Save the date: the application deadline is 15 July of each year. The aptitude assessment process for the winter semester 2018/19 is set for 24 July 2018.
Ensemble Modern / Varese: Deserts - Bill Viola | Photo: Barbara Fahle
The interaction between music and performance is examined from various perspectives in our master’s and doctoral programmes. The term ‘performance’ encompasses general aspects of production and the event itself as well as performance art in a narrower sense. Thus, music theatre in its entire spectrum (opera, operetta, dance, musical, revue, cabaret), music and theatricality (concerts, busking culture and festive processions as theatrical happenings), music and audio-visual media (film and television) as well as interactions between music and fine arts are considered.
The forms of cultural transmissions and practices regarded are represented in various medial states – from live performance to audio-visual storage. In their material forms they are one of the most fascinating aspects of cultural history and demand an approach from multiple perspectives which uses the methods and findings from film, theatre, art and dance studies and independently continues these approaches.
The master’s programme Musik und Performance strongly involves students in the current research of the Forschungsinstitut für Musiktheater der Universität Bayreuth (fimt) [Research Institute for Music Theatre of the University of Bayreuth] and prepares for jobs in research and leading functions in cultural management by special support of scientific excellence.
The study programme’s focus with respect to a later professional career is twofold: necessary work strategies for the field of the humanities and cultural studies are promoted and refined. In addition, the study programme aims at cultural managers already skilled in the basics, too, who want to specialize and gain further qualifications for future professional prospects.
The master’s programme is completed with a Master of Arts after 4 semesters.
After the amendment of the study programme in the winter semester 2011/12 it is also possible to study in part time (more details in the updated regulation, see below).
|2017||Begegnungen mit dem Fremden – Richard Strauss’ Salome
[Encounters with the Other – Richard Strauss’ Salome (Tobias Hederich)]
|2017||Der Klang der Helden. Die Entwicklung des Heldentenors unter Berücksichtigung von technischen, stilistischen und klanglichen Stimmeigenschaften (Maik Schaarschmidt)
[The Sound of Heroes. The Development of the Heldentenor with regard to Technical, Stylistic and Tonal Voice Traits (Maik Schaarschmidt)]
|2017||Arbeit am Theater: Die Frage nach der Arbeit des Schauspielers im Theater am Beispiel von Kill your Darlings! Streets of Berladelphia von René Pollesch (Theresia Brüller)
[Work at the Theatre: The Question of the Work of the Actor at the Theatre Based on the Example of Kill your Darlings! Streets of Berladelphia by René Pollesch (Theresia Brüller)]
|2016||Gestaltungsgröße Musik. Analyse musikalischer Handlungsgestaltung und Charakterdarstellung im Musicalfilm (Svenja Fricke)
[Design Factor Music. An Analysis of Musical Plot Design and Character Representation in Musical Films (Svenja Fricke)]
|2016||Straßenmusik und Festival. Am Beispiel von Würzburg (Saskia Grünenthal)
[Busking and Festival Using the Example of Würzburg (Saskia Grünenthal)]
|2015||Zwischen-Wesen: ideelle Grundlagen des Triadischen Balletts und des Mechanischen Balletts sowie deren künstlerische Umsetzung in diesen Werken (Ruth Christine Weisel)
[In-between Beings: Conceptual Foundations of the Triadic Ballet and the Mechanical Ballet as well as Their Artistic Realization in These Works (Ruth Christine Weisel)]
|2014||Transformationsprozesse der Schlager der Weimarer Zeit anhand des Phänomens Max Raabe (Belinda Groß)
[Transformation Processes of Schlager Music During the Era of the Weimar Republic Using the Phenomenon of Max Raabe (Belinda Groß)]
|2014||Männlichkeitsinszenierungen im zeitgenössischen deutschen Rap
[Staging of Manhood in Contemporary German Rap (Ekaterina Vardeli)]
|2014||Transmediale Sound-Welten. Zur akustischen Verknüpfung von Erzähluniversen an den Beispielen Star Wars und Batman
[Transmedial Sound Worlds. On the Acoustic Link of Narrative Universes on the Example of Star Wars and Batman (Diana-Maria Heidemann)]
… the familiar atmosphere and the positive spirit of cooperation
… the lecturers are eager to cover the individual main interests of the students and take them up in seminars too
… the various possibilities to gain practical experience apart from theory, be it by projects in the theatre room of the university or by work placement.
part -time studies
(Foto: Norbert Mebert)
|What I particularly appreciate about the Master Musik und Performance is the possibility to propose own topics of interest – both via compulsory elective courses from other study programmes and own courses. There is a great intellectual openness towards new ideas and approaches; and individual impulses are encouraged and appreciated.|
|The wide spectrum of music theatre allows me to engage scholarly with topics which are often only marginally encompassed in theatre studies and musicology. The close cooperation with fimt and the insight into applying research competence encouraged me in my career aspirations and I feel very well prepared for my future work by this study programme.|
The studies in Musik und Performance prepare for the following fields of employment in music theatre (repertory theatre companies) and media:
dramatic adviser for opera, ballet and concert at the theatre Chemnitz
|With only a few students, there was a close team spirit and an intensive way of studying. Because of their size the courses were tailor-made for us and participating was great fun. The relationship with the lecturers and the individual attention which they were able to bestow on everyone was encouraging. What is more, the academic environment – with its libraries, the research institute… I have never experienced anything like it at another university.
The study programme provided me, on the one hand, with great access to materials and knowledge – in an interdisciplinary way too, for instance by taking courses in the law such as copyright, with which I have to deal in my everyday professional life. On the other hand, I have not been professionally limited by my studies.
dramatic advisor for music theatre and concert at the theatre Pforzheim
Annika Hertwig, 27, studies the master’s programme Musik und Performance at the University of Bayreuth. She graduated with a Bachelor in Dramaturgy in Leipzig.
“The letter with the invitation to the interview had not arrived at first”
“After graduating with a Bachelor I intensively trained for a new production at the dance theatre in Leipzig for half a year. Prior to that I had already danced in the ensemble and participated dramaturgically in a production. Somehow, I needed this before I was able again to work academically and theoretically, because we deal with performance in our studies, but we do not perform ourselves. A lecturer drew my attention to the master’s programme. The town Bayreuth was actually too small for me; but by now I appreciate the advantages: you can focus on your studies and the creative scene is close-knit. Besides, the admission procedures for the master in Dramaturgy in Hamburg and Frankfurt put me off. In Bayreuth I only had to submit a letter of motivation and attend a selection interview. The letter with the invitation to the interview had not arrived at first, which made me nervous, since I did not have a plan B, but fortunately it worked out well after all. I think it’s great we have so many different people studying here: musicologists, audio engineers, pedagogues and economists. Everyone brings new perspectives to it, again and again. By now I have also got used to writing more term papers than in my practice-oriented Bachelor. Maybe I’m going to start a doctorate later, but directly after graduating I’d like to join the theatre again: I’d like to work dramaturgically again and would like to do a traineeship at the theatre.”
Eva Theresa Beck
employee at the musical instruments rental at Preissler Music (Video in German)
Written applications for admission to the master’s programme Musik und Performance are to be submitted by 15 July for the following winter term.
The application must include:
The aptitude assessment process comprises a 20-minute interview based on your cover letter on your motivation for applying to the master’s programme.
The application deadline is 15 July of every year; usually the aptitude assessment process takes place at the end of July and the admission at the beginning of August.
For any questions concerning the study programme or the aptitude assessment process the programme coordinator/advisor Prof. Dr. Anno Mungen as well as students of the master’s programme (at the moment Christine Stein) are available.