergraduate language courses as a fourth course as ‘auditors.’ Graduate credit will not be granted for such undergraduate language courses.

The degree and major requirements displayed are intended as a guide for students entering in the Fall of 2023 and later. Students should consult with their academic program regarding final certifications and requirements for graduation.

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Master of Arts / PhD

Innovative Music Scholars

UCLA’s Department of Musicology is one of the most successful graduate programs in American musicology. Recent alumni of the department teach at the University of Michigan, UT Austin, UC Irvine, Michigan State, Dalhousie University, Bates College, and other schools across the nation and the world. Our intellectual community is strikingly diverse, with U.S. graduate students from all regions of the country, international students from Canada, Mexico, Holland, Bermuda, Guatemala and Korea, and visiting scholars from as far away as China and the Ukraine.

As a training-ground for the next generation of adventurous, inventive music scholars, our Ph.D. program develops students’ creative and critical voices in a wide variety of chosen subfields; provides them with rich opportunities for establishing intellectual and professional networks; and gives them pedagogical training and experience second to none. Our graduate seminars explore topics and theories from musical Nationalism to the history of improvisation, musical camp to Dufay, opéra-comique to hands-on explorations of “public musicology.” Current graduate research interests include (but are by no means limited to!) David Bowie, Soviet music theory pedagogy, early modern anglophone devotional poetry and song, proto-punk musical experimentalism, music as cultural diplomacy during the Pan American era, 17th- and 18th-century operatic adaptations of Shakespeare’s works, music in marginal cinemas (horror, slasher, etc.).

The UCLA Musicology department normally enrolls 4-5 students per year. We accept applications for the Ph.D. only (an M.A. is normally awarded to eligible students after two years). The department is committed to competitive multi-year packages of support, and at the present time can usually guarantee a minimum of one year of fellowship and three plus years of teaching assistantship to incoming students. Students normally graduate 5-6 years after matriculation.

“I’ve always been interested in how people use music of the past – the historical past and their own personal past. At UCLA I got to study nostalgia and uses of the past in rock music of the early 70s, allowing me to think about music that I’ve heard my entire life (for example, “American Pie” or “Led Zeppelin IV”) in a completely new way.” – Caitlin Vaughn Carlos Ph.D. ’21 | Musicology

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The PhD in Music is available as a full-time programme lasting three years, or a part-time programme lasting five years. It is available in all areas in which we can offer supervision, including historical musicology, analysis, ethnomusicology, sound studies, music cognition, composition and practice-based research in performance.

The majority of postgraduate students in the Faculty undertake research that is directly connected with the particular research interests of specific Faculty members. If you are planning an application, we recommend that you initially get in touch with the member of staff whose interests seem most in line with yours. Our Research Themes page gives an overview of the principal areas of the Faculty’s research and the academic staff who work in these areas.

Because of the diversity of research topics pursued, the PhD programme in music at Cambridge does not involve a core taught component. There are a variety of skills training opportunities, and some incoming research students audit courses offered within our MPhil programme, but in general you will be working primarily with your individual supervisor. Your formal studies will be complemented by attendance at Faculty colloquia and seminars, while membership of a college will enable you to socialise with students and others from a wide variety of disciplines. Studying for a PhD at Cambridge gives you access to facilities and a range of Research Resources that compare favourably with anywhere in the world.

Recorded performances may now be included within a doctoral submission, along with an academic thesis of the standard length. Students who wish to pursue this possibility are encouraged to make contact with the member of staff most relevant to their particular performance-related interests.

We realise that for many potential applicants, funding is a major issue; see Funding Postgraduate Study for information on costs and funding options. Applicants whose proposals involve fieldwork, performance tuition, or other substantial additional expenses should include an indication of approximate total costs as part of their application. While small grants may be available for research and travel purposes, these should not be expected to cover funding for your case studies, performance tuition or major fieldwork expenses. Some support for doctoral students undertaking fieldwork is also available from the School of Arts and Humanities.

The PhD programme is available on a part-time basis over five years, but please note that this is not a distance learning course and you will be expected to attend supervisions and participate in other Faculty activities in person, even if you don't live in Cambridge. If you come from outside the EU, please note that it is not possible to obtain a student visa for part-time study. See the University’s Graduate Admissions pages for further details on part-time study .

Further details of postgraduate life at Cambridge may be found on Cambridge Students webpages.

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PhD in Computer-Based Music Theory and Acoustics

The PhD program in computer-based music theory and acoustics is offered by the Department of Music through the Center for Computer Research in Music and Acoustics (CCRMA, pronounced "karma"). CCRMA is a multidisciplinary facility attracting PhD students from several departments and schools across campus including Computer Science (CS), Electrical Engineering (EE), Mechanical Engineering (ME), and Psychology (PSYCH).

While all CCRMA faculty hold positions within the Department of Music, Ge Wang holds a courtesy appointment in CS which enables him to serve as primary thesis advisor for PhD students in CS. All CCRMA faculty, including [adjunct and emeritus] ( https://ccrma.stanford.edu/about/faculty-and-staff ), can be secondary advisors on your committee. [N.B. Application for graduate study is handled by the corresponding home department.]

Below you will find a chart with the placement of the major milestones for your career as a doctoral student in computer-based music theory and acoustics. Please note that each of the major milestones and recommended/required coursework for the degree plan are discussed and defined more elaborately in the Department of Music Graduate Handbook .

Milestones and Examinations

Autumn: Y1Q1 Enroll in: 12-18 units, 15 recommended (enroll in Music 220A, Music 305D) Qualifying Exam preparation Milestone: Diagnostic Exams (read about ALL exams in the Music Graduate Student Handbook )
Winter: Y1Q2 Enroll in: 12-18 units, 15 recommended (enroll in Music 220B) Qualifying Exam preparation
Spring: Y1Q3 Enroll in: 12-18 units, 15 recommended Qualifying Exam preparation Establish Quals Committee and Inform GSSO
Summer: Y1Q4 Enroll in 1 unit only Qualifying Exam preparation Milestone: Qualifying Examination (taken in the week prior to the start of classes in Autumn Quarter of Year II)
Autumn: Y2Q1 Enroll in: 8-10 units, 10 recommended Milestone: Qualifying Examination (taken in the week prior to the start of classes) Associated Forms: Qualifying Exam Report (completed by faculty committee) ; Candidacy Form (after passing exam)
Winter: Y2Q2 Enroll in: 8-10 units, 10 recommended Milestone: PhD Reading Examination in a Foreign Language (any quarter prior to TGR; soonest recommended) Special Area Exam preparation & research

Spring: Y2Q3 Enroll in: 8-10 units, 10 recommended Special Area Exam preparation & research

Summer: Y2Q4 Enroll in 1 unit only Special Area Exam preparation & research

Autumn: Y3Q1 Enroll in: 8-10 units, 10 recommended Special Area Exam preparation & research
Winter: Y3Q2 Enroll in: 8-10 units, 10 recommended Special Area Exam preparation & research
Spring: Y3Q3 Enroll in: 8-10 units, 10 recommended Special Area Exam preparation & research Milestone : Teaching Requirement met (upon completing the last six quarters of Teaching Assistantships)
Summer: Y3Q4 Enroll in 1 unit only
Autumn: Y4Q1 Enroll in: 8-10 units, 10 recommended Milestone: Special Area Exam (scheduled before the end of week nine) Milestone: Terminal Graduate Registration (TGR) acquired in fourth year (no later than the end of Spring quarter) Associated Form: TGR Petition (e-form; when 135 units reached; enroll in Music 802 ONLY after being granted TGR status) Milestone: D octoral Dissertation Reading Committee Form (consult with advisor; file before the end of quarter)
Winter: Y4Q2 Enroll in Music 802, TGR Dissertation with your advisor: 0-3 units
Spring: Y4Q3 Enroll in Music 802, TGR Dissertation with your advisor: 0-3 units Dissertation Research and Writing
Summer: Y4Q4 Enroll in Music 802, TGR Dissertation with your advisor: 0-3 units
Autumn, Winter, Spring: Y5Q1, Y5Q2, Y5Q3 and beyond Enroll in Music 802, TGR Dissertation with your advisor every quarter: 0-3 units Milestone: University Oral Dissertation Defense (scheduled prior to the end of week nine) Milestone: Dissertation Submission (submission of the Dissertation to the University Registrar) Apply to Graduate in Axess and let your SSO's know whether you will participate in the Department's commencement ceremony. OR Apply for Graduation Quarter enrollment status in Axess at the end of Spring quarter if not yet completed and let SSO's know if you plan on "walking through" a commencement celebration in the Department of Music !
Summer: Y5Q4 Enroll in Music 802, TGR Dissertation with your advisor: 0-3 units ( Graduation Quarter if needed ) Apply to Graduate in Axess.

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The Top 10 Most Interesting Music Research Topics

Music is a vast and ever-growing field. Because of this, it can be challenging to find excellent music research topics for your essay or thesis. Although there are many examples of music research topics online, not all are appropriate.

This article covers all you need to know about choosing suitable music research paper topics. It also provides a clear distinction between music research questions and topics to help you get started.

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What makes a strong music research topic.

A strong music research topic must be short, straightforward, and easy to grasp. The primary aim of music research is to apply various research methods to provide valuable insights into a particular subject area. Therefore, your topic must also address issues that are relevant to present-day readers.

Also, for your research topic to be compelling, it should not be overly generic. Try to avoid topics that seem to be too broad. A strong research topic is always narrow enough to draw out a comprehensive and relevant research question.

Tips for Choosing a Music Research Topic

Check with your supervisor. In some cases, your school or supervisor may have specific requirements for your research. For example, some music programs may favor a comparative instead of a descriptive or correlational study. Knowing what your institution demands is essential in choosing an appropriate research topic.
Explore scientific papers. Journal articles are a great way to find the critical areas of interest in your field of study. You can choose from a wide range of journals such as The Journal of Musicology and The Journal of the Royal Musical Association . These resources can help determine the direction of your research.
Determine your areas of interest. Choosing a topic you have a personal interest in will help you stay motivated. Researching music-related subjects is a painstakingly thorough process. A lack of motivation would make it difficult to follow through with your research and achieve optimal results.
Confirm availability of data sources. Not all music topics are researchable. Before selecting a topic, you must be sure that there are enough primary and secondary data sources for your research. You also need to be sure that you can carry out your research with tested and proven research methods.
Ask your colleagues: Asking questions is one of the many research skills you need to cultivate. A short discussion or brainstorming session with your colleagues or other music professionals could help you identify a suitable topic for your research paper.

What’s the Difference Between a Research Topic and a Research Question?

A research topic is a particular subject area in a much wider field that a researcher chooses to place his emphasis on. Most subjects are extensive. So, before conducting research, a researcher must first determine a suitable area of interest that will act as the foundation for their investigation.

Research questions are drawn from research topics. However, research questions are usually more streamlined. While research topics can take a more generic viewpoint, research questions further narrow the focus down to specific case studies or seek to draw a correlation between two or more datasets.

How to Create Strong Music Research Questions

Strong music research questions must be relevant and specific. Music is a broad field with many genres and possible research areas. However, your research question must focus on a single subject matter and provide valuable insights. Also, your research question should be based on parameters that can be quantified and studied using available research methods.

2. Hip-hop Culture and Its Effect on Teenage Behavior

In 2020, hip-hop and RnB had the highest streaming numbers , according to Statista. Without a doubt, hip-hop music has had a significant influence on the behavior of young adults. There is still the need to conduct extensive research on this subject to determine if there is a correlation between hip-hop music and specific behavioral patterns, especially among teenagers.

3. The Application of Music as a Therapeutic Tool

For a long time, music has been used to manage stress and mental health disorders like anxiety, PTSD, and others. However, the role of music in clinical treatment still remains a controversial topic. Further research is required to separate fact from fiction and provide insight into the potential of music therapy.

4. Contemporary Rock Music and Its Association With Harmful Social Practices

Rock music has had a great influence on American culture since the 1950s. Since its rise to prominence, it has famously been associated with vices such as illicit sex and abuse of recreational drugs. An excellent research idea could be to evaluate if there is a robust causal relationship between contemporary rock music and adverse social behaviors.

5. The Impact of Streaming Apps on Global Music Consumption

Technology has dramatically affected the music industry by modifying individual music consumption habits. Presently, over 487 million people subscribe to a digital streaming service, according to Statista. Your research paper could examine how much of an influence popular music streaming platforms like Spotify and Apple Music have had on how we listen to music.

6. Effective American Music Education Practices

Teaching practices have always had a considerable impact on students’ academic success. However, not all strategies have an equal effect in enhancing learning experiences for students. You can conduct comparative research on two or more American music education practices and evaluate their impact on learning outcomes.

7. The Evolution of Music Production in the Technology-driven Era

One of the aspects of music that is experiencing a massive change is sound production. More than ever before, skilled, tech-savvy music producers are in high demand. At the moment, music producers earn about $70,326 annually, according to ZipRecruiter. So, your research could focus on the changes in music production techniques since the turn of the 21st century.

8. Jazz Music and Its Influence on Western Music Genres

The rich history of jazz music has established it as one of the most influential genres of music since the 19th century. Over the years, several famous composers and leading voices across many other western music genres have been shaped by jazz music’s sound and culture. You could carry out research on the influence of this genre of music on modern types of music.

9. The Effect of Wars on Music

Wars have always brought about radical changes in several aspects of culture, including music styles. Throughout history, we have witnessed wars result in the death of famous musicians. If you are interested in learning about music history in relation to global events, a study on the impact of wars on music will make an excellent music research paper.

10. African Tribal Percussion

African music is well recognized for its unique application of percussion. Historically, several tribes and cultures had their own percussion instruments and original methods of expression. Unfortunately, this musical style has mainly gone undocumented. An in-depth study into ancient African tribal percussion would make a strong music research paper.

Music Research Questions

What is the relationship between country music and conservationist ideologies among middle-aged American voters?
What is the effect of listening to Chinese folk music on the critical thinking skills of high school students?
How have electronic music production technologies influenced the sound quality of contemporary music?
What is the correlation between punk music and substance abuse among Black-American males?
How does background music affect learning and information retention in children?

Choosing the Right Music Research Topic

Your research topic is the foundation on which every other aspect of your study is built. So, you must select a music research topic that gives you room to adequately explore intriguing hypotheses and, if possible, proffer practically applicable solutions.

Also, if you seek to obtain a Bachelor’s Degree in Music , you must be prepared to conduct research during your study. Choosing the right music research topic is the first step in guaranteeing good grades and delivering relevant, high-quality contributions in this constantly expanding field.

Music Research Topics FAQ

A good music research topic should be between 10 to 12 words long. Long, wordy music essay topics are usually confusing. They can make it difficult for readers to understand the goal of your research. Avoid using lengthy phrases or vague terms that could confuse the reader.

Journal articles are the best place to find helpful resources for your music research. You can explore reputable, high-impact journal articles to see if any research has been done related to your chosen topic. Journal articles also help to provide data for comparison while carrying out your research.

Primary sources carry out their own research and cite their own data. In contrast, secondary sources report data obtained from a primary source. Although primary sources are regarded as more credible, you can include a good mixture of primary and secondary sources in your research.

The most common research methods for music research are qualitative, quantitative, descriptive, and analytical. Your research strategy is arguably the most crucial part of your study. You must learn different research methods to determine which one would be the perfect fit for your particular research question.

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500+ Music Research Topics

Music is a universal language that has the power to evoke emotions, bring people together, and express complex ideas and feelings. As a result, it has been the subject of extensive research and analysis across a wide range of fields, from psychology and neuroscience to sociology and cultural studies. Whether you are a music student, researcher , or simply a curious enthusiast, there are countless fascinating and important topics to explore within the realm of music research. From the history and evolution of different musical genres to the impact of music on human behavior and cognition, the possibilities for investigation and discovery are virtually endless. In this post, we will highlight some of the most interesting and relevant music research topics that you can explore in your own studies or simply as a way to deepen your appreciation and understanding of this rich and diverse art form.

Music Research Topics

Music Research Topics are as follows:

The impact of music on memory retention.
The evolution of hip-hop music and its influence on popular culture.
The relationship between music and emotions.
The role of music in religious and spiritual practices.
The effects of music on mental health.
The impact of music on athletic performance.
The role of music in therapy and rehabilitation.
The evolution of classical music through the ages.
The impact of technology on music creation and distribution.
The relationship between music and language acquisition.
The cultural significance of music in different parts of the world.
The influence of popular music on politics and social issues.
The impact of music on academic performance.
The role of music in film and television.
The use of music in advertising and marketing.
The psychology of musical preferences.
The effects of music on sleep patterns and quality.
The impact of music on creativity and productivity.
The influence of music on fashion and style.
The impact of music education on childhood development.
The role of music in memory recall and nostalgia.
The effects of music on physical health.
The relationship between music and brain development.
The impact of music on the immune system.
The influence of music on social behavior.
The evolution of jazz music and its impact on society.
The role of music in cultural preservation and identity.
The effects of music on stress levels and anxiety.
The relationship between music and social movements.
The impact of music on language learning and pronunciation.
The effects of music on learning and cognition.
The influence of music on political ideologies and movements.
The impact of music on academic achievement.
The relationship between music and cultural assimilation.
The role of music in international diplomacy.
The effects of music on physical performance and endurance.
The impact of music on memory consolidation and recall.
The influence of music on fashion trends and subcultures.
The role of music in socialization and identity formation.
The effects of music on perception and attention.
The impact of music on decision making and judgment.
The relationship between music and romantic attraction.
The role of music in social justice movements.
The effects of music on motor skills and coordination.
The influence of music on cultural exchange and globalization.
The impact of music on language and cultural barriers.
The relationship between music and cultural appropriation.
The role of music in community building and activism.
The effects of music on motivation and goal setting.
The influence of music on fashion advertising and marketing.
The impact of music on social inequality and discrimination.
The relationship between music and cultural hegemony.
The role of music in political propaganda and manipulation.
The effects of music on physical therapy and rehabilitation.
The influence of music on cultural diplomacy and international relations.
The impact of music on the environment and sustainability.
The relationship between music and social hierarchies.
The role of music in cultural exchange and intercultural communication.
The effects of music on creative thinking and problem solving.
The influence of music on consumer behavior and product preferences.
The impact of music on social mobility and economic inequality.
The relationship between music and cultural diversity.
The role of music in intergenerational communication and conflict resolution.
The effects of music on mood and emotional regulation.
The influence of music on cultural authenticity and representation.
The impact of music on memory in patients with Alzheimer’s disease.
The impact of music on recovery and rehabilitation in individuals with physical injuries.
The role of music in promoting cultural exchange and understanding in international education.
The role of music in promoting cultural sensitivity and understanding in international relations.
The role of music in promoting cultural sensitivity and understanding in international human rights.
The effects of music on cognitive functioning and mental health in individuals with ADHD.
The relationship between music and cultural representation in the food and beverage industry.
The influence of music on cultural identity and mental health in individuals with mixed-sexual orientations.
The impact of music on job satisfaction and retention in the finance industry.
The role of music in promoting cultural diversity and understanding in international development.
The effects of music on emotional regulation and depression in individuals with post-traumatic stress disorder.
The relationship between music and cultural representation in the transportation industry.
The influence of music on cultural identity and mental health in individuals with mixed-abilities.
The impact of music on academic performance and motivation in college students.
The role of music in promoting cross-cultural understanding and acceptance in international cooperation.
The effects of music on social skills and behavior in individuals with autism spectrum disorder.
The relationship between music and cultural representation in the entertainment industry.
The influence of music on cultural identity and mental health in individuals with mixed-language backgrounds.
The impact of music on creativity and innovation in the tech startup industry.
The role of music in promoting cultural sensitivity and understanding in international peacekeeping.
The effects of music on cognitive functioning and mental health in individuals with traumatic brain injury.
The relationship between music and cultural representation in the travel industry.
The influence of music on cultural identity and mental health in individuals with mixed-socioeconomic backgrounds.
The impact of music on job satisfaction and productivity in the education industry.
The role of music in promoting cultural diversity and understanding in international cooperation.
The effects of music on emotional regulation and anxiety in individuals with generalized anxiety disorder.
The relationship between music and cultural representation in the home appliance industry.
The influence of music on cultural identity and mental health in individuals with mixed-culture backgrounds.
The impact of music on academic performance and motivation in graduate students.
The role of music in promoting cross-cultural understanding and acceptance in international diplomacy.
The effects of music on social skills and behavior in individuals with attention deficit disorder.
The relationship between music and cultural representation in the construction industry.
The influence of music on cultural identity and mental health in individuals with mixed-spiritual backgrounds.
The impact of music on creativity and productivity in the healthcare industry.
The role of music in promoting cultural sensitivity and understanding in international justice.
The effects of music on cognitive functioning and mental health in individuals with Parkinson’s disease.
The relationship between music and cultural representation in the hospitality industry.
The influence of music on cultural identity and mental health in individuals with mixed-political backgrounds.
The impact of music on job satisfaction and retention in the automotive industry.
The role of music in promoting cultural diversity and understanding in international diplomacy.
The effects of music on emotional regulation and depression in individuals with major depressive disorder.
The relationship between music and cultural representation in the telecommunications industry.
The influence of music on cultural identity and mental health in individuals with mixed-ethnic and racial backgrounds.
The impact of music on academic performance and motivation in high school students with disabilities.
The role of music in promoting cross-cultural understanding and acceptance in international trade.
The effects of music on social skills and behavior in individuals with borderline personality disorder.
The relationship between music and cultural representation in the fashion industry.
The influence of music on cultural identity and mental health in individuals with mixed-heritage backgrounds.
The effects of music on cognitive functioning and mental health in individuals with schizophrenia.
The relationship between music and cultural representation in the technology industry.
The influence of music on cultural identity and mental health in individuals with mixed-race identities.
The impact of music on job satisfaction and retention in the hospitality industry.
The role of music in promoting cultural diversity and understanding in global development.
The effects of music on emotional regulation and anxiety in individuals with social phobia.
The relationship between music and cultural representation in the toy industry.
The influence of music on cultural identity and mental health in individuals with mixed-faith backgrounds.
The impact of music on academic performance and motivation in high school students.
The effects of music on social skills and behavior in individuals with oppositional defiant disorder.
The relationship between music and cultural representation in the beauty industry.
The influence of music on cultural identity and mental health in individuals with mixed-ethnicity backgrounds.
The impact of music on creativity and productivity in the fashion industry.
The role of music in promoting cultural sensitivity and understanding in international aid.
The effects of music on cognitive functioning and mental health in individuals with dementia.
The relationship between music and cultural representation in the fitness industry.
The influence of music on cultural identity and mental health in individuals with mixed-gender identities.
The impact of music on job satisfaction and productivity in the technology industry.
The role of music in promoting cultural diversity and understanding in international tourism.
The effects of music on emotional regulation and depression in individuals with anxiety disorders.
The relationship between music and cultural representation in the pet industry.
The influence of music on cultural identity and mental health in individuals with mixed-education backgrounds.
The impact of music on academic performance and motivation in middle school students.
The effects of music on social skills and behavior in individuals with obsessive-compulsive disorder.
The relationship between music and cultural representation in the home decor industry.
The influence of music on cultural identity and mental health in individuals with mixed-sex identities.
The impact of music on creativity and innovation in the gaming industry.
The role of music in promoting cultural sensitivity and understanding in international conflict resolution.
The effects of music on cognitive functioning and mental health in individuals with bipolar disorder.
The relationship between music and cultural representation in the sports industry.
The influence of music on cultural identity and mental health in individuals with mixed-nationality and mixed-linguistic backgrounds.
The impact of music on job satisfaction and retention in the retail industry.
The role of music in promoting cultural diversity and understanding in global governance.
The effects of music on emotional regulation and anxiety in individuals with panic disorder.
The relationship between music and cultural representation in the electronics industry.
The influence of music on cultural identity and mental health in individuals with mixed-citizenship backgrounds.
The impact of music on academic performance and motivation in elementary school students.
The role of music in promoting cross-cultural understanding and acceptance in international security.
The effects of music on social skills and behavior in individuals with conduct disorder.
The relationship between music and cultural representation in the agriculture industry.
The influence of music on cultural identity and mental health in individuals with mixed-religious backgrounds.
The effects of music on cognitive functioning and mental health in individuals with traumatic brain injuries.
The influence of music on cultural identity and mental health in individuals with disability identities.
The role of music in promoting cross-cultural understanding and acceptance in the healthcare industry.
The effects of music on emotional regulation and anxiety in individuals with post-traumatic stress disorder (PTSD).
The influence of music on cultural identity and mental health in individuals with LGBTQ+ identities.
The impact of music on job satisfaction and productivity in the gig economy.
The role of music in promoting cultural sensitivity and understanding in education policy.
The effects of music on social skills and behavior in individuals with autism spectrum disorder (ASD).
The influence of music on cultural identity and mental health in individuals with mixed-age identities.
The impact of music on creativity and innovation in the advertising industry.
The role of music in promoting cultural diversity and understanding in urban planning.
The effects of music on cognitive functioning and mental health in individuals with attention deficit hyperactivity disorder (ADHD).
The relationship between music and cultural representation in the food industry.
The impact of music on job satisfaction and retention in the nonprofit sector.
The role of music in promoting cultural understanding and acceptance in international business.
The effects of music on emotional regulation and depression in individuals with chronic pain.
The relationship between music and cultural representation in the gaming industry.
The influence of music on cultural identity and mental health in individuals with mixed-sexual orientation identities.
The role of music in promoting cross-cultural communication and understanding in foreign policy.
The effects of music on social skills and behavior in individuals with social anxiety disorder.
The relationship between music and cultural representation in the craft industry.
The influence of music on cultural identity and mental health in individuals with mixed-disability identities.
The impact of music on creativity and productivity in the media industry.
The role of music in promoting cultural sensitivity and understanding in corporate social responsibility.
The effects of music on cognitive functioning and mental health in individuals with substance use disorders.
The relationship between music and cultural representation in the automotive industry.
The impact of music on job satisfaction and productivity in the education sector.
The role of music in promoting cultural diversity and understanding in international law.
The relationship between music and cultural representation in the wellness industry.
The influence of music on cultural identity and mental health in individuals with mixed-nationality backgrounds.
The impact of music on academic performance and motivation in adult learners.
The role of music in promoting cultural understanding and acceptance in global governance.
The relationship between music and cultural representation in the furniture industry.
The influence of music on cultural identity and mental health in individuals with mixed-generational backgrounds.
The impact of music on creativity and innovation in the film industry.
The role of music in promoting cultural integration and social cohesion in diverse communities.
The effects of music on cognitive functioning and mental health in individuals with multiple sclerosis.
The relationship between music and cultural representation in the tech industry.
The influence of music on cultural identity and mental health in second-generation immigrants.
The role of music in promoting cross-cultural communication and understanding in diplomacy.
The effects of music on emotional regulation and self-esteem in individuals with eating disorders.
The relationship between music and cultural representation in the publishing industry.
The influence of music on cultural identity and mental health in biracial and multiracial families.
The impact of music on creativity and innovation in the workplace.
The role of music in promoting cultural awareness and sensitivity in the criminal justice system.
The effects of music on social skills and behavior in individuals with schizophrenia.
The influence of music on cultural identity and mental health in individuals with refugee backgrounds.
The role of music in promoting cultural understanding and acceptance in global marketing.
The effects of music on emotional regulation and anxiety in individuals with obsessive-compulsive disorder (OCD).
The influence of music on cultural identity and mental health in individuals with mixed religious backgrounds.
The impact of music on academic achievement and retention in community college students.
The role of music in promoting cultural exchange and understanding in international development.
The effects of music on social skills and behavior in individuals with bipolar disorder.
The relationship between music and cultural representation in the luxury goods industry.
The influence of music on cultural identity and mental health in individuals with immigrant parents.
The impact of music on creativity and productivity in the tech industry.
The role of music in promoting cultural sensitivity and understanding in journalism.
The effects of music on emotional regulation and depression in individuals with chronic fatigue syndrome.
The relationship between music and cultural representation in the wine industry.
The influence of music on cultural identity and mental health in individuals with non-binary gender identities.
The impact of music on job satisfaction and productivity in remote workers.
The role of music in promoting cultural diversity and understanding in international relations.
The role of music in promoting cultural awareness and sensitivity in diplomacy.
The effects of music on emotional regulation and self-esteem in individuals with body dysmorphia.
The influence of music on cultural identity and mental health in individuals with immigrant grandparents.
The role of music in promoting cultural understanding and acceptance in global advertising.
The effects of music on social skills and behavior in individuals with borderline intellectual functioning.
The relationship between music and cultural representation in the fragrance industry.
The influence of music on cultural identity and mental health in individuals with mixed-citizenship status.
The impact of music on creativity and productivity in the creative industries
The relationship between music and social cohesion in diverse communities.
The role of music in social justice movements and protests.
The effects of music on pain management and perception.
The influence of music on cultural hybridity and globalization.
The impact of music on social identity and self-esteem.
The relationship between music and cultural imperialism.
The role of music in therapeutic settings for children and adolescents.
The effects of music on language development in bilingual children.
The influence of music on cultural representation in the media.
The impact of music on interpersonal relationships and communication.
The relationship between music and cultural hegemony in the digital age.
The role of music in community-based initiatives for social change.
The effects of music on mental health in marginalized communities.
The influence of music on cultural identity and self-expression.
The impact of music on academic engagement and success in at-risk students.
The relationship between music and cultural appropriation in popular culture.
The role of music in cultural diplomacy and international relations in the 21st century.
The effects of music on cognitive processing in individuals with attention-deficit/hyperactivity disorder (ADHD).
The influence of music on cultural hybridity and transnationalism.
The impact of music on social justice advocacy and awareness-raising.
The relationship between music and cultural resistance in marginalized communities.
The role of music in the negotiation of cultural identities in the diaspora.
The effects of music on language processing and learning in second language acquisition.
The influence of music on cultural exchange and intercultural communication in the digital age.
The impact of music on academic achievement in students with disabilities.
The relationship between music and cultural hegemony in the music industry.
The role of music in the socialization and empowerment of girls and women.
The effects of music on physical health in individuals with chronic pain.
The influence of music on cultural authenticity and representation in the tourism industry.
The impact of music on the construction of gender and sexuality in popular culture.
The relationship between music and cultural appropriation in the fashion industry.
The role of music in promoting cross-cultural understanding and empathy.

About the author

Muhammad Hassan

Researcher, Academic Writer, Web developer

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School of Arts and Creative Technologies

PhD and MPhil in Music

Combine creativity and innovation with academic study to develop key skills for your future career in the field, academia or research.

If your passion lies in research, our doctoral degrees provide the opportunity to combine academia with creativity and innovation. Study with us and receive expert research guidance from our supportive staff, who will encourage you to achieve your full potential.

Your research

Research in Music at the University of York is wide ranging. We have specialists in historical, cultural and critical musicology, composition (acoustic and electronic), performance (especially contemporary performance practices and historical informed practice), music analysis, music education, music psychology and cognition, music AI, and new audio technologies. Many projects are interdisciplinary, involving collaboration with researchers beyond Music.

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York as a city is recognised as a hotbed of creative talent, acting as a gateway to international markets. For two millennia York has been the meeting point for ideas and creativity. Today it is nicknamed the 'City of Festivals'.

Variety of ensembles

Immerse yourself in music and join one of our many staff-conducted or student-led ensembles. From gospel choir to Gamelan to musical theatre societies, York has ample opportunities for you to perform with like-minded people. We also hold a vibrant weekly concert programme.

Explore Arts and Creative Technologies funding for PhD/MPhil researchers and wider postgraduate support.

Supervision

We'll help match your research interests to our supervisory expertise. You'll have a weekly or fortnightly meeting with your supervisor during semester time.

Fantastic facilities

You’ll have access to the Sir Jack Lyons Concert Hall and the Rymer Auditorium, as well as five recording studios, fantastic practice facilities and our large collection of historical and world instruments.

Research excellence

We are rated in the UK Top 30 for music research according to the Times Higher Education's ranking of the latest REF results (REF 2021).

Course location

This course is run by the School of Arts and Creative Technologies.

You will be based mostly on Campus West . Most of your training and supervision meetings will take place here. Some of our facilities are based on Campus East , and your research may take you further afield.

Entry requirements

An MA degree with the equivalent of a distinction or very high merit, or equivalent experience.

For the composition pathway, you should have an MA in Composition and be able to evidence a high level of ability and originality in composition.

For the performance pathway, you should be able to demonstrate sustained professional experience as a performer.

If you have any questions about the suitability of your qualifications, please contact a member of staff.

English language requirements

If English is not your first language you must provide evidence of your ability.

Apply for the PhD in Music

Apply for the MPhil in Music

Take a look at the supporting documents you may need for your application.

Find out more about how to apply .

Identify a supervisor

You should identify a potential supervisor in our faculty whose area of research overlaps with yours. We encourage you to contact them to discuss your research proposal before you apply.

You should note your preferred supervisor in your application.

Supporting documents

We require you to submit the following documents:

If you wish to specialise in composition, supply two examples of scores you have composed and, if available, recordings of performances of your compositions.
If you wish to specialise in performance, you will be required to play or sing if you are invited to an interview, and you should bring with you to the interview an essay of about 3,000 words on a topic related to performance practice. If you are unable to attend an interview then you should send a certified recording of a recent performance and an essay of about 3,000 words on a topic related to performance practice.
If you wish to specialise in another area, eg musicology, analysis, ethnomusicology or music education, supply an essay of 3,000 to 5,000 words on a topic related to your proposed field of study.

Submit your application

You can apply and send all your documentation electronically through our online system. You don’t need to complete your application all at once: you can start, save, and finish it later.

We will respond to your application in four to six weeks. You may track the status of your application and view any official correspondence online.

Careers and skills

Your PhD or MPhil will help to extend your qualifications, giving you the ability to use analysis-based research for application within music including in contemporary music, musical cultures and communities and music, science and technology. You will become equipped with transferable skills in using creativity to solve problems, critical analysis and composition, presentation and performance. Ultimately, your PhD will help to open the door to various creative, technical, analytical, research and managerial roles in your chosen field within this growing industry.

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University Libraries

Music research: dissertation and thesis guidance for topic selection and copyright permissions.

Introduction
Article Databases
Reference Sources
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Dissertation and Thesis Guidance for Topic Selection and Copyright Permissions

Selecting a topic is the first consideration for a writer of a dissertation or thesis. This will of course be done in consultation with their major professor. The PhD, DMA, or master's student is required do original research. This might involve making new discoveries about an already well-researched topic or making discoveries about an unfamiliar topic. Someone might think there is nothing new to be discovered about a composer such as Bach or Beethoven, for example, but that may not be the case. An unfamiliar topic might seem safer, but that may not be the case. In considering a topic, the student should begin by doing the most thorough search they can to see what has already been done. If they find little or nothing, the topic might be promising. However, for an unfamiliar topic, sometimes so little has been done that researching it is not even feasible. However, If research has been done, even if resources are only available in distant archives in other countries, the student could pursue the topic. It is unacceptable to ignore resources in distant or difficult to access places. Once a topic is approved and the student starts writing, there are important matters to deal with early on. One of them is the quoting of copyrighted material. U.S. copyright law includes provisions for fair use of copyrighted material for such purposes as scholarship and research. Quotation of very brief excerpts might qualify as fair use. However, for extended examples, the student must obtain written permission from the copyright holder. Their are many websites dealing with fair use. This one from the U.S. Copyright Office is helpful: https://www.copyright.gov/fair-use/ Determining the identity of a copyright holder is not always easy. For printed music which has been published, the copyright holder is the publisher. Many large publishing houses have links on their websites for requesting permissions. For a music manuscript, the copyright holder would be the composer, but only if that composer is still alive. If not, their estate or an institution such as a research library which has custody of the manuscript might be the copyright holder. Something similar might be the case for musical examples found on websites. The copyright holder for an image found on a website would be the provider of the website. It may be helpful for a student to know that sites such as Wikimedia Commons, https://commons.wikimedia.org/wiki/Main_Pag e offer many high-quality images which are in the public domain. Whatever the case, the student should investigate and request appropriate permissions well in advance of the completion of their dissertation or thesis. Many students have waited till the last minute, only to discover that the permissions are very difficult or impossible to obtain. Without the permissions, the examples cannot be used. Music library personnel are available to assist PhD, DMA, and master's students who need help with any of these aspects of working on their dissertations or theses. Please send your questions to [email protected] or come by the library to meet with us in person.

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Last Updated: Apr 22, 2024 10:14 AM
URL: https://guides.library.unt.edu/music-research

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Music (PhD)

Built around themes of music, health, community and culture, this four-year degree will benefit students interested in mastering their research skills and looking to make their mark in the fields of music therapy or community music.

Unique not only in Canada, but also internationally, the program curriculum is based on a Doctoral Action Plan, Problem-Based Learning, Peer Learning, and various Doctoral Special Seminar Topics (DSST).

Research pursuits are limitless, but may include music and wellness, music performance and transforming communities, music therapy interventions, music and the brain, global music practices, activism in health and well-being, music and aging, and music-medicine.

First program of its kind.

Diverse Doctoral Special Seminar Topics replace mandatory courses, personalizing your learning.

Options to focus research in Community Music or Music Therapy.

Program Details

Program structure.

The PhD in Music consists of 12 credits, comprised of a combination of Doctoral Seminar Special Topics (DSSTs), independent directed studies proposals relevant to their research topics as electives, seminars or symposia, research supervision, comprehensive exams and final dissertation writing and defense.

Because of the diversity of research topics pursued, the PhD program in Community Music/Music Therapy does not involve a core component; in general, the student works mainly with an individual supervisor and with their peer group.

Once the project is defined, methods established, and ethics approved, the subsequent years in the program are devoted to refining the research and moving forward in data collection. Along with collaborative learning, faculty advisement, and doctoral special topics seminars, the student develops a level of expertise in the specific field of focus.

Year One (Two Credits)

During the initial year of the program, students will work closely with a faculty advisor, research supervisor, and Collaborative Learning Communities (CLC) comprised of peer groups to establish and refine a research topic, scheduled goal-searching with task completion-related milestones, methodology planning, literature review, and symposium participation. Deliverables may include, but are not limited to:

5000-word research outline and plan for enacting the plan, including a timeline for completion;
Contractual Agreement with advisor(s) regarding frequency and expectations in prepared consultations;
Thorough literature review on research topic with annotated bibliography;
Completion of the 700-level topics and symposia as scheduled.

Year Two (Two Credits)

During the second year of the program, students will work closely with their research supervisor and Collaborative Learning Communities (CLC) comprised of peer groups to establish and refine the research proposal (LOI), literature review, and data collection launching. Deliverables may include, but are not limited to:

Literature review (publishable scoping review/systematic review on a chosen topic).
LOI presented for the PhD Committee.

Year Three (Four Credits)

During the third year of the program, students continue working closely with their research supervisor and Collaborative Learning Communities (CLC) formed of peer groups, to refine data collection, data analysis, and dissertation writing. Main tasks include, but are not limited to:

Data collection.
Data analysis.

Year Four (Four Credits)

During the final year of the program, students continue working closely with their research supervisor to finish their dissertation, and to prepare the oral defense. Main tasks include, but are not limited to:

Dissertation writing.
Oral defense.

As a research-intensive doctoral degree, curriculum provided through Doctoral Action Plan, Problem-Based Learning, Peer Learning, and various Doctoral Special Seminar Topics (DSST) are designed to enable students to achieve doctoral level learning outcomes, meeting the qualifications and criteria for PhD-level research specific activity.

Doctoral Action Plan

In the first year, students develop a Doctoral Action Plan. Under the supervision of a faculty advisor, personal and professional learning outcomes would be developed, and the action plan would include targets and milestones for the project. Research projects would be designed and approved in consultation with the advisor or advisors and include thorough literature reviews.

Problem-Based Learning

This doctoral program is informed by the principles of Problem-Based Learning offering constructivist strategies where the doctoral student assumes the role of a self-directed and self-regulated learner.

Peer Learning

Collaborative Learning Communities formed of peer groups will be established. By working within the peer group an enriched learning community is created where ideas and problems are shared, knowledge exchanged, and learning finds value at an academic, professional, and personal level. Learning communities will be in regular contact and meet intensively 2–3 times a year.

Teaching Assistantship

A paid teaching component, generated through Teaching Assistantships for undergraduate courses, will be an important part of the PhD student’s training. This will enhance the overall quality of the undergraduate and graduate student experience.

Faculty Advisor

Regular consultations with a faculty advisor will provide structure in meeting pre-determined milestones throughout the degree program. The frequency of these meetings will vary, depending upon the type of research undertaken and the progression stage of the student within the program. It is recommended that bi-weekly sessions be scheduled initially.

Doctoral Seminar Topics

Doctoral Seminar Special Topics are three-day intensives where students explore topics in-depth as a community of learners under the instruction of experts in the field. Three DSST’s will be scheduled annually. Students are required to attend at least two seminars each year with a minimum of eight required by the time of graduation.

DSST examples:

Community Music Therapy
Improvisation and Microanalysis
Neurological Foundations
Music and Aging Populations
Indigenous Perspectives
Music and Social Justice
Utilizing music to recover mental health challenges
Music, Songwriting, Listening and Leisure
The Role of Music throughout the Life Span
Music and Spirituality

Research Overview

During the second year of the program, a public, 45-minute presentation will be scheduled followed by Q/A and discussion. All faculty and grad students will be encouraged to participate. A major research study serves as the culminating evaluation. A dissertation (including arts-based research utilizing multi-media formats as pertinent to the student’s study) is required along with its successful defense. Each student will work with a faculty advisor or advisors over the duration of the program.

The student and advisor will establish deliverable dates where the student completes aspects of their study program, according to the outcomes designed and agreed upon ahead of time.

For example, Year 1 would include building a doctoral action plan where learning outcomes, project descriptions, literature reviews and research focuses are developed. Year 2 would include the ethics approval process and the start of data collection. It might also include an elective course and/or an applied placement. Pathways through the degree program are flexible and will be adapted to the student’s research focus.

Research Topics

A wide range of research topics are welcome, encouraging the student to explore areas of personal interest that have current relevance to the field. Personal and professional learning outcomes are developed, and the action plan will include targets and milestones for the project.

Upon approval of the proposed topic, the student will begin a research program under regular supervision. A supervisory committee comprised of two or more faculty will be established to support and provide feedback on the student’s progress, assessing the research plan.

Areas of Study

With a focus on either Community Music or Music Therapy , this degree would accommodate candidates interested in one or more of the following areas of study:

Music Therapy, Community Music Therapy, or Music Psychotherapy
Clinical music therapy - practice based/evidence-based research
Music therapy interventions: improvisation, music listening, song writing
Music therapy and creative arts practices
Music and health
Music and wellness
Music in palliative care
Studies in psychotherapy and counselling
Low frequency/sound vibration studies
Music and aging
Music and medicine
Music and brain
Music and cognitive neurosciences
Clinical improvisation in a Music Therapy context
Music Psychotherapy interventions and approaches
Music Therapy assessment
Community Music leadership and facilitation,
Freelance musicians with a passion for activism and/or health and wellbeing
Innovative practices in music education
Contemporary music: performance, facilitation, composition and improvisation in community contexts
Global music practices
Studies in peace and social justice through community music practices

"This program is uniquely designed and provides students with the expertise, resources, and experience to develop themselves as leading researchers in community music or music therapy."

Professor Lee Willingham, co-coordinator of Laurier’s PhD in Music: Community Music

Take the first step in your graduate education and apply to one of our graduate programs. Follow our three-step admission process — we’ll walk you through how to apply and prepare for your first day as a graduate student.

Start: Fall (September)
Format: Full-time
Application deadline: March 30 (international applicants), May 1 (domestic applicants)

*Domestic applications will remain open until May 1 with priority given to applicants who have submitted all application requirements by March 1. Those who apply after March 1 will only be interviewed, should there be room in the program.

Admission Requirements

Successful applicants must have completed a master’s program in areas such as Music, Music Education, Fine Arts, Music Therapy, or Community Music with a minimum average of A-. Applicants holding an honours undergraduate degree in in Music/Music Therapy/Community Music and a master’s degree in allied fields such as Social Work, Psychology, Pastoral Counselling, Music Education, Early Childhood Music, Pedagogy, Leisure Studies, or other related fields may be considered.

The application process will consist of an interview, three (3) academic reference letters, a completed Statement of Intent ** and an example of graduate-level writing.

Your Statement of Intent describes what you will investigate, why your topic is important, and how do you plan to conduct your research. It should include a title, introduction, literature review, research design (paradigm, research methods, data collection/analysis plan) and references. (2000 words)

Applicants to this program will indicate either (a) Community Music or (b) Music Therapy as their primary field of proposed study. Documented field experience in the applicant’s area of study will be considered an asset.

Applicants whose language of instruction was not English must furnish evidence of proficiency in English prior to admission, in accordance with university requirements.

Students who may not come from traditional music degrees but demonstrate life experience in pertinent aspects of Community Music or Music Therapy along with a strong application may be eligible for admission under the university’s existing alternate admission plan provision.

Applications will remain open until May 1, 2023 with priority given applicants who have submitted all application requirements by March 1, 2023. Those who apply after March 1 will only be interviewed should there by room in the program.

** In addition to submitting the digital copy of the Statement of Intent, applicants must submit a link to [email protected] with a 5-10 minute video, summarizing your Statement of Intent. The purpose of the video is to introduce yourself, why do you want to do PhD at Laurier, and would be a good candidate for the programme.

Application Checklist

After you have submitted your OUAC application , paid the non-refundable application fee, and Laurier has received your application, you'll receive an email from [email protected] advising you to upload the additional required documentation to Laurier’s Online Registration and Information System (LORIS) .

Please note, the application process and the uploading of supplemental documentation, which includes references, typically takes two weeks. To avoid disappointment, please apply early.

An application for admission to our PhD program in Music must include:

The Application Summary, which is generated after you complete your OUAC application (log back in to OUAC to retrieve it).
Transcripts of all undergraduate and graduate work. Documents must be dated within the past six months.
A completed statement of intent .
A resume of your academic and work experience. Include a history of your publication and scholarly paper activity and any other information you feel will interest the admissions committee.
A sample of your scholarly writing (10-20 pages in length). This may be a chapter of your master's thesis or a paper written for a graduate course.
Completed reference forms . Three academic references are required. Note: Reference forms are electronically submitted to Laurier by the referee and do not need to be uploaded.

Visit our Graduate Admissions Toolkit for more information about applying.

English Proficiency

Proficiency in written and spoken English is essential to graduate studies at Laurier. Applicants whose language of instruction during their previous postsecondary education was not in English must submit evidence of proficiency in English. If applicable, results from accepted testing services must be uploaded to LORIS .

Your Next Steps

Questions? Contact [email protected] .

"There is no doubt our doctoral students will leave a lasting impression in the international research community, positively impacting the discipline of music therapy as well as the credibility of clinical work and practice."

Professor Heidi Ahonen, co-coordinator of the PhD in Music: Music Therapy

Waterloo Campus

This program is available on Laurier's Waterloo campus.

Laurier's Waterloo campus is home to more than 19,000 graduate and undergraduate students. Tucked into several city blocks, this campus is walking distance to your classrooms, food, and various campus amenities.

Laurier is a leading force in research among Canadian universities, and many of our research centres and institutes are housed in Waterloo.

Learn more about Laurier's campuses .

Tuition and Funding

Full-time domestic students will benefit from bursary and teaching assistantship opportunities at the university. Those unable to suspend their careers also have the option to complete the program as part-time students.

All full-time domestic students receive the PhD minimum guaranteed funding (MGF) package of two teaching assistantships and a scholarship.

The Faculty of Music welcomes international students to the PhD Program. International students who have confirmed funding from a third-party, such as their employer or a scholarship program in their home country, will be considered for admission beginning in the 2024/25 admission year.

Learn more about admission requirements for international applicants.

"With contributions from several university-based partners, ASPIRE provides graduate students and postdoctoral researchers with informative, hands-on professional skills training essential for degree and post-degree success."

Brent Wolfe , Associate Vice-President and Dean, Faculty of Graduate and Postdoctoral Studies

Graduates may go on to work in the following settings:

Public Health
Senior Communities
Faith-based Communities
Entreprenurial Settings

Your Path to Post-Degree Success

ASPIRE is Laurier's professional skills development training program for graduate students. The program helps you craft an individualized, extracurricular learning plan tailored to your professional journey and entry to the workplace .

Learn about the interests of our faculty members. If you are looking for more information about this program, have questions, or want to set up a meeting, contact a member of our team .

Heidi Ahonen Professor, Music Therapy Coordinator, Master of Music Therapy Director, Manfred and Penny Conrad Institute for Music Therapy Research

Lee Willingham Professor, Music Education Director, Laurier Centre for Music in the Community Coordinator, Music Education Coordinator, Master of Arts in Community Music

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Digital Commons @ University of South Florida

USF Research
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Digital Commons @ USF > College of The Arts > School of Music > Theses and Dissertations

Music Theses and Dissertations

Theses/dissertations from 2023 2023.

A Novel Jazz Music Curriculum for Young Children: Results of A Pilot Study , Jazmin D. Ghent

Theses/Dissertations from 2022 2022

Where We Live and Learn to Know: An Oral History of the Rochelle High School Music Program , John Sargeant

Theses/Dissertations from 2021 2021

School Music Administration During the COVID-19 Pandemic: Trauma, Loss, Meaning, Change, and Innovation , Christopher Burns

Development and Validation of a Scale to Measure Songwriting Self-Efficacy (SSES) with Secondary Music Students , Patrick K. Cooper

Measuring Parental Involvement as Parental Actions in Children’s Private Music Lessons in China , Cancan Cui

Instrumental Music Instruction and Executive Functions: A Cross-Sectional Study of Romanian Children (10-12 Years) , Adrian Sorin Iordache

Racial and Ethnic Difference in Music Performance Self-Efficacy Among Undergraduate Students , George W. Shannon Ii

Theses/Dissertations from 2020 2020

Vocal Health of Choral Singers from Kenya and the United States: Dysphonia and Vocal Fatigue in Relation to Musical Genres , Morgan Jolley Burburan

Theses/Dissertations from 2019 2019

Two Phenomena in Contemporary Music Education: Mental Toughness and the Law , Jason R. Sivill

Theses/Dissertations from 2018 2018

The Making of a Nationally Recognized Band in a Small, Private Liberal Arts University: The Historical Significance of the Bobby L. Adams Years, 1987-2012 , Joshua David Blair

The Effects of a Self-Regulated Learning Music Practice Strategy Curriculum on Music Performance, Self-Regulation, Self-Efficacy, and Cognition , Kimberly N. Mieder

Music Software in the Compositional Learning Process , Daniel L. Nevels

Behavioral, Affective, and Cognitive Engagement of High School Music Students: Relation to Academic Achievement and Ensemble Performance Ratings , Joel E. Pagán

Theses/Dissertations from 2017 2017

Re-envisioning Music Teacher Education: A Comparison of Two Undergraduate Music Education Programs in the U.S. , Jonathan Ross Kladder

Music Ensemble Participation: Personality Traits and Music Experience , Tracy A. Torrance

Theses/Dissertations from 2016 2016

Influence of Musical Engagement on Symptoms of Tourette’s Disorder , William Christopher Brown

Motivation of Adult, Auditioned Community Choirs: Implications toward Lifelong Learning , David James Redman

The Effects of Technical and Imagery-based Instruction on Aspiring Performing Artists’ Acquisition of Learning Newly Composed Pieces and Improvisation and on Listeners’ Perceived Expressivity , José Valentino Ruiz-Resto

Theses/Dissertations from 2015 2015

Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera , Hong Chen

Secondary Band Participation and Executive Function , Dakeyan Cha' Dre' Graham

Theses/Dissertations from 2014 2014

An Examination of Cooperating Teachers' Observations of Their Student Teachers in the Areas of Personal, Teaching, and Musical Skills in the Elementary Classroom , Mark Remsen Cole

I Did That Wrong and It Sounded Good: An Ethnographic Study of Vernacular Music Making in Higher Education , Victor Ezquerra

Creativity-Based Music Learning: Modeling the Process and Learning Outcomes in a Massive Open Online Course , Nicholas Michael Stefanic

Theses/Dissertations from 2012 2012

The Relationship between Death Depression and Death Anxiety among Cancer Patients in Saudi Arabia , Doaa A. Almostadi

World Percussion Approaches in Collegiate Percussion Programs: A Mixed-methods Study , Patrick Michael Hernly

The Impact of Arranging Music for the Large Ensemble on the Teacher: A Phenomenological Exploration , James Teodor Lindroth

Listening in Action: Students' Mobile Music Experiences in the Digital Age , Rebecca Marie Rinsema

Theses/Dissertations from 2011 2011

The Performance Production Process of an Outstanding High School Choir , Kathy K. Rolsten

Transitioning from Student to Teacher in the Master-Apprentice Model of Piano Pedagogy: An Exploratory Study of Challenges, Solutions, Resources, Reflections, and Suggestions for the Future , Melissa Maccarelli Slawsky

Self-Efficacy in Music Performance: Measuring the Sources Among Secondary School Music Students , Michael S. Zelenak

Theses/Dissertations from 2008 2008

Analytical Perspectives of Thematic Unity: Applications of Reductive Analysis to Selected Fugues by J.S. Bach and G.F. Handel , Adam C. Perciballi

Theses/Dissertations from 2007 2007

Expanded Tonality: The Treatment of Upper and Lower Leading Tones As Evidenced in Sonata "Undine,” IV by Carl Reinecke , Joshua Blizzard

Theses/Dissertations from 2005 2005

The Compositional Style of Francesco Geminiani: a Reflection of Theory and Practice in His Music and Guida Armonica Treatise , Valerie R. Weber

Theses/Dissertations from 2004 2004

An Application of the Grundgestalt Concept to the First and Second Sonatas for Clarinet and Piano, Op. 120, No. 1 & No. 2, by Johannes Brahms , Devon Burts

The French Art Song Style in Selected Songs by Charles Ives , Christy Jo Talbott

Theses/Dissertations from 2003 2003

Music Programs that Engage Our Communities: Making a Stronger Connection , La Gretta Snowden

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Psychology Licensure

Related topics:, on this page..., conditional prescribing certificate, laws & rules, apply online.

Create an account, apply, renew, and pay for your license online using our self-service portal.

How to apply for a psychology license, HSP certification, or provisional psychology license.

Psychologist, Permanent License

For new applicants never licensed in another state and those previously licensed in another state, not foreign-trained.

Psychologist, Health Service Provider

Provisional psychology license.

You can renew your license up to 60 days before your current license expires.

Renewal notifications will be emailed to your email address on file with the board at 60, 50, 40 and 30 days prior to the license expiration date. Renew your license early to avoid a late fee or lapse in licensure. All continuing education requirements must be completed pior to license renewal.

Continuing Education

Licensees are responsible for meeting all continuing education requirements and should review the rules carefully and frequently. Review the rules for detailed information about continuing education definitions, requirements, standards, criteria and other important specific to this profession.

How to Select and Document Continuing Education

The licensing board does not pre-approve continuing education providers, sponsors or individual programs. It is the licensees’ responsibility to determine if the continuing education programs they attend meet the requirements of their professional licensing board.

A percentage of licensees are randomly audited following each license renewal cycle. If selected, the licensee must submit to the board office an individual certificate of completion issued to the licensee or evidence of successful completion of the course from the course sponsor. These documents must contain the course title, date(s), contact hours, sponsor and licensee's name. In some instances, licensees will be requested to provide to the board additional information, including program content, objectives, presenters, location and schedule. Many times an inclusive brochure meets this requirement.

When selecting continuing education programs, licensees need to make sure they are compliant with administrative rule requirements. Some professions require licensees to meet specific requirements as a condition of renewal. These may include limits on presentation method (e.g. self-study, ICN, etc.), specific hours on ethics and Iowa law and rules, clinical content, or hours required in a specific practice discipline.

To ensure compliance, each licensee must understand the continuing education administrative rules for their profession prior to choosing and attending a particular program. No matter what a program brochure indicates, it is the responsibility of the licensee to ensure compliance with licensing requirements.

In summary all licensees should:

Be familiar with the continuing education requirements of their professional boards.
Obtain inclusive written materials about continuing education programs from program sponsors for post-renewal auditing purposes.
Maintain certificates of completion that includes the program or course title, date(s), contact hours, sponsor and licensee's name for four years.

Extension or Exemption for Disability or Illness

A licensee who had a physical or mental disability or illness during the license period may apply for an extension or exemption. An exemption provides for an extension of time or exemption from some or all of the continuing education requirements. An applicant shall submit a completed application form approved by the board for an exemption.

Application for Continuing Education Extension/Exemption for Disability or Illness

The application requires the signature of a licensed health care professional who can attest to the existence of a disability or illness during the license period.

If the application is from a license who is the primary caregiver for a relative who is ill or disabled and needs care from that primary caregiver, the physician shall verify the licensee's status as the primary caregiver.

A licensee who applies for an exemption shall be notified of the decision regarding the application. A licensee who obtains approval shall retain a copy of the exemption to be presented to the board upon request.

Guidelines for Continuing Education Sponsors

Potential sponsors are responsible for independently determining if the programs they provide conform to the continuing education requirements set forth in the rules regulations of the professional boards.

To make this determination, thoroughly review the rules for the board(s) in which you are interested prior to offering continuing education to Iowa licensees. By providing inclusive information about the content, objectives and applicability of your program to professional practice, you will assist licensees to make informed decisions when selecting continuing education.

A percentage of licensees in every profession regulated by a licensing board are randomly selected following each license renewal cycle. For auditing purposes the licensee must submit to the board office an individual certificate of completion issued to the licensee or evidence of successful completion of the course from the course sponsor. These documents must contain the course title, date(s), contact hours, sponsor and licensee's name. In some instances, licensees will be requested to provide to the board additional information to assure compliance with continuing education requirements, including program content, objectives, presenters, location and schedule. For this reason, sponsors should provide these items to licensees in writing. An inclusive brochure may meet this requirement.

Additionally, sponsors should consider profession-specific requirements that licensees must address to assure compliance with continuing education rules when preparing written materials such as method of presentation (home study, ICN, etc.), inclusion of specific hours on ethics and Iowa law and rules, certification status by national associations or boards, clinical content, and hours required in a specific practice discipline.

In summary sponsors should:

Be familiar with the continuing education requirements of their professional audiences.
Provide inclusive written materials to all program participants.
Notify licensees that materials should be retained for four years for auditing purposes.
Provide a certificate of completion that includes the program or course title, date(s), contact hours, sponsor and licensee's name.
Application for Conditional Prescribing Psychologist Certificate
Training Director Instructions for Certification of Clinical and Practicum
Training Director Certification for the Conditional Prescription Certificate
Training Physician Certification Form for the Conditional Prescription Certificate

Laws. Laws are contained in the Iowa Code. They are enacted by the Iowa Legislature and provide statutory authority to the professional licensure boards.

Chapter 154B -- Psychology Board Law

Administrative rules. The professional licensure boards adopt rules to interpret and implement the Iowa Code. Administrative rules have the force and effect of law.

Chapter 240 -- Licensure of Psychologists
Chapter 241 -- Continuing Education for Psychologists
Chapter 242 -- Discipline for Psychologists
Chapter 243 -- Practice of Psychology
Chapter 244 -- Prescribing Psychologists

Iowa Code & Administrative Rules for Licensing Boards

Laws common to licensing boards.

The following laws apply to professional licensure boards.

Chapter 17A - Iowa Administrative Procedure Act
Chapter 147 - General Provisions, Health-Related Professions
Chapter 272C - Continuing Education and Regulation - Professional and Occupational

Iowa Administrative Codes Common to Licensing Boards

The following codes apply to professional licensing boards.

Chapter 4 - Board Administrative Processes
Chapter 6 - Petitions for Rule Making
Chapter 7 - Agency Procedure for Rule Making
Chapter 8 - Declaratory Orders
Chapter 9 - Complaints and Investigations
Chapter 10 - Public records and Fair Information Practices
Chapter 11 - Contested Cases
Chapter 12 - Informal Settlement
Chapter 13 - Discipline
Chapter 14 - Use of Criminal Convictions in Eligibility Determinations and Initial Licensing Decisions
Chapter 16 - Impaired Practitioner Review Committee
Chapter 17 - Materials for Board Review
Chapter 18 - Waivers of Variances from Administrative Rules
Chapter 19 - Licensure by Verification and of Applicants with Work Experience
Chapter 20 - Military Service and Veteran Reciprocity

Rulemaking Notices

Administrative Bulletin

Rulemaking notices, along with adopted rule changes, are published in the Iowa Administrative Bulletin. The preamble for each notice includes a summary of the proposed rule changes. The notice includes information about how to submit public comment when applicable. All comments are forwarded to the board for review prior to making a final decision on the outcome of rule change proposals.

Petition for Waiver

The process for seeking a waiver from an administrative rule and the standards under which the petition will be evaluated are described in Chapter 18.

Petition for Waiver Form
Petition for Waiver Form PDF

This document is a list of some important practice references . This list includes sections of the Iowa Code, the APA Ethics Code, and regulations of the U.S. Department of Health and Human Services.

Organized Health Service Training Program Confirmation Form
Supervision Report
Supervisor Registration
Supervisor Confirmation Form for HS

Iowa Practitioner Program

The Iowa Practitioner Program (IPP) is available to licensees across multiple licensing boards in Iowa. The Iowa Practitioner Review Committee (IPRC) reviews self-reports made by licensees to determine eligibility for participation.

IPP was established in 1996 to support licensees who struggle with impairments due to alcohol or drug abuse, mental health conditions, and/or physical disorders.

The IPRC designs an individualized health contract to meet the needs of the licensee. State law mandates that information in the possession of the IPRC remain confidential. Participation in the program is not a matter of public record.

" Impairment " means an inability to practice with reasonable safety and skill as a result of alcohol or drug abuse, dependency, or addiction, or any mental or physical disorder or disability.

" Self-report " means the licensee providing written or oral notifications to the board that the licensee has received or may receive a diagnosis as having an impairment before the board's receiving a complaint or report alleging an impairment before the date of self-report.

Criteria for Participation in IPP

The IPRC determines whether practitioners are eligible to participate in the program monitored by the committee. A person is ineligible to take part in the program for any of the following reasons:

The practitioner engaged in the unlawful diversion or distribution of controlled illegal substances to a third party, or for personal gain or profit;
The practitioner is already under a board order;
The practitioner has caused harm or injury to a patient;
The board is investigating the practitioner that concerns serious matters related to the practitioner's competence;
The practitioner failed to provide truthful information or refused to cooperate with the board or the IPRC; or
The practitioner has been subject to a civil administrative or criminal sanction for serious infractions of law, professional ethics, or administrative rules related to the practice.

The Health Contract

Based upon the recommendation of an approved evaluator, the IPRC creates an individualized health contract, which provides a detailed description of the goals of the program, requirements for successful completion, and the practitioner's obligations.

Note: The IPRC may refer to the board participants who are not compliant with the terms of their contract for consideration of disciplinary action.

IPRC Composition

The chairperson of the board appoints the members of the IPRC. The IPRC includes, but is not limited to, the following:

Executive Director of the board or the director's designee from the board's staff;
A practitioner who has remained free of addiction for two or more years after completing a recovery program for drug or alcohol dependency, addiction, or abuse;
A physician/counselor with expertise in substance abuse/addiction treatment programs;
A psychiatrist or psychologist; and
A public member.

Why Use IPP?

The program encourages practitioners who have impairments to get the help they need. All information received by IPP and IPRC remains confidential as long as the practitioner complies with the terms of their agreement or health contract.

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Science communication competition brings research into the real world

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Laurence Willemet stands on stage and gestures toward her research poster.

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Laurence Willemet remembers countless family dinners where curious faces turned to her with shades of the same question: “What is it, exactly, that you do with robots?”

It’s a familiar scenario for MIT students exploring topics outside of their family’s scope of knowledge — distilling complex concepts without slides or jargon, plumbing the depths with nothing but lay terms. “It was during these moments,” Willemet says, “that I realized the importance of clear communication and the power of storytelling.”

Participating in the MIT Research Slam, then, felt like one of her family dinners.

The finalists in the 2024 MIT Research Slam competition met head-to-head on Wednesday, April 17 at a live, in-person showcase event. Four PhD candidates and four postdoc finalists demonstrated their topic mastery and storytelling skills by conveying complex ideas in only 180 seconds to an educated audience unfamiliar with the field or project at hand.

The Research Slam follows the format of the 3-Minute Thesis competition, which takes place annually at over 200 universities around the world. Both an exciting competition and a rigorous professional development training opportunity, the event serves an opportunity to learn for everyone involved.

One of this year’s competitors, Bhavish Dinakar, explains it this way: “Participating in the Research Slam was a fantastic opportunity to bring my research from the lab into the real world. In addition to being a helpful exercise in public speaking and communication, the three-minute time limit forces us to learn the art of distilling years of detailed experiments into a digestible story that non-experts can understand.”

Leading up to the event, participants joined training workshops on pitch content and delivery, and had the opportunity to work one-on-one with educators from the Writing and Communication Center, English Language Studies, Career Advising and Professional Development, and the Engineering Communication Labs, all of which co-sponsored and co-produced the event. This interdepartmental team offered support for the full arc of the competition, from early story development to one-on-one practice sessions.

The showcase was jovially emceed by Eric Grunwald, director of English language learning. He shared his thoughts on the night: “I was thrilled with the enthusiasm and skill shown by all the presenters in sharing their work in this context. I was also delighted by the crowd’s enthusiasm and their many insightful questions. All in all, another very successful slam.”

A panel of accomplished judges with distinct perspectives on research communication gave feedback after each of the talks: Deborah Blum, director of the Knight Science Journalism Program at MIT; Denzil Streete, senior associate dean and director of graduate education; and Emma Yee, scientific editor at the journal Cell .

Deborah Blum aptly summed up her experience: “It was a pleasure as a science journalist to be a judge and to listen to this smart group of MIT grad students and postdocs explain their research with such style, humor, and intelligence. It was a reminder of the importance the university places on the value of scientists who communicate. And this matters. We need more scientists who can explain their work clearly, explain science to the public, and help us build a science-literate world.”

After all the talks, the judges provided constructive and substantive feedback for the contestants. It was a close competition, but in the end, Bhavish Dinakar was the judges’ choice for first place, and the audience agreed, awarding him the Audience Choice award. Omar Rutledge’s strong performance earned him the runner-up position. Among the postdoc competitors, Laurence Willemet won first place and Audience Choice, with Most Kaniz Moriam earning the runner-up award.

Postdoc Kaniz Mariam noted that she felt privileged to participate in the showcase. “This experience has enhanced my ability to communicate research effectively and boosted my confidence in sharing my work with a broader audience. I am eager to apply the lessons learned from this enriching experience to future endeavors and continue contributing to MIT's dynamic research community. The MIT Research Slam Showcase wasn't just about winning; it was about the thrill of sharing knowledge and inspiring others. Special thanks to Chris Featherman and Elena Kallestinova from the MIT Communication Lab for their guidance in practical communication skills. ”

Double winner Laurence Willemet related the competition to experiences in her daily life. Her interest in the Research Slam was rooted in countless family dinners filled with curiosity. “‘What is it exactly that you do with robots?’ they would ask, prompting me to unravel the complexities of my research in layman’s terms. Each time, I found myself grappling with the task of distilling intricate concepts into digestible nuggets of information, relying solely on words to convey the depth of my work. It was during these moments, stripped of slides and scientific jargon, that I realized the importance of clear communication and the power of storytelling. And so, when the opportunity arose to participate in the Research Slam, it felt akin to one of those family dinners for me.”

The first place finishers received a $600 cash prize, while the runners-up and audience choice winners each received $300.

Last year’s winner in the PhD category, Neha Bokil, candidate in biology working on her dissertation in the lab of David Page, is set to represent MIT at the Three Minute Thesis Northeast Regional Competition later this month, which is organized by the Northeastern Association of Graduate Schools.

A full list of slam finalists and the titles of their talks is below.

PhD Contestants:

Pradeep Natarajan, Chemical Engineering (ChemE), “What can coffee-brewing teach us about brain disease?”
Omar Rutledge, Brain and Cognitive Sciences, “Investigating the effects of cannabidiol (CBD) on social anxiety disorder”
Bhavish Dinakar, ChemE, “A boost from batteries: making chemical reactions faster”
Sydney Dolan, Aeronautics and Astronautics, “Creating traffic signals for space”

Postdocs:

Augusto Gandia, Architecture and Planning, “Cyber modeling — computational morphogenesis via ‘smart’ models”
Laurence Willemet, Computer Science and Artificial Intelligence Laboratory, “Remote touch for teleoperation”
Most Kaniz Moriam, Mechanical Engineering, “Improving recyclability of cellulose-based textile wastes”
Mohammed Aatif Shahab, ChemE, “Eye-based human engineering for enhanced industrial safety”

Research Slam organizers included Diana Chien, director of MIT School of Engineering Communication Lab ; Elena Kallestinova, director of MIT Writing and Communication Center ; Alexis Boyer, assistant director, Graduate Career Services, Career Advising and Professional Development (CAPD); Amanda Cornwall, associate director, Graduate Student Professional Development, CAPD; and Eric Grunwald, director of English Language Studies. This event was sponsored by the Office of Graduate Education, the Office of Postdoctoral Services, the Writing and Communication Center, MIT Career Advising and Professional Development , English Language Studies, and the MIT School of Engineering Communication Labs.

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Third annual MIT Research Slam showcase highlights PhD and postdoc communication skills

Image of Research Slam competitors, judges, and organizers, all seen in individual boxes in a Zoom meeting

MIT Research Slam showcases postdoc and PhD communication skills

2020 Research Slam participants, hosts, and judges: (left to right, top to bottom) Joe McGonegal, Vivian Siegel, Holden Thorp, Bob Prior, Ari Daniel PhD ’08, Hanna Starobinets ’09, Suzanne Epstein PhD '79, Amy Norovich '08, Helen Hou '10, Maya Jay '18, Lori Huberman '07, Juhyun Oh '09, Alissandra Hillis '18, and Allegra Hawkins '14.

Third annual Science Slam becomes first virtual Research Slam

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Main utility, degree requirements, phd in music: music education.

The PhD in Music Education is designed for individuals who have (1) a solid musical background, (2) successful teaching experience, (3) high levels of intellectual capacity, and (4) strong professional leadership abilities. Awarding of the degree is based not only on completion of objective requirements, but on the level of distinction attained by the candidate in the above four qualities.

Program of Study – 18 units

Music Education Core – 2 units

MUSIC ED 422 Curriculum Development in Music Education
MUSIC ED 458 Philosophical Basis of Music Education

Research in Music Education – 3 units

MUSIC ED 523 Paradigms and Processes of Research in Music Teaching and Learning
MUSIC ED 524 Qualitative Research in Music Education
MUSIC ED 525 Quantitative Research in Music Education

Music Education Electives – 3 units

Students must select three MUSIC ED courses such as those listed below. For a complete listing of approved courses for PhD Students, see the Graduate Catalog .

MUSIC ED 401 Music in Higher Education MUSIC ED 426 World Music Pedagogy MUSIC ED 430 Seminar in General Music Education MUSIC ED 435 Selected Topics in Music Education MUSIC ED 437 Psychology of Music Teaching & Learning

Cognate Area – 3 units

Students enroll in three courses in a non-music field relevant to their main interest.

Electives – 7 units

Focused study leading to a dissertation, musical studies, special needs and interests

MUSIC ED 520 Research Seminar

All PhD students must register continuously for MUSIC ED 520 Research Center Seminar (0 units). Students have the option to take 520 one time for one unit of credit.

Sample PhD Curriculum in Music Education

All courses for the PhD must appear on the authorized list of courses as published by The Graduate School.

Additional Requirements

Center for the Study of Education and the Musical Experience

During the years of residence, regular participation in the weekly seminar of the Center for the Study of Education and the Musical Experience is required. Continuing participation beyond the residence years is strongly encouraged.

Teaching Competency

As a part of their graduate school fellowship, all PhD students are expected to work as both research and teaching assistants. Students must have at least one written observation of their teaching by a music education faculty member along with any student course evaluations as appropriate.

Presentation Outside the Bienen School of Music

This requirement is designed to stimulate early involvement in the presentation of original research at a regional, national, or international level meeting. This requirement is meant to help the student develop professional experiences consistent with those of a professor of music education.

Waiver of Courses

Any course waived because the student has taken it previously, has had the same course elsewhere, or through proficiency determination, will normally be replaced by an elective course in that area of the program. The major advisor may, upon the student’s petition, exercise discretion in this matter, substituting a course outside the area of the waiver for a good cause.

Qualifying Examination and Candidacy

There are four significant steps to candidacy for the PhD in music with a concentration in music education:

successful completion of coursework,
demonstration of successful teaching at the college level,
peer-reviewed presentation at a professional meeting outside of NU, and
successful completion of the qualifying examination.

At that point, the student is advanced to candidacy officially and can pursue their dissertation research. Candidacy should be achieved no later than 6 months following completion of course work.

At an appropriate time toward the end of coursework, each student will take a qualifying examination. The examination includes a written portion and an oral defense. Questions for the examination are written by the student with the approval of the examination committee. The answers are presented to the committee in written form and then defended in an oral examination.

Key Milestones

Contact Graduate Services: [email protected] 847-491-5740

40th cycle Ph.D.call - 2024/2025 - starting September 2024 - deadline 30 May 2024

Politecnico di milano issues a call for applications to 83 phd positions (68 fully granted).

This webpage provides information related to the issuing PhD programs, the positions and scholarships available for the upcoming PhD cycle, which starts in September 2024. You may also find here the modalities for participate to the selection and the related deadlines. After having carefully inspected the call , you can apply through our online procedure .

The number of PhD scholarships and positions of our PhD programs is as follows ( click on the name of the PhD program to inspect the type and research topics associated with the scholarships )

TABLE OF AVAILABLE PLACES – 40 th cycle

PhD admission

Access to Ph.D. Programmes is by selection. The University selection call is issued annually for all Ph.D. Programmes, and is published on this page.

The annual call is issued in Spring- the next annual call will be Spring 2025, 41th cycle. There may be additional calls with topic scholarships, if so, it will be posted on this website in the " Calls and regulations " section.

Further information and calls for international candidates is available in the International Programmes section.

Online procedure for admission to the PhD course at Politecnico di Milano (40th cycle - 2024/2025 - starting September 2024)

In this page you will find the link to access the online procedure to:

•fill the selection call application form

•check the results

•select additional research scholarship topics

Before accessing the online procedure please read carefully:

1) the call public announcement Public examination for admission to the PhD course at Politecnico di Milano (40th cycle)

2) the " Quickstart " manual for the online admission procedure

3) the FAQs (frequently asked questions)

To access the online admission procedure click here Opening on: 30th April 2024 (10am, italian time) Deadline: 30th May 2024 (2pm, italian time)

-the pages in " Prospective PhD Candidates ", in particular " Before Applying " and " How to apply "

-the page " Places and Scholarships " -the page " Areas, subjects and thematics of research published in the call " -the page " Open subject scholarships " -the page " Thematic scholarships "

-the page " Call deadlines "

Documents that must be uploaded in the online application (in Italian or English language):

Research project format (RTF)
CV Template (RTF)

CANDIDATES ARE RECOMMENDED TO READ ALL THE CALL

For the registration of personal data, candidates are recommended to refer to the manual " Quickstart " from pag. 1 to pag. 9

Candidates who have problems during the registration of the personal data can write to: [email protected]

For other information about the call and the admission procedures candidates are recommended to make contact only via the link " Ask for assistance " inside the online procedure.

40th cycle call: topic scholarships

The applicant, after the confirmation of an application (provided the desire to compete for a scholarship has indicated in the application), may opt for a thematic scholarship by accessing the on-line procedure before 2pm on 30/05/2024 . All the information about the thematic scholarships are available in the webpage: Thematic scholarships

Open subject Scholarships

The open subject scholarships allow for research to be carried out on all subjects linked to the PhD.

It is not possible to participate by selecting a specific open subject scholarship . The option to compete for a specific scholarship can only be made for thematic scholarships. The research topic of each open subject scholarship will be agreed with the Board of Professors.

When applying, you must specify if you intend to compete or not for a scholarship: if you choose to compete, you’ll automatically compete for open subject scholarships.

All the information about the open subject scholarships are available in the webpage: " Open Subject Scholarship "

COMMENTS

20+ Music Dissertation Topics
Topic. 3: Health benefit of music: Topic. 4: Pop music in the contemporary world. Topic. 5: Role of technology in music. Topic. 6: Music in Hollywood. Topic. 7: The obsolete music instruments. Topic. 8: pros and cons of legal music sharing platforms. Topic. 9: Music piracy in the age of the internet.
PhD student research topics
Research interests. Chromatic organisation. Interaction of musical elements. Musical analysis. Tone Clock theory. Mario Cáceres - [email protected]. The electroacoustic song: Hybridisation of electroacoustic and popular music. Supervisors: Dr Adam Stanovic, Professor Adrian Moore. Research interests.
PhD in Musicology
PhD in Musicology. The first three years of graduate study for graduates in musicology are devoted to completion of required coursework and passage of the qualifying and special area examinations. After the successful defense of the dissertation proposal (incorporated within the special area exam), the student concentrates on researching and ...
PhD in Music: Music Theory and Cognition
PhD in Music: Music Theory and Cognition Program of Study - 18 units. ... Each topic must be approved by the student's dissertation advisor, and one other member of the Music Theory and Cognition faculty, usually another member of the student's dissertation committee. The papers should be 6,000 to 8,000 words, and involve literature ...
Music Research
Department of Music - jointly ranked 4th in the UK with Film (REF 2021). 100% per cent of the research impact and research environment was rated either 'world leading' (4*) or 'internationally excellent' (3*). Current number of academic staff: 14. Current number of research students: 19 FT and 15 PT.
PhD in Music: Composition and Music Technology
Contact Graduate Services: 847-491-5740. Diagnostic evaluation and initial advisement An initial interview with the Composition and Music Technology faculty will review the student's background to determine the best course of study, based on the student's interests and previous coursework. Students should regard all members of the faculty ...
Prospective Graduate Students
The PhD in music theory is characterized both by a deep involvement in the inner workings of music and by an engagement with the wider philosophical, cultural, and psychological questions surrounding music. ... Recent and current PhD topics include microtonality and colonialism in the 19th century, musical forgery and forensics, the practice of ...
Music
NOTE: AM students wishing to continue at Harvard for the PhD will submit a new application through the standard admission process. Students admitted to the PhD program will be granted credit for work done at Harvard or elsewhere according to departmental guidelines. Theses & Dissertations. Theses & Dissertations for Music. Faculty. See list of ...
PhD in Music: Musicology
Advising PhD students should regularly consult with the Musicology Program Coordinator to determine the best course of study, based on the student's interests and previous coursework. Program of Study - 18 units A typical program of study includes coursework in Western historical and global geographic musics; identification of and coursework in a non-music cognate area; electives to ...
Music: Music Studies, PhD < University of Pennsylvania
2023-24 Catalog. Music: Music Studies, PhD. The graduate program in Music Studies at the University of Pennsylvania serves students who intend to conduct cutting-edge research, produce high-quality scholarship, and develop teaching and professional skills in order to pursue academic positions in music studies; it also serves those who want to ...
Music, PhD
The Center also provides opportunity for faculty and graduate students to conduct research in music perception and cognition and other areas, using the facilities of the computer music studio. The department's fall and spring Colloquium Series brings guest composers, scholars, performers, and others to speak on a broad range of topics.
MA / PhD
Music, Sound & Self. "Music, Sound, & Self" is a conference and celebration of interdisciplinary music studies, featuring seniors of the Department of Musicology at The UCLA Herb Alpert School of Music. Ranging from compositions and performances to films and papers, this capstone conference showcases compelling creative-scholarly projects ...
Research Guides: Music Research Guide: Dissertations and Theses
A central, open-access repository of research (including dissertations and scholarly articles) by members of the Harvard community. A bibliography of completed dissertations and proposed topics in musicology, music theory, ethnomusicology, and related disciplines. Maintained by the American Musicological Society.
PhD in Music
PhD in Music. The PhD in Music is available as a full-time programme lasting three years, or a part-time programme lasting five years. It is available in all areas in which we can offer supervision, including historical musicology, analysis, ethnomusicology, sound studies, music cognition, composition and practice-based research in performance.
PhD in Computer-Based Music Theory and Acoustics
The PhD program in computer-based music theory and acoustics is offered by the Department of Music through the Center for Computer Research in Music and Acoustics (CCRMA, pronounced "karma"). CCRMA is a multidisciplinary facility attracting PhD students from several departments and schools across campus including Computer Science (CS ...
The Top 10 Most Interesting Music Research Topics
Your music research paper could outline some of these factors that affect music consumer behavior and highlight their mechanism of action. 2. Hip-hop Culture and Its Effect on Teenage Behavior. In 2020, hip-hop and RnB had the highest streaming numbers, according to Statista.
500+ Music Research Topics
500+ Music Research Topics. March 25, 2024. by Muhammad Hassan. Music is a universal language that has the power to evoke emotions, bring people together, and express complex ideas and feelings. As a result, it has been the subject of extensive research and analysis across a wide range of fields, from psychology and neuroscience to sociology ...
PhD and MPhil in Music
A PhD or MPhil by Composition allows you to develop original, innovative, creative research projects. The programme has a full-time and a part-time route. The full-time route comprises three years' study for a PhD, two for an MPhil, both with one optional 'continuation' year for completion. The part-time route comprises six years' study ...
Music Research: Dissertation and Thesis Guidance for Topic Selection
The PhD, DMA, or master's student is required do original research. This might involve making new discoveries about an already well-researched topic or making discoveries about an unfamiliar topic. Someone might think there is nothing new to be discovered about a composer such as Bach or Beethoven, for example, but that may not be the case.
Music (PhD)
The PhD in Music consists of 12 credits, comprised of a combination of Doctoral Seminar Special Topics (DSSTs), independent directed studies proposals relevant to their research topics as electives, seminars or symposia, research supervision, comprehensive exams and final dissertation writing and defense. Because of the diversity of research ...
PhD in Music: Music Theory and Cognition
PhD in Music: Music Theory and Cognition Please submit everything required by The Graduate School plus the following: Provide one or more substantial research papers on a freely chosen topic that demonstrate your ability to write and conduct research in music theory and cognition at the doctoral level. Papers must include appropriate scholarly references. Music Theory and Cognition Program ...
Music Theses and Dissertations
Theses/Dissertations from 2021. School Music Administration During the COVID-19 Pandemic: Trauma, Loss, Meaning, Change, and Innovation, Christopher Burns. Development and Validation of a Scale to Measure Songwriting Self-Efficacy (SSES) with Secondary Music Students, Patrick K. Cooper. Measuring Parental Involvement as Parental Actions in ...
Psychology Licensure
The licensing board does not pre-approve continuing education providers, sponsors or individual programs. It is the licensees' responsibility to determine if the continuing education programs they attend meet the requirements of their professional licensure board.
Science communication competition brings research into the real world
The 4th annual Research Slam featured three-minute talks on cutting-edge research from PhD students and postdocs competing for cash prizes as they honed their ... Four PhD candidates and four postdoc finalists demonstrated their topic mastery and storytelling skills by conveying complex ideas in only 180 seconds to an educated audience ...
PhD in Music: Music Education
The PhD in Music Education is designed for individuals who have (1) a solid musical background, (2) successful teaching experience, (3) high levels of intellectual capacity, and (4) strong professional leadership abilities. ... MUSIC ED 435 Selected Topics in Music Education MUSIC ED 437 Psychology of Music Teaching & Learning; Cognate Area ...
40th cycle Ph.D.call
The number of PhD scholarships and positions of our PhD programs is as follows (click on the name of the PhD program to inspect the type and research topics associated with the scholarships) TABLE OF AVAILABLE PLACES - 40 th cycle . TITLE OF PhD PROGRAMME: TOTAL AVAILABLE PLACES:
Tech, Media & Telecom Roundup: Market Talk
The latest Market Talks covering Technology, Media and Telecom. Published exclusively on Dow Jones Newswires at 4:20 ET, 12:20 ET and 16:50 ET. 0722 GMT - Universal Music Group's first-quarter ...

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Music Dissertation Topics

Want to know what essay structure and style will work best for your assignment?

2022 Music Dissertation Topics

Topic 2: A detailed study on the transformation of British electronic dance music (EDM) over the last 10 years.

Topic 3: Examining the growing influence of electronic and digital technology on music education in the UK.

Topic 4: Describing the benefits of using music for children’s learning specifically during the stage of early development – a study on the UK government's changing perspective and investment in children's music and art.

Topic 5: Investigating the impacts of removing gender disparity on music composition and performance in the British music industry.

Topic. 1: Major music platforms in the world:

Topic. 2: Impact of music talent shows on music:

Topic. 3: Health benefit of music:

Topic. 4: Pop music in the contemporary world

Topic. 5: Role of technology in music

Topic. 6: Music in Hollywood

Topic. 7: The obsolete music instruments

Topic. 8: pros and cons of legal music sharing platforms

Topic. 9: Music piracy in the age of the internet

Topic. 10: Role of music in human life

How Can ResearchProspect Help?

Topic. 11: How does music therapy work:

Topic. 12: Music and economy:

Topic. 13: music and culture

Topic. 14: Role of music in spirituality

Topic. 15: Music bands- their relevance today

Topic. 16: Music and patriotism

Topic. 17: Understanding the music market

Topic. 18: Most influential musicians today

Topic. 19: Music in the 21st century

Topic. 20: The evolution of music:

Free Dissertation Topic

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