Introduction
Thank you for your interest in the European-American University Bachelor of Music (B.Mus.) in Contemporary Music Performance programme. This programme is intended for talented instrumentalists in contemporary genres (such as jazz, rock, pop, R&B, etc.), particularly focusing on rhythm section instruments (for example, guitar, bass, keyboards, drum kit) as principal study areas. Delivered via mentored distance learning, the B.Mus. in Contemporary Music Performance allows performing musicians to earn a fully accredited undergraduate degree while honing their craft in their chosen modern musical style. The programme is open to performers in a variety of non-classical styles and encourages students to develop a broad understanding of theory, analysis, and music history as it pertains to contemporary music, alongside the development of high-level performance skills. First and foremost, this degree is a test of the candidate’s musical proficiency, creativity, and technical command on their instrument. Performances submitted for assessment should demonstrate more than basic competence; the candidate must show musicality, stylistic authenticity, and a command of technique that would be expected of a professional entry-level performer. (It should be noted that a portfolio consisting solely of very simple or rudimentary pieces, without any display of advanced technique or interpretative insight, is unlikely to meet the standard required for graduation.) Students will work with a dedicated Mentor who will guide them in selecting repertoire, improving performance practice, and completing academic assignments throughout the programme.
Regulations for the degree of Bachelor of Music (B.Mus.) in Contemporary Music Performance
1. Format of the Programme
The degree of B.Mus. in Contemporary Music Performance is assessed through a combination of practical performance submissions and supporting academic work. There are three principal components (parts) that must be passed in order to qualify for the degree. In certain cases, a candidate’s prior learning or experience (such as previously earned performance diplomas or extensive professional performance work) may be assessed and credited toward some of these requirements, in line with the University’s APEL policies. All candidates are, however, required to complete the final recital and associated assessments through the University. The three components are outlined below.
2. Part 1: Preliminary Performance Portfolio
For Part 1, the candidate is required to submit an initial performance portfolio demonstrating their current level of instrumental proficiency and musical range. This portfolio will typically consist of audio or video recordings featuring the candidate’s playing in several short pieces or excerpts. The selection of pieces should represent a range of contemporary styles or techniques appropriate to the instrument – for example, a bassist might include a funk groove excerpt, a walking bass line in a jazz standard, and a rock bass solo; a guitarist might submit a chord comping excerpt, a lead improvisation, and an acoustic fingerstyle piece. The total listening/viewing time of the Part 1 submission should be on the order of 15–20 minutes of music. At least two contrasting pieces should be included. The purpose of this portfolio is to establish that the student has a foundational command of their instrument sufficient to undertake higher-level study. If the candidate already holds a recognized performance qualification (for instance, an Associate or Licentiate diploma in performance from an accredited music exam board), the University may accept that credential in lieu of some or all of the Part 1 requirement, subject to review. Part 1 is assessed by the University faculty to ensure the candidate meets the entry-level performance standard for the programme. A simple Pass/Fail grade is awarded for Part 1; passing it allows the student to proceed to the subsequent parts.
3. Part 2: Supporting Theoretical and Analytical Studies
In Part 2, the candidate must complete the required academic coursework that supports and enriches their performance studies. This will involve a series of assignments or modules in areas such as music theory, analysis, and history/culture of contemporary music. Topics will be tailored to the contemporary focus – for example: advanced pop/jazz harmony (including understanding chord symbol notation, extended chords, modal interchange, etc.), improvisation theory and eartraining, form and analysis of popular song or jazz standards, arrangement techniques for rhythm section, and a survey of popular music history (covering major genres, influential artists, and stylistic evolution). These studies are typically delivered as mentored reading and listening assignments followed by written essays or online exams. For instance, a student might be asked to analyze the form and harmonicstructure of a well-known jazz composition, or to write an essay on the development of rock music in the 1970s and its socio-cultural context. The Mentor will provide guidance and feedback on these assignments. The assessments in Part 2 are marked by the University and must be passed in order to progress to Part 3. They ensure that the candidate has acquired a theoretical and historical understanding to complement their practical musicianship, as a well-rounded bachelor-level graduate in music should.
4. Part 3: Final Recital Performance and Commentary
Part 3 is the culmination of the B.Mus. programme, consisting of a capstone performance project and a reflective written component. The candidate is required to prepare and submit a Final Recital showcasing their abilities as a contemporarymusic performer. This recital will typically consist of 30 to 45 minutes of music. The repertoire for the recital should be chosen to demonstrate versatility and mastery: it must include at least two distinct genres or styles (for example, a jazz piece, a rock or pop piece, a fusion or Latin piece, etc.), or otherwise contrast elements such as tempo, mood, and technique. The selections should be of sufficient complexity to allow the performer to display advanced techniques (such as improvisation, complex rhythms, dynamic expression, etc.) and musical depth. The candidate may perform solo or with an ensemble/backing band as appropriate to the material; however, the candidate’s own performance should be prominently featured throughout the recital. Repertoire approval: The proposed recital program should be approved by the Mentor in advance to ensure it meets the required standards and breadth. The recital is to be recorded in high-quality audio (and preferably video as well). If recorded in front of a live audience, it is expected that the recording be unedited (except for necessary track separations) to reflect a true live performance. Studio recordings are permissibleespecially if live performance opportunities are limited, but these too should aim to capture one-take performances or minimal editing, so as to truthfully represent the candidate’s skills. Along with the recital recording, the candidate must submit a written commentary (typically around 2,000–3,000 words) or a set of programme notes. This written component should discuss the pieces performed – explaining the rationale behind their selection, analyzing key musical features or challenges of each piece, and reflecting on the performance preparation process. The commentary offers the candidate an opportunity to demonstrate their understanding of the repertoire’s context (e.g., the historical or stylistic significance of a piece, or the influence of certain artists on their interpretation) and to self-evaluate their performance decisions (such as interpretative choices, improvisational approaches, etc.). The Final Recital and its commentary are evaluated together by an examining panel appointed by the University. The panel will consist of music faculty knowledgeable in performance (including at least one external examiner if possible, to ensure objectivity). The recital performance is the major component of the Part 3 assessment, with the written commentary serving to support and illuminate the practical work. Both elements must be of passing standard for the candidate to earn the degree. In cases where the panel requires further evidence, the candidate might be asked to participate in an oral examination (viva voce) via video conference to discuss the recital and answer any questions the examiners might have.
5. Authenticity and Originality
All recordings and work submitted for the B.Mus. in Contemporary Performance
must be the candidate’s own work. In the case of performance, this means the recordings should feature the candidate as the primary performer on their declared instrument. Any supporting musicians or accompaniment used (whether live band members or pre-recorded backing tracks) should be clearly credited. The use of studio techniques or editing must be kept within reasonable limits – the aim is to present a genuine representation of the candidate’s live performance ability. If any postproduction (such as multi-tracking, overdubbing, or correcting of parts) is applied to the recordings, it must be disclosed in the submission documentation. The majority of the recital, ideally, should consist of one-take performances to demonstrate authenticity. The written commentary must likewise be the candidate’s own original writing; any sources consulted (for historical or theoretical information, for example) should be properly cited. Candidates may not submit work (performance recordings or writing) that has been previously submitted for another degree or diploma. Any instance of plagiarism, or misrepresentation (such as submitting someone else’s performance as one’s own), will result in disqualification from the programme.
6. Previous Experience and Entry Qualifications of Candidates
Candidates for the B.Mus. in Contemporary Music Performance are normally expected to have completed secondary education (high school diploma or equivalent). Additionally, because of the performance-focused nature of the programme, applicants should demonstrate a sufficient level of musical preparation. This may be evidenced by having passed advanced graded exams or performance diplomas (for example, Grade 8 or above in a contemporary music instrument, or an Associate-level diploma from a conservatory or examinations board), or through an audition/portfolio review process. Applicants without formal qualifications may be admitted based on a strong audition video or audio portfolio that clearly shows their performance level. While professional performance experience is not strictly required for admission, any such experience will be taken into account and can strengthen the application. All entrants should have fundamental music literacy and theory knowledge (at least to an intermediate level) to allow them to engage with the supporting coursework; those lacking in this area might be required to undertake a preparatory module. English language proficiency is required, as all instruction and materials are in English. The University’s principle of individual consideration means that non-traditional learners (for example, self-taught musicians with significant accomplishments) will receive full consideration. Ultimately, admission is granted at the discretion of the University after a holistic review of the candidate’s skills, experience, and potential to succeed in the programme.
7. Expected Standard of Work
The standard of performance and academic work expected in this B.Mus. programme is high. By the completion of the degree, a successful candidate’s performance should exhibit technical control, stylistic awareness, and musical expressiveness on par with a professional musician beginning their career. Minor technical imperfections might be tolerated in the context of live performance, but overall the playing should be confident, accurate, and musically compelling. The academic components (essays, analysis, and commentary) should demonstrate a proper understanding of musical concepts and the ability to communicate ideas in writing at an undergraduate level. The final recital, in particular, is expected to be of a standard that could be presented to an audience of musically educated listeners (for example, at a public recital, music club, or as a demo for a gig) and be well-received. In summary, while this is an undergraduate qualification, it should reflect a level of artistry and knowledge that shows clear readiness for professional work or advanced study.
8. Presentation and Submission of Materials
All submissions of recordings and documents should adhere to the guidelines provided by the University for format and labeling. Audio recordings should be high quality (minimum CD quality or higher), and video recordings (if provided) should be clear with unobstructed views of the performer. Each track or piece in a portfolio or recital should be clearly identified (with titles, composers/artists, and timing) in an accompanying track list or programme. Written work should be word-processed and formatted legibly; any musical examples or notation included in essays or the commentary should be clear and properly notated. When submitting the final materials for examination, the candidate is required to send three copies of all recordings and written documents (for example, three sets of CDs/DVDs or USB drives for audio/video, and three hard copies of any large written work, unless digital submission is requested). The University will retain the submitted materials, and they cannot be returned, so candidates should keep their own master copies of all work. It is advisable to use a reliable shipping method for physical materials, but avoid methods that require the receiver’s signature (to prevent delivery complications).
9. Examining Arrangements
The assessment of the Final Recital and other components will be carried out by an
Examining Board convened by the University. This board will typically include at least two examiners with expertise in music performance and education. After reviewing the submitted recordings and writings, the Board will make one of the
following recommendations:
1. that the candidate be awarded the degree of Bachelor of Music in Contemporary Music Performance (if all components are passed and standards met);
2. that one or more components be referred or require further work (for example, the candidate might be asked to reattempt certain coursework or even re-record a piece of the recital if there were significant issues) – in this case the candidate will be given feedback and one opportunity to re-submit the required work within a specified timeframe;
3. or that the candidate’s work is not of a pass standard, in which case no award
will be made.
In borderline cases, or if the Board needs additional information to reach a decision, the candidate may be invited to an oral examination (viva voce). In a viva voce for the B.Mus. performance, the candidate might be asked to discuss aspects of their performance (e.g. why they chose the pieces, how they prepared them, etc.) or to answer questions on the written commentary or coursework topics. This interview would typically be conducted via video conference given the distance learning context. The oral exam allows the candidate to clarify any matters and demonstrate knowledge that may not have been evident in the submissions. The decision of the Examining Board is communicated to the candidate by the University as soon as possible after the evaluation. If a re-submission is permitted for a referred component, detailed guidance will be given and a deadline set. Only one resubmission opportunity is allowed for any referred requirement. If the re-submitted work still does not meet the standard, the candidate will be considered to have failed that component (and thus the degree). In all cases, the University’s aim is to be fair and transparent in assessment, maintaining academic standards while providing the candidate with appropriate feedback and opportunity to succeed.