Phd in MUSIC AND PERFORMING ARTS

List of courses / activities for the first year

More information The educational activity is based on cycles of lessons and seminars, all planned and organized for the current academic year and already partly carried out in this first part of the year. It should be noted that the return to face-to-face teaching activities has obviously allowed for greater integration between doctoral students and teachers, also making it possible to create internal seminars between doctoral students and the start of face-to-face laboratory activities such as digital sound and moving image analysis laboratories. During the year it is planned to use an important and historically prestigious theater space such as the Nuovo Teatro Ateneo for the initiatives of the doctorate in Music and Performing Arts. All the activities indicated are organized by the PhD program and aimed primarily at PhD students (with the financial support of the PhD program where necessary). Seminars actively involve PhD students with written reports. With regard to the first-year programme, even if the doctoral students are invited to participate in all the activities organized, specific teaching training is foreseen. This mainly consists of a series of lectures and seminars dedicated topics, such as research methodological issues, public management of research, national and international funding systems, publication of the research outcomes especially in peer-reviewed scientific journals of performance studies, both at national and international level. The relationship with university libraries holding crucial digital resources on performing arts will also be intensified through lessons specifically dedicated to understanding how to have access those resources. Curriculum of THEATRE, PERFORMANCE, FILM STUDIES AND TECHNOLOGIES OF DIGITAL PERFORMANCE Scheduled in 3 years with specific events planned for each of them, the programme aims at coordinating several teaching and research activities on digital performance, theatre, dance, film and media studies. In order to increase the doctoral candidates’ knowledge, the PhD programme considers the current investigations and advanced studies in the field at national and international level. It takes into account the philology, the analysis of concrete historical contexts from the past, the historiography. Although, it is conceived within the framework of contemporary culture, theories and thought, in order to make the knowledge coming from different domains and expertise converge and interact opening innovative methodological perspectives. In accordance with that, the board intends the research projects not limited to scientific-disciplinary sectors but extended by the theories and methodologies of investigation. In order to support this process, the board decided that each doctoral candidates at the first year have to study in-depth crucial publications of theory and history of performance, which will be verified through an oral exam. Moreover, in the first year, in accordance with the PhD programme, the board plans a cycle of lectures and seminars by Italian and foreign professors, or well-known experts in the field of research. Some seminars are organized in collaboration with academic or cultural institutions in Rome (i.e., with the PhD Programme in Film Studies of the Department of Comunicazione e Spettacolo dell’Università di Roma Tre). The PhD programme also includes sessions of discussion on the research projects in which the members of the board are committed to verifying the advancements and in particular the methodological perspectives activated by the doctoral candidates With regard to the course in Theatre Studies, lectures, conferences, and a set of seminars aim at providing a deep understanding of methodologies and tool for theatrical research, outlining meaningful aspects coming from the dialogue between performance theories and practices. The purpose of those activities scheduled is also underline issues related to subjects such as, the acting, the directing, the body techniques in dance and theatre, the dramaturgies, the strategies of dance writing and choreographic annotations, the performance-making principles, as well as the new modalities to organize and transmit the knowledge. In the field of Film studies, the conferences focus on theoretical and methodological aspects, pointing out on some crucial approaches at national and international level. From the issue cinema/philosophy to the ichnologic interpretation of the screenplay, from the question about the time in moving images, to the research on the body and the emotions in the movies. In accordance with the research paths in Digital Technologies for the Performance, the PhD courses dedicated to the digital performance draw the attention on a trajectory articulated as follow: a) the dramaturgy of immaterial space designed with digital technologies such as 3D animation, augmented reality, telecontiguity; b) research on vocal performance and exploration of the sound dimension; c) relation between performance studies and anthropology of performance. Finally, PhD students get 15 credits performing teaching activities, theatre or audio-visual laboratories, tutoring. Curriculum of HISTORY AND ANALYSIS OF MUSIC CULTURES The first-year programme is designed to broaden and deepen doctoral students’ knowledge in all fields of intellectual research on music, especially at an international level. Fundamental tools are the cycles of lectures and seminars held by members of the board or by other musicologists and ethnomusicologists from Italy and abroad. The board considers the methodological dimension fundamental for the development of structured research with advanced and suitable methods. This type of training is considered important especially in the first year, at the beginning of the PhD students’ research path. Since the admission competition selects candidates who have already received a methodological address within the master's degree courses or equivalent (the Master’s degree in Musicology of Sapienza, for example, includes 12 credits of Fondamenti della ricerca musicologica ed etnomusicologica), doctoral courses in this area are configured as advanced study. Lectures, seminars, and conferences aims at introducing 1st year doctoral students to recognize the crucial questions of research in the musicological field. PhD students are also required to participate in the Musicology Colloquia (6 seminars) and in the International Ethnomusicology Seminars (4 seminars) organized by the Department di Lettere e Culture Moderne. Finally, in addition to the above-mentioned doctoral activities, PhD students get 15 credits each year for tutoring. Method of choosing the subject of the thesis Curriculum of HISTORY AND ANALYSIS OF MUSIC CULTURES Each PhD student submits a rather complex written thesis proposal (at least 15 pages), with an initial bibliography. The board examines and discusses these proposals, accepts and / or proposes changes, and assigns to the candidates a supervisor and a co-supervisor. Curriculum of THEATRE, PERFORMANCE, FILM STUDIES AND TECHNOLOGIES OF DIGITAL PERFORMANCE The thesis project is discussed with the supervisor and with the board. The proposals have to show an adequate knowledge of the field of investigation, a precise reflection on the methods to apply, an awareness on the theoretical framework with an inclusive list of references. Research development is constantly evaluated by the supervisor and verified by the board in recurring meetings with presentations and discussions. A methodological seminar specifically related with the ongoing research activities of individual PhD students is annually organized. Admission to the second year Curriculum of HISTORY AND ANALYSIS OF MUSIC CULTURES By the end of September, each doctoral candidate must submit no less than 30 pages of the PhD thesis, consisting of an examination of the subject and a discussion of the existing bibliography agreed with the supervisor and the co-supervisor. This document is examined by the board and in particular by a "third reviewer" member of the board, who then will discuss it with the PhD student during the month of October. Curriculum of THEATRE, PERFORMANCE, FILM STUDIES AND TECHNOLOGIES OF DIGITAL PERFORMANCE The PhD student had to pass the oral exam on the fundamental theoretical texts. He/she has to submit a first summary of the work to be done for the final dissertation in a concise but already articulated paper supported by bibliographic references. The project has to be approved by the supervisor and the board.

List of courses / activities for the second year

More information The programme is based on sets of lectures and seminars. All teaching activities busily involve PhD students with written reports or prior preparation. With regard to the second year, even if the doctoral students are invited to participate in all the events organized by the PhD programme, specific teaching activities are foreseen. These mainly consist of a series of seminar meetings to study in-depth topics related to the PhD students’ research. In addition, and to encourage doctoral students to have an exchange with their own scientific communities of reference, in the second year seminar days are planned for both music and performance courses. During these events, PhD students (of the second and third year) will give a speech related to their own research in front of colleagues and professors of the PhD board. Method of preparation of the thesis Curriculum of HISTORY AND ANALYSIS OF MUSIC CULTURES The second-year programme is scheduled as follow: - November-June: PhD teaching activities. - September-October: By the end of September, doctoral students has to submit to the board a written report on the research developments (2-3 pages), a provisional summary and a chapter of the PhD thesis (not necessarily the first) of the length of not less than 30 pages, containing other materials rather than the report presented for the transition from the first to the second year. Curriculum of THEATRE, PERFORMANCE, FILM STUDIES AND TECHNOLOGIES OF DIGITAL PERFORMANCE The thesis project is discussed with the supervisor and with the board. The proposals have to show an adequate knowledge of the field of investigation, a precise reflection on the methods to apply, an awareness on the theoretical framework with an inclusive list of references. Research development is constantly evaluated by the supervisor and verified by the board in recurring meetings with presentations and discussions. Admission to the third year Curriculum of HISTORY AND ANALYSIS OF MUSIC CULTURES Along October, the board have a meeting during which the materials presented in the context of the transition from the second to the third year of the PhD course are evaluated on the basis of the opinion by supervisor, co-supervisor, third reviewer member of the board. Afterwards, doctoral candidates attend a meeting with the board where they discuss the materials presented and the progress of their research. Curriculum of THEATRE, PERFORMANCE, FILM STUDIES AND TECHNOLOGIES OF DIGITAL PERFORMANCE Doctoral candidates have to submit a part of the thesis (at least 2 chapters). They have to participate in the PhD programme activities (seminars and courses). Research presented must be approved by the supervisor and the board.

List of courses / activities for the third year

More information During the third year, doctoral students focus their activities on writing the final thesis in close dialogue with their supervisor and co-supervisor following scheduled deadlines. In any case, third-year doctoral students are required to follow some lectures and seminars and above all to make public intervention about their research in front of colleagues and the PhD board. Method of admission to the final examination Curriculum of HISTORY AND ANALYSIS OF MUSIC CULTURES By the end of May, doctoral candidates submit the summary, the bibliography and two chapters of the final thesis to the board. The third reviewer, who has evaluated their transition from the second to the third year, presents a report to the board on the advancement and the work done. These are then discussed in a meeting of the board with the doctoral students that takes place during the month of June. For the admission to the final exam, which will take place in October, an explicit judgment by the supervisor and co-supervisor is required before forwarding the thesis to external evaluators. In February of the following year, during the same period in which the final exam is held, the doctoral students participate in a seminar in which they present to the board part of their research in progress or just completed in the form of a report of 20 minutes. The subject of the report must be different from that of the report presented at the seminar of the previous year. Curriculum of THEATRE, PERFORMANCE, FILM STUDIES AND TECHNOLOGIES OF DIGITAL PERFORMANCE By the end of May, the doctoral candidates submit to the board the summary, the bibliography and two chapters of the final thesis. These are then discussed in a meeting of the board with the doctoral students that takes place during the month of June. For admission to the final exam, in addition to the supervisor's report, it is also required the explicit judgment by the co-supervisor. Final examination The procedures of the PhD final exam are now nationally standardized for all PhD programmes. Therefore, the PhD Programme in Music and Performance identifies two specific reviewers, experts on the subject, for each thesis. Their report is sent to the three members of the national scientific committee, who for obvious reasons cannot be experts in all the sub-disciplines covered by the PhD programme, and who will therefore find the reviews useful for the complete understanding of the submitted work. The current orientation is to select a scientific committee that includes a professor from the L-ART / 05 sector, one from L-ART / 06, and one from L-ART / 07 or L-ART / 08. All the experts will be external to Sapienza University of Rome.