Graduate Program in Music

The Graduate Program in Music was created in 1999. It offers both Master’s and Doctorate degrees and is currently structured around 5 lines of research. The faculty comprises 31 professors, and every year the Program inducts an average of 50 students, from both Brazil and abroad. The program’s scientific and artistic production is publicized in the form of articles, published in scientific periodicals or in proceedings of scientific and artistic gatherings; books or book chapters; concerts, recitals, lecture recitals, or other relevant means of dissemination

The Program’s structure enables a flexible and individualized academic path, due to the varying degrees of interdependence among the themes and subjects of each line of research, as well as with other graduate programs. Academic activities are classified as core or optional. They are offered as either face-to-face or distance courses, in the shape of lectures, individual lessons, seminars, group discussions, directed studies, workshops, and other teaching methods peculiar to each module.

The Graduate Program in Music aims to qualify individuals artistically, technically, and scientifically for professional, teaching, and research positions in Music and other related fields. It also endeavors to develop the student’s capacity to propose and develop original and autonomous research in Music and other related fields.

Music Education: studies and reflections on musical teaching and learning processes and practices involving foundations, values, and methodologies; curricula and assessment; philosophical, psychological, and sociological aspects of music making.

Music and Culture: studies of aspects of music and sound as connected to culture and as products of cultural groups so that aesthetic approaches can perceive them as indissociable from the web of historical, cultural, and social relations in which they are inserted.

Musical Performance: studies that focus on the performance of a repertoire and on associated investigations from various theoretical angles (historical, stylistic, pedagogical, organological, etc). These aim at both technical and interpretive improvements and the development of theoretical debates.

Analytical and Creative Processes: studies on the many facets of music making, weaving its instances of creation and analysis from an approach that prioritizes processes and materials such as composition, structure, writing, instrumental technique, arranging, phonography, interpretive conceptions, and multimedia.

Sound Studies: studies of acoustic materials in connection with musical productions and activities, approaching the problematics of creation, production, analysis, perception, and epistemology. Includes projects focused on analysis, creation, criticism, aesthetic or history that concentrate on the extraction and processing of musical data; interactive musical systems; and the culture and history of music listening.

The selection process for Master’s and Doctorate candidates is as follows:

Stage 2: test 1: written exam;

Stage 3: test 2: interview comprising an evaluation of the candidate’s research proposal, resume and higher education transcripts.

Please note that the written exams of stage 2 are to be taken in person by Brazilian and foreign candidates residing in Brazil. Candidates residing abroad, both Brazilian and foreign, will have the option to take a distance test.

Advanced Music Studies: Analysis and discussion of themes, projects, and texts related to the selected line of research.

Oriented Studies: Analysis and discussion of a selection of articles and research project reports related to each student’s dissertation proposal, including presentations and discussions specific to each project.

Music Research Methodology: Study and practice of methods and processes involved in music research.

Intellectual Production Portfolio (academic activity): A set of relevant academic activities undertaken by the doctorate student throughout the course.

Advanced Instrumental Practice I and Advanced Instrumental Practice II: Study of the candidate’s solo, chamber and/or symphonic repertoire, focusing on stylistic coherence and interpretive identity.

Instrumental Practice I, II, III, IV: Study of the candidate’s solo, chamber and/or symphonic repertoire, tackling technical, musical, and stylistic issues related to its execution.

Advanced Research Seminars in Music: Discussion of ongoing research projects: theme selection, theoretical foundation, disciplinary interactions, methodology, objectives, results, related works, state of the art, perspectives.

Seminars in Music Education: Discussions and reflections on music education in the contemporary age: music teaching at school; formal and informal music teaching practices; music and identity-shaping at different ages and socio-cultural contexts; music education in the digital age; qualification of music teachers; assessment processes in music education; public policies and music teaching.

Seminars in Music and Culture: Readings and discussions concerning theories and studies developed on musical aspects to understand how they have interacted with one another over time and with other schools of Western thought.

Seminars in Musical Performance: Theoretical studies on performance aimed at both instrumental technical and interpretative improvement, and the development of theoretical discussions.

Seminars in Analytic and Creative Processes: Technical and historical analysis of structural elements present in Western music since the 14th century. Principles and methods of musical analysis.

Seminars in Sound Studies: Foundations of musical physics and psychophysics. Mechanisms of auditory perception. Implementation of elements of musical acoustics in musical language and practice. Foundations of digital signal processing applied to music. Typology and morphology of sound units.