HONG KONG BAPTIST UNIVERSITY

Department of Music

B.A. (Honours) in Music

Student Handbook
2021/22
TABLE OF CONTENTS PAGE

Introduction 3
Academic Advising 4
Plagiarism Policy 5
Private Lessons Policy for Applied Music 7
Guidelines for Applied Music Studies 8
Music Colloquium Attendance Requirements and Regulations 9
Student Ensemble Performance and Requirements 10
Chamber Music 10
Guidelines for Use of the Electric-Acoustic Music Centre 11
Guidelines for Use of the Music Technology Centre in LMC 510 12
Guidelines for Use of Studio 3- Computer Laboratory in DLB 606 14
Rules for Practice Room Booking 15
Concentration Selection 17
Concentration Changes 17
Performance Audition 18
Staff List 19
Honours Project 21
Honours Project Timetable 24
General Regulations for Honours Projects 24
(Directed Studies and Music Education Concentrations)
Guidelines for Presentation of Directed Study Honours Projects
Guidelines for Presentation of Music Education Honours Projects
Guidelines for Presentation of Honours Projects
(Composition Portfolio)
Honours Performance Recital Procedures 25
Overview of Curriculum 32
Campus Building Codes 36
Useful Information 37

2
 INTRODUCTION

Welcome to the B.A. (Honours) in Music Programme at Hong Kong

Baptist University. The faculty here takes seriously its mission to provide a
high quality education while fostering the creative, practical and
intellectual abilities of the students. Each of us is available for
consultation and discussion at least 6 hours weekly during scheduled
office hours. If you wish to discuss any matters, simply make an
appointment with the lecturer with whom you wish to speak.

This handbook is to help you know and understand the official policies
of the Department of Music. The University Calendar/Student Handbook
is the official document of the University and you may consult it for
information concerning University policies, undergraduate study,
attendance, assessment, academic standards and problems, and
many other issues directly related to your studies. The Programme
Document for the B. A. (Honours) Music is available upon request and
contains further information such as the programme structure and
course syllabuses that you might find useful. Please ask at the Music
Office.

Department of Music

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 ACADEMIC ADVISING

Students are encouraged to pursue a course of study that leads toward

personal and professional maturity. BA 1 students will be advised on
scheduling and course matters by the Head of Department Prof. Johnny
Poon and B.A. Programme Coordinator Dr. George Tsz-Kwan Lam.

For each BA 2 and 3 student, the advisor will be the Concentration

Coordinator of the student's major field of study. Performance major
students will be advised by the Performance Coordinator, Prof. David
Chung. Students writing a thesis will be advised by the Directed Studies
Coordinator, Dr Benjamin Koen. Composition students will be advised by
the Composition Coordinator, Dr. Eugene Birman and students
interested in Music Education will be advised by Prof. Ho Wai Chung,
Music Education Coordinator. Any students wishing additional
academic assistance should contact their Programme Coordinator.

Students needing personal advice or counseling in other areas are

encouraged to seek either the Head of Department, Prof. Johnny Poon,
their course instructors or a counselor in the HKBU Counseling Centre who
have vast resources and experience dealing with personal problems
common to undergraduate students.

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 PLAGIARISM POLICY

Plagiarism is the copying and use of other people's work while presenting
it as your own. It can take many forms, from unattributed sources to the
use of too much of other people's work with attribution. We do not
tolerate it. If you are unsure whether or not you have plagiarized, see
your subject instructor BEFORE you hand in your assignment.

Some guidelines for the avoidance of plagiarism:

Begin your work as early as possible. Plagiarism is often a result of having
put off working on your assignment until it is too late to do a good job.

Do your research by taking notes, writing down key concepts rather than
highlighting entire paragraphs or even pages in a book. This will help
ensure that you use your own words when writing the assignment. But be
aware that the unattributed use of someone else's ideas is also
plagiarism.

Consider how the facts that you have collected individually work
together as a whole. This kind of critical thinking — taking individual facts
and linking them together in a meaningful way — is much more
important than simply collecting and presenting facts without
interpretation. If your paper is based on your interpretation of facts,
plagiarism is not likely to be an important issue.

Think about how to structure your ideas into a successful assignment. Be

sure that your paper has a specific point to be made or direction to go.
Eliminate unnecessary information that does not contribute to the point
or direction. Every quotation must have a good reason for its use in your
paper. Do not include quotations that do not support some important
point you are making. Be sure to attribute or endnote every quotation
used in your paper. Never use a quotation without telling where it comes
from, and who wrote it. Always attribute the source.

Assignments are meant to be your own work, unless you are specifically
told otherwise. If 25% or more of your paper is material from other
sources, you have probably used too much. Copying someone else's
music, or musical analysis, without attribution is also plagiarism (see
below under Inappropriate Collaboration.)

Plagiarism is a kind of theft, and must be avoided. The penalties for

plagiarism are severe. Plagiarism of a significant assignment will most
likely result in failure of that subject, not just failure of the assignment. The
entire subject must then be retaken. Plagiarism may also result in
expulsion from the University.

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In addition to outright plagiarism, inappropriate collaboration is also a
form of academic dishonesty. Collaboration can include, but is not
limited to, jointly calculating/working out homework, having another
person help you rewrite a paper, sharing sources for a take-home exam,
working in a group on an assignment, or checking homework answers
with others. When students work together or share information without
specific instructions from the instructor, this constitutes inappropriate
collaboration. This applies to in-class or take-home tests, papers, labs, or
homework assignments, basically for any assignment that will be
submitted for marking or a grade. Students should not collaborate unless
given specific instructions about group work and when this is permissible.

Inappropriate collaboration is unethical because it misrepresents joint

work as an individual’s work; gives students who break the rules an unjust
advantage and results in unfair competition; prevents learning (those
who work with others on an assignment are not gaining all the
knowledge and skills that they would be from doing the entire
assignment on their own).

If you are not sure, ask your instructor before choosing to work with
someone else. You must ensure that your work is original and 100% the
result of your efforts and yours alone. (Adapted from the University of
Manitoba Student Advocacy website.)

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 Private Lessons Policy for Applied Music

Teacher Assignment
When more than one teacher is available for a specific instrument, the
department balances two main factors: the teacher’s preference for a
particular student and the availability of each teacher’s studio.
Generally speaking, students admitted into the university are assigned
to study under our adjunct or full-time faculty. Permission to study with a
teacher not currently on our list is at the discretion of the Department. In
all cases, the decision of the Department is final.

Each student is allowed to change major instruments and/ or teacher

once during the entire course of his/ her study. Changes of teacher/
major instrument are normally permitted only at the end of an
academic year.

Lessons
Whilst many teachers teach on campus, you should be prepared to
have all or some of your lessons at the teacher’s studio. Any student
missing more than 15% of their lessons risks getting a failing grade (F).
Requests for rescheduling should be made in advance to your teacher
(i.e. before the lesson), with at least one week’s notice. Missed lessons
and lessons cancelled by students will be made up at the teacher’s
discretion depending on each student’s need and the time available.
Any tardiness of 15 minutes or more will be considered an unexcused
absence.

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 Guidelines for Applied Music Studies
(revised September 2013)

1. Objectives
The main objectives of Applied Music are (i) to establish a high standard
of performing competence in one chosen instrument; (ii) to develop
musicianship and an understanding of musical styles of all historic
periods relevant to the chosen instrument; and (iii) to complement
academic studies by providing a practical experience of a wide-
ranging repertoire.

2. Repertoire
All students should learn a much wider repertoire than what they present
for the Jury. Roughly speaking, yearly repertoire should include technical
work in addition to works of different styles. Because of the varied nature
of different instruments, we do not publish standardized requirements for
each instrument. Each pupil is a unique individual, and each student’s
work should be tailored to his/her particular needs and potential.

3. Music Colloquium Performances

(i) A number of student recitals will be scheduled during the academic
year and students who have attained a high level of performance
standard can, with the support of their instructors, apply to perform in a
Music Colloquium student recital.
(ii) Students taking Performance as Concentration should play a
programme of about 15 minutes from memory in a Music Colloquium
recital.

4. Jury
(i) There are two juried performance examinations per year, at the end
of each semester, usually in December and May. The examination is
scheduled to last 10 minutes; Performance Concentration juries are 15
minutes in length. Students are expected, during the course of their
studies to master progressively more advanced repertoire, covering the
full range of literature available for their instrument, usually from the 17th
to the 21st centuries.
(ii) Students are expected to prepare at least two pieces of contrasting
styles and periods for each jury, in addition to technical work (scales and
arpeggios, etc.).

5. Audition for Performance Concentration

Students intending to pursue the Performance Concentration option
should play a programme of 2 or more contrasting pieces entirely from
memory for a duration of 15 minutes for the performance audition jury,
and are required to reach the score of 80 (Grade B+) or above.
Performance must demonstrate technical assurance and stylistic
awareness of more demanding works.

6. Assessment
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Course work (Teacher’s mark) 40%
Performance (Public performance/Jury) 60%

MUSIC COLLOQUIUM ATTENDANCE

REQUIREMENTS AND REGULATIONS

Attendance is required of all B. A. music students each week at Music

Colloquium without exception. This colloquium is held on Fridays from
1:30 to 3:30 p.m. If any excused absences are absolutely necessary, they
are made only by the Colloquium Coordinator. All requests for an
excused absence must be in writing.

Only four absences per academic year are allowed. Failure to attend
Music Colloquium as required will result in an F grade being registered
for that course. Students failing Music Colloquium will be required by the
Exam Board to do extra work in order to graduate. Graduation may be
deferred in order to complete this make-up work.

Attendance will be checked by the Music Department secretaries or

their delegates, immediately after the Colloquium begins. If you arrive
late, please do not open and enter the doors until after the first
performer has finished. Wait until the applause, then enter immediately
and find a seat as quickly and as quietly as possible. Normal concert
etiquette is expected. Do not talk, read, or do assignments during the
performance. Turn off your pagers, alarm watches, and mobile phones
before the performance begins. Treat the performers with respect, as
you would like them to treat you. The Student-in-charge will maintain
good discipline during the Colloquium and will report all problems to the
Colloquium Coordinator and the Music Office.

Permission should be sought from the Department of Music in using and

moving pianos and any other equipment.

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 STUDENT ENSEMBLE PERFORMANCE AND REQUIREMENTS

Ensemble performance plays an important role in developing group

musicianship and engaging the community. All students are required to
participate in the Hong Kong Baptist University Symphony Orchestra,
Collegium Musicum Hong Kong, String Ensemble Studio Class, Flute
Ensemble Studio Class, Clarinet Ensemble Studio Class, Trumpet
Ensemble Studio Class, Low Brass Ensemble Studio Class, Saxophone
Ensemble Studio Class, Percussion Ensemble Studio Class, Harp Ensemble
Studio Class, Hong Kong Baptist University Choral Union or Cantoría Hong
Kong every semester. Participation in other ensembles/chamber music
is also encouraged. The objective is to give students an opportunity to
develop their skills in ensemble performance, to enhance their
awareness and understanding of the problems in ensemble music-
making, and to foster a sense of teamwork while enlarging musical
opportunities and performance experience.

Performance ensembles present one or more annual concerts. Students

perform in the ensemble most suitable to their applied music
development and ultimate career goals. The repertoire presented in
concert represents the ability and purpose of the organization. This
repertoire and performance will support the teaching in other practical
and academic subjects.

Each ensemble is governed by rules and regulations set by the director

of the ensemble. There are times when ensembles combine to prepare
for a joint presentation. Attendance is required. Excuses for absences will
be handled by each ensemble director.

Ensemble participation will be assessed upon attendance and

contribution to the organization. B. A. Music students must pass eight
semesters of ensemble in order to graduate.

CHAMBER MUSIC

The Department offers chamber music courses, MUSI 2005, 2017, 3005,
3006, 4007, 4015. Groups (piano duet, brass quintet, etc.) may be formed
based on student interest.

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 GUIDELINES FOR USE OF THE ELECTRO-ACOUSTIC MUSIC CENTRE

Students should feel fortunate that they enjoy one of the finest teaching
studios in the region. The EMC’s acoustics and equipment is of
professional standard and high cost. It is one of the Arts Faculty’s
greatest assets and visitors are often given a tour of the facility, so it
needs to look good at all times. We also want to make sure that it
remains a good learning environment for many years to come. Thus the
following common-sense precautions should never be forgotten:

● No Food or Drink
● When you leave, take your belongings (items left in the EMC will
either be donated to the University or placed outside the door)
● No one should ever be invited into the EMC that is not working on
an approved project for one of the classes it supports
● All work done in the EMC must be for a specific class assignment
or approved by the EMC Director.

Students failing to follow these guidelines or not use the facility with
respect will lose the privilege of using the EMC indefinitely, and will be
forced to complete all assignments with the resources in LMC510.

For the protection of your work, always back-up your complete sessions
on some personal removable storage device to take with you.

If you encounter problems, please see

● One of the Department Secretaries (bookings)
● The Department Technicians (technical problems/Pro Tools
questions)
● The EMC Director (Prof. Christopher Keyes)

Please let us know if you have any suggestions as to how this might be
improved.

Booking: Using the online booking system Year-2 students may reserve
Studios B and C for 2 hours each week. Year-3 & 4 students may reserve
Studios A and B for 3 hours/week, and graduate students for 8
hours/week. At all other times you may book the facility on a first-come
first-served basis. Choose your reservation times wisely because if you fail
to show up within the first 10 minutes, the room is then free for anyone
else to use.

Key card access: You can use your student smart-card to access the
EMC from 8:00am to 9:00pm. At other times you need to go to the
security office to borrow a key in return for your student ID. If you think
you will need to stay past 11:00pm to complete your work, fill out the
appropriate overstay form (from the Music Office) and have it signed
BEFORE 5:30pm. ALWAYS LOCK THE DOOR WHEN YOU LEAVE, ALWAYS.

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You are responsible for any damage to the equipment and facilities
while using your key card.

GUIDELINES FOR USE OF THE MUSIC TECHNOLOGY CENTRE IN LMC 510

The Music Technology Centre (LMC 510) serves both the BA and MA in
music. It is also a slightly crowded space with little storage and needs to
be kept clean and tidy at all times to maintain a good learning
environment and to protect the equipment. For this reason;
● When you leave, so must all of your belongings. A room cluttered
with personal belongings is not a good space in which to teach
or learn.
● Food and drink are not allowed at any time. They are not
consistent with the atmosphere we wish to create and can easily
damage equipment.
● Students are expected to keep their voices low at all times. The
greater the number of students in the room, the greater the
chance that you are preventing someone from concentrating on
their work.

Folders for your work: Just as the clutter of personal items about the room
detracts from the focus of the learning environment, so do hundreds of
files on the desktop. Thus we follow a simple rule: One Person / One
Folder. If it’s not in your folder, we assume it is not important and will
delete it.

Back-ups: For the protection of your work, realize that any hard disc that
is used continuously will eventually crash. As they say, “Its not a question
of ‘if’, it’s a question of ‘when’”. Data can also be inadvertently erased
in a number of different ways. Thus always back-up your work on some
removable storage device and take it with you. Your failure to do so
cannot be used as an excuse for late assignments and are evidence
that you’ve learned very little about technology anyway.

When attending a class, please do not sit in the back row. These seats
are reserved for MA or BA students who are not enrolled in the class
being conducted, but need to quietly get some work done.

The computers inside LMC 510 are for assignments and Honours Projects
only. For those who wish to check their email or web surf, please go to
the Universities’ Computer Centre or take advantage of the University’s
‘Notebook Ownership Scheme’ and the campus wifi.

With the ‘SmartCard’ System your student card should normally let you
into the room. If it does not, either A) the Music Office needs to add your
card to the database, or B) you’ve been using the facility for Facebook

12
and/or have been generally obnoxious and we’ve decided the facility
is better off without you.
If you have questions, or if problems arise, please contact (in this order)
● One of the Department Secretaries
● The Department Technicians in AST802
● The graduate student in charge of the room (if any)
● The EMC Director

We want to create an atmosphere that you and your work thrive in.
Please let us know if you have any suggestions as to how this might be
improved.

Care and feeding of the computers

Logout-sleep: The computers will last much longer if when you are done
with your work you log-out and put it to sleep.

Never force shutting-down the computer (pressing the power button for
5 seconds) unless the entire machine hangs, and/or if there is a kernel
panic and you are asked to do so. If an individual program hangs, go to
Applications/Utilities/Activity Monitor and use that application to force
quit the affected applications only.

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GUIDELINES FOR USE OF STUDIO 3 – COMPUTER LABORATORY in DLB 606

Studio 3 (6/F, David C. Lam Building, Shaw Campus) is the Computer

Laboratory specially designed for the use of the students of B.Mus and
those who have enrolled to the course Scoring Seminar I-IV.
To maintain a good learning environment and to protect the
equipment, please follow the rules below:
● When you leave, so must all of your belongings. A room cluttered
with personal belongings is not a good space in which to teach
or learn.
● Food and drink are not allowed at any time. They are not
consistent with the atmosphere we wish to create and can easily
damage equipment.
● Students are expected to keep their voices low at all times. The
greater the number of students in the room, the greater the
chance that you are preventing someone from concentrating on
their work.

Accounts: Students have been given an account that has been

carefully set up specifically for them. All of your work MUST be written to,
and saved on the disk named Student Data. If you find you cannot save
a session or bounce a mix to disk, make sure that the session and files
are exported on the Student Data disk.
Folders for your work: Just as the clutter of personal items about the room
detracts from the focus of the learning environment, so do hundreds of
files on the desktop. Thus we follow a simple rule: One Person / One
Folder. If it’s not in your folder, we assume it is not important and will
delete it.
Back-ups: For the protection of your work, realize that any hard disc that
is used continuously will eventually crash. As they say, “Its not a question
of ‘if’, it’s a question of ‘when’”. Data can also be inadvertently erased
in a number of different ways. Thus always back-up your work on some
removable storage device and take it with you. Your failure to do so
cannot be used as an excuse for late assignments and are evidence
that you’ve learned very little about technology anyway.
The computers inside Studio 3 are for assignments and course works
only. For those who wish to check their email or web surf, please go to
the Universities’ Computer Centre or take advantage of the University’s
‘Notebook Ownership Scheme’ and the campus wifi.
With the ‘SmartCard’ System your student card should normally let you
into the room. If it does not, either A) the Music Office needs to add your
card to the database, or B) you’ve been using the facility for non-
assignment related items and/or have been generally obnoxious and
we may suspend your access from the facilities.
If you have questions, or if problems arise, please contact (in this order)
● One of the Department Secretaries
● The Department Technicians in AST802

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 RULES FOR PRACTICE ROOM BOOKING

The practice rooms in AST building are available for our music
undergraduate students. The instruments and room facilities are of
professional standard. As with all Departmental facilities, we want to
make sure that the Practice Room area remains a good environment for
developing musical skills for many years to come.

1. The practice rooms in AST building are provided for B.A. Music and
B.A. Music Studies students’ practice use only.

2. Booking slots for next week (Monday to Sunday) will be opened to

students on every Saturday at 09:00.

3. Booking time slots: please refer to department announcement.

4. Each student is allowed to book the practice rooms for a total of 5

hours per week.

5. The department reserves the right of releasing (or not releasing) any
room for booking.

6. The department reserves the right of rearranging or declining a

booking even if the booking request is accepted by the online
system.

7. An confirmation email will be sent to the user after he/she placed the
booking, similarly, an email will be sent for any booking amendment
and cancellation.

8. BA Students are only allowed to book the practice rooms in AST

building.

9. Students can cancel their booking 12 hours before the booked time
slot, the 1 hour quota will be returned to the student. They are not
allowed to make any amendment afterward.

10. If the user fails to check in the room within the first 15 mins. of the
booked time slot, the room will be released to other students, yet the
1 hour quota will still be deducted.

11. Students are responsible to report any loss or damage of facilities

inside the practice room to Department Office immediately.

12. No food or beverage is allowed inside the practice rooms.

15
13. No private teaching or practice involving non-music students is
allowed unless you have the approval from the department in
advance.

14. The department is not responsible for any loss or damage of personal
belongings inside the practice rooms. Unattended personal
belongings will be confiscated.

15. Students who violate these rules frequently will be barred from
making further bookings for practice rooms.

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 CONCENTRATION SELECTION

You should consider carefully your choice of concentration. The

Programme Coordinator is available to give you more information about
each concentration, as well as to discuss which concentrations might
be a good fit for your interests and career aspirations. Please reach out
to the Coordinator of a concentration that you are interested in, and/or
talk with your academic advisor.

Concentration selection takes place in the second year. You will be

asked to fill in a form giving your concentration preference. Be aware
that this form only indicates your preference — actual assignments to
concentrations are made by the Head of Department in consultation
with the Programme Coordinator and the Concentration Coordinators
(see below). There may be limitations, in terms of finances, equipment
and facilities, which necessitate restricting admission into a given
concentration.

Concentration Coordinators:

● Directed Studies – Dr. Benjamin Koen

● Composition – Dr. Eugene Birman
● Performance - Prof. David Chung
● Music Education - Prof. Ho Wai Chung

CONCENTRATION CHANGES

Once students have selected a concentration, they are normally

expected to remain in that concentration and complete all
requirements. Students requesting concentration changes may apply to
the Head of Department (Prof. Johnny Poon) in writing stating the
current concentration, the requested concentration, and the reason for
change requested as early as possible.

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 Guidelines for Performance Audition (for BA2 Students)

1–18 December (date tbc.) Performance Audition

9 January (tbc) Announcement of Audition Results

(1) Any BA2 student who wishes to select Performance as a concentration is

required to reach a Jury score of 80 or above in the performance audition jury.
However, the audition is held on a competitive basis and reaching the score
of 80 does not automatically entitle a student to be admitted into the
Performance Concentration.

(2) Repertory requirement: 15 minutes of 2 or more contrasting pieces (diploma

level), including tuning, breaks, etc. Memorization is compulsory. Pieces
previously presented in juries cannot be ‘reused’ for the audition.

(3) About your audition programme:

1. Choose pieces to demonstrate both technical abilities and musical maturity.
In addition to accuracy of notes and of performance indications (dynamics,
articulation, etc.), listen to the quality of the sound, the musical expression and
other interpretative details, which are integral to the entire performance (see
rubrics for more detail).
2. There should be variety in terms of historic periods, styles and characters. For
example, don’t play three pieces of similar moods (all serious, or all comical).
Make sure the works chosen are not in the same key! Avoid playing 2 sonata
movements in a row, unless they are stylistically very distinct from one another.
For the purpose of the audition jury, avoid lengthy slow music. It is quite
common to include a concert é tude, although it is not a strict requirement to
include one for the purpose of this audition.
3. Time your programme and make sure that it is within the suggested duration
for your recital/audition, including all breaks and intervals.
4. Examples of balanced programme and score sheet:
A. 1. Baroque
2. Classical Sonata (fast movement)
3. Romantic or Contemporary

B. 1. Baroque or Classical
2. Romantic or Impressionistic
3. Contemporary (not Rachmaninoff—stylistically Romantic)

Student Teacher Teacher 40% Jury Jury 60% Total Grade

Alberti 85 34 85 51 85 A-
Bach 90 36 72 45 81 B+
Chopin 75 30 90 54 84 B+
Debussy 96 38.4 78 46.8 85.2 A-
In the above hypothetical audition, only Alberti and Chopin passed the
audition.
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 STAFF LIST

Professor Johnny M. Poon

Head of Department
Music Director of HKBU Symphony Orchestra and Collegium Musicum Hong
Kong
Research Areas: Conducting and Orchestral Activities

Professor David Chung

Programme Director, M.A. Music Programme
Performance Concentration Coordinator
Applied Music Coordinator
Research Areas: Performance Studies

Professor Ho Wai Chung

Associate Head of Department
Music Education Concentration Coordinator
Research Areas: Music Education and Sociology of Music

Professor Christopher Keyes

BA Programme Coordinator
Director of Electro-acoustic Music Centre and Laboratory for Immersive Arts
and Technology
Research Areas: Music Technology, Electro-Acoustic Music

Professor Helan Yang

Programme Director, B.Mus. Creative Industries Programme
Research Areas: Music History

Professor John Winzenburg

Music Director of HKBU Choir and Cantoría Hong Kong
Research Areas: Conducting, Choral Activities, Modern Chinese Music, Pre-
1949 Shanghai

Dr. Benjamin Koen

Directed Studies Concentration Coordinator
Research Areas: Medical Ethnomusicology; Music, the Mind, and Meditation;
Jazz and World Music; Improvisation and Creativity; Holistic Health, Fitness,
and Entrepreneurship

Dr. Roberto Alonso Trillo

Research Areas: String Performance, Contemporary Music, Philosophy of
Music, Interdisciplinary Research

Dr. André J. Elias

Research Areas: Ethnomusicology; World Music; South Asian Music; Music of
the Americas

Dr. Yoonie Han

Research Areas: Piano Performance

Dr. George Lam

Research Areas: Composition

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Dr. Mack Enns
Research Areas: Game Scoring, Composition, Music Technology, Gaming,
Music Programming

Dr. Camilo Mé ndez

Research Areas: Composition, Extended Instrumental Techniques & New
Music Notation

Dr. Maria Kallionpä ä

Research Areas: Composition and Contemporary Music Performance

Dr. Matthew Schreibeis

Departmental Exchange Coordinator
Research Areas: Composition; Music Theory and Analysis; Korean Music; Film
Music and Multimedia

Dr. Eugene Birman

Composition Concentration Coordinator
Research Areas: Composition

Dr. Gene Shill

Research Areas: Creative Entrepreneurship, Creative Practice, Contemporary
Record Production. DJing, Electronic Dance Music, Jazz & Hip-Hop

Dr. Po-Kwan Law

Course Coordinator, A.D. Music Studies Programme
Research Areas: Conducting, Choral Pedagogy, Research Methods

Dr. Austin Yip

Programme Director, B.A. Music Studies Programme
Research Areas: Composition, Music Theory, Music History

20
 HONOURS PROJECT

The Honours Project should begin after the successful completion of Year
III courses. There are several objectives for the Honours Project.

- To guide the student in the development of research, creative, or

performance processes appropriate to the discipline of music.

- To develop the student's initiative and organizational ability

appropriate to the discipline.

- To foster independent and analytical thinking.

- To develop the student's appreciation of scholarship, artistic

principles, taste and critical judgment in music.

- To provide a basis for the student to apply the above-mentioned

qualities to actual work situations.

All projects are to be the responsibility of the student who will work
closely with a supervisor to develop topics relevant to the student’s
interests, abilities, and career goals. Projects may include, but are not
limited to a composition or portfolio of compositions; a significant
performance; or a written paper documenting case studies, analysis,
surveys, or other projects approved by the Department. Interdisciplinary
projects such as lecture recitals are encouraged, in which case the
student must find a supervisor willing and comfortable in supervising the
proposed project. They may consult the relevant Coordinators to work
out the exact method of assessment appropriate to the given project.

1. Composition

The composition project is to demonstrate an appropriate level of

technical achievement and scope in the contemporary acoustic
setting, electronic/computer music medium, or mixed media
production environment. The composition or production will be
presented or displayed in a public concert. The student is also
expected to organize the production for the concert
presentation, including organizing performers and/or equipment
as well as rehearsal scheduling. The University will provide
assistance where necessary and possible. The Honours Project
portfolio must have 1-3 pieces, including at least one large scale
composition. An analytic paper detailing structures and
techniques used in the large scale work is also required. Works
presented for grades in other classes may not be included in the
portfolio. There is no restriction on the instrumentation of the
compositions other than the practical one concerning the

21
 necessity of having the major work performed. The performance
will be held on the campus of Baptist University.

2. Performance

The Honours Project in Performance will normally include:

- The public performance of a collaborative concert (30-

35 minutes) of not more than 10 musicians, such as:
(1) chamber recital (piano trio, string quartet, etc.)
(2) an accompanied recital (piano with voice(s) and/or
instrument(s);
(3) an entire concerto with piano accompaniment

- programme notes for the collaborative concert

prepared by the student; and

- a paper, concerning the concert of approximately

2,500-3,000 words. The paper will be a performer's analysis of
the work (or works) which might include structural issues as they
apply to performance and/or issues of performance practice
applicable to the work(s) and to the performing approach
chosen.

3. Directed Studies

The Honours Project in Directed Studies will normally involve an

extensive year-long study cumulating in the production of a
research paper of approximately 10,000 words in length, or a
lecture recital of 45 minutes accompanied by a written document
of 4000 words. Directed Studies projects may include, but are not
limited to: historical studies, genre studies, music analysis, surveys,
or other appropriate projects. Students are required to submit a
project proposal in mid August, and will be informed of the project
supervisor in early September. Their specific project topic and
format, after consulting with the supervisor, is to be approved by
the Directed Studies Committee which meets in late September.
Students who opt for lecture recital should seek the approval of
their applied music teacher as well as take into consideration their
jury scores (that should be above a B- average). Both project
topic and format should be finalized by 31 October, and change
of topic or switch of format is generally not accepted afterward.

4. Music Education

The Honours Project in Music Education Concentration will

normally involve an extensive year-long study culminating in the
production of a research paper. Students will work on an
independent research project in the area of their choosing and
22
under the approval and guidance of project supervisors. Students
will be required to submit a project proposal in mid-August and
will be informed of their project supervisors in early September. The
project topic and respective research method(s) should be
finalized by the end of September, and a change of topic will
generally not be accepted afterward. The length of the
completed project will be approximately 10,000 words in English.
Projects appropriate for this discipline include, but are not limited
to, literature surveys, case studies, content analysis, historical
studies, surveys, and other projects approved by the supervisor.

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 HONOURS PROJECT TIMETABLE

The following due dates will be strictly observed:

a. Directed Studies and Music Education – Concentration

Coordinators will meet with or e-mail current BA 3 students
regarding the guidelines for preparing a project proposal
sometime in early June. Students will be asked to prepare a
project proposal to be submitted to the Concentration
Coordinator (Directed Studies – Dr. Benjamin Koen / Music
Education – Prof. Ho Wai Chung) prior to July 30 or as instructed
by the Coordinator. Prior to submitting the proposal, students are
encouraged to meet with the Coordinator and faculty members
to explore possible topics and approaches. The final approval
and assignment of supervisor will be made in late August or early
September. Projects will be submitted in mid April of the following
year, exact date to be finalized by the Coordinator. Late projects
will not be accepted.

Students choosing to do the lecture recital are responsible for

coordinating the recital arrangement, which should be settled
and be reported to the Coordinator before the end of March.
While the written document is to be submitted along with those of
the Directed Studies, the lecture recital could be scheduled prior
to the written project deadline.

b. Performance - Select the performance repertoire and obtain the

approval of the Performance Concentration Coordinator, Prof.
David Chung, before June 30 of the previous year.

c. Composition - Portfolios (including the analysis) must be

completed in mid April. Composition performances will be held in
May. Late portfolios will not be accepted. BA 3 students should
consult with the Composition Concentration Coordinator, Prof
Christopher Keyes, before May 30 in order to know how to
approach the honours project in BA 4. Students will be assigned
to their composition teachers before September of BA 4.

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 GENERAL REGULATIONS FOR HONOURS PROJECTS

At the discretion of the programme management committee,

unsatisfactory Honours Projects will be given the grade PR (Project
Resubmit). The revised project must be resubmitted by 1st of November
of the same year. A student will only be considered for graduation in the
same year if the final grade reaches the Academic Registry on or before
the 1st of September. The final grade of a resubmitted project will not be
higher than C.

(DIRECTED STUDIES and MUSIC EDUCATION CONCENTRATION)

Two copies of the thesis should be submitted prior to the due date to the
office staff of the Department of Music or as instructed by the
Concentration Coordinator.

All theses will be assessed by two faculty members of the Department,

the first reader being the supervisor. The final grade of the project is
based on the average of the two grades submitted by the two
examiners.

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 GUIDELINES FOR PRESENTATION OF
DIRECTED STUDIES HONOURS PROJECTS

1. Title Page: The title page should include information such as the
subject title, the name of the author, the name of the
institution (Hong Kong Baptist University), the name of
the department (Music), the degree and the date of
submission.

2. Abstract: Each thesis should include an abstract of about two

hundred words.

3. Table of Contents:
All divisions into chapters and sub-divisions within
individual chapters should be listed, including their
corresponding page numbers.

4. Main Text: The body of the thesis should be duly paginated and
divided into chapters. The overall length is 10,000 (+/-
500) words. All dissertations must be either typed or
word processed, doubled-spaced, on good quality
A4 paper, with 1.5 inches margin on the left and 1
inch margins on the top, right and bottom of the
page. All theses should be securely bound.

5. Appendices (if any)

6. Bibliography / References

** For guidelines on stylistic matters, please consult your supervisor and /

or references such as the The Chicago Manual of
Style (R 686.224 UN3M 2003), Guide to MLA
Documentation (808.027 T736E), and Publication
Manual of the American Psychological Association
(R808.02 P961 2001).

**The following webpage supported by the library is useful:

http://www.hkbu.edu.hk/library/electronic/libdbs/honproj.html

26
 GUIDELINES FOR PRESENTATION OF
MUSIC EDUCATION HONOURS PROJECTS

1. Title Page: The title page should include the subject title, the
name of the author, the name of the institution (Hong
Kong Baptist University), the name of the department
(Music), the degree and the date of submission.

2. Abstract: An abstract is an outline/brief summary of your

dissertation. It should have an introduction, body and
conclusion. It is a well-developed paragraph of
about two hundred words.

3. Acknowledgements:
You may wish to give special recognition to persons
and organisations or other resources that you have
been helpful in the course of your research.

4. Table of Contents:
The Table of Contents is the only index of your thesis.
It is a list of the parts of the thesis, organised in the
order in which the chapters and sub-divisions within
individual chapters should be listed, showing their
corresponding page numbers.

5. Main Text: The main body consists of several chapters. Each

chapter develops a subdivision of the purpose of the
thesis. The overall length is 10,000 (+/- 500) words. The
thesis must be either typed or word processed,
doubled-spaced, on good quality A4 paper. Leave
a margin of 1.5 inches at the left side of each page;
leave margins of 1 inch at the top, bottom and right
side of the page. The font size for the body of the text
is 12-point and should remain consistent throughout
the main text.

6. Appendices (if any):

The Appendices will contain additional illustrative
materials, such as forms, questionnaires, documents,
complex tables, music scores or song materials. These
materials are not essential to the text but helpful to a
reader seeking further clarification or information.

27
7. References: The reference list is arranged in alphabetical order of
the authors’ surnames. You are encouraged to
adopt the American Psychological Association
format for references. If you do not have time to
peruse the pages (400 or more) of the most recent
version (Sixth Edition) of the Publication Manual of the
American Psychological Association, or if you just
need to know enough about the rules, visit the
Internet for the format. Alternatively you can consult
your supervisor for further information.

8. Submission: The student is responsible for providing two hard-

bound copies and one digital copy to Professor Ho
Wai Chung on the date of the submission.

28
 GUIDELINES FOR PRESENTATION OF
HONOURS PROJECTS (COMPOSITION PORTFOLIO)

1. Title Page: Your pieces should look like professional music scores.
The title page should include (in the following order)
the title of the composition, the ensemble used, the
name of the composer, and the timing (duration) of
the composition. Do not include statements such as:
"Prof Christopher Keyes, advisor"; or "Hong Kong
Baptist University Department of Music".

2. Instrumentation/Instruction page:
If necessary, a page or more may be included before
the music giving explanations of unusual
notation/techniques, etc. If the ensemble was not
sufficiently explained on the title page (for example,
"for two percussionists" or "for large orchestra") a
section specifying or clarifying the ensemble or the
instruments (especially percussion) must be included
here.

3. Score: All music must be clearly legible and presented

professionally. It may be printed on any size paper.
Computer notation programs such as Finale may be
used, but are not required. A sufficient margin on
both right and left hand sides should be allowed for
binding. All scores should be photocopied using
double sided copying, and spiral bound individually.

4. Examiners and Due Date:

Your portfolio will be examined by two composition
faculty. Two copies of the entire portfolio (including
the analysis and programme notes for the large scale
piece) are to be submitted to your composition
teacher on the due date, before 5:00 p.m. The Due
Date is mid-April with the exact date to be confirmed
by the Composition Coordinator at the beginning of
the academic year. Parts are not required by this
deadline. (See Prof. Keyes for a handout on
guidelines for parts.) The Composition Concert is in
late May, date to be confirmed with the Composition
Coordinator.

5. Analysis: The analysis should be clearly labeled with a title and

your name. The analysis is to present a discussion of
techniques and structures used in the composition,
especially those techniques or structures which are
not immediately obvious upon opening the score. It
29
 is not intended to be a description of your piece, nor
is it appropriate to discuss at length the text or
program (if any). You are expected to use the
appropriate terminology correctly, and you should
write at a level for the composition teachers. It is not,
therefore, necessary to explain common technical
terms. Examples should be included, but they should
be clearly labeled to demonstrate the point being
made. Do not include unnecessary examples. Each
piece will, of course differ as to the techniques used,
but a few possible topics for discussion are:

Pitch Cell/Motivic Development

Long range (background) pitch structures
Vertical (harmonic) structures and harmonic
relationships
Rhythm/Tempo/Activity
Timbre and timbral control
Texture

6. Because you are analyzing your own piece, it is

unlikely that you will need to use endnotes. If you do
need them, however, consult your advisor for the
proper format.

7. The approximate length of the analysis is 3,500 words.

The analysis must be written in English. The musical
portion of the portfolio is to have an approximate
duration of 12 minutes.

30
 HONOURS PERFORMANCE RECITAL PROCEDURES

All Performance Concentrators will be assigned a date for their Honours

Project Concerto Performance and a Performance Recital.

Recital Procedure:Check the following with the performance instructor:

- programme notes
- programme printing (a draft should be turned in to the
Performance Concentration Coordinator, Prof. Chung, no later
than six weeks before recital
- programme must be proof-read and checked before final
duplication
- proper dress
- page turner(s)
- ushers and other assistants

31
Overview of Curriculum

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 Campus Building Codes

For location of buildings, please refer to the location map on the last
page of this handbook. The following shows the building codes for your
easy reference:

36
 Useful Information

You may get information from or contact relevant offices if there are
any enquiries on the issues listed below:

Units Issues Contact Information

Academic Website:
• Academic Calendar
Registry http://ar.hkbu.edu.hk/
• Attendance Tel: 3411 7847
• University Calendar/Bulletin Email: ugs@hkbu.edu.hk
• Change of study Address: AAB701,
programme Academic and
• Course exemption/Transfer
Administration Building
of
units
• Course registration and
withdrawal
• Examinations and grades
• Graduation and honours
classifications
• Minor programmes
• Units and study load

Office of Student Affairs

Website:
Counselling & • Counselling services http://sa.hkbu.edu.hk/cd
c/
Development • Peer Mentor Programme Tel: 3411 7435
Centre Email: cdc@hkbu.edu.hk
Address: WLB403, The
Wing Lung
Bank Building for Business
Studies
Website:
• Co-curricular learning
Leadership http://sa.hkbu.edu.hk/lqc
(CCL)
/
Qualities Centre ( ccl@hkbu.edu.hk) Tel: 3411 7436
• Citizenship and Service Address: WLB401, The
Leadership Wing Lung
( lqc@hkbu.edu.hk) Bank Building for Business
Studies
Website:
• Career Mentorship
Career Centre http://sa.hkbu.edu.hk/car
Programme
eer/

37
 • Global/Local Attachment Tel: 3411 5118
Email:
Opportunities
bucareer@hkbu.edu.hk
Address: WLB402, The
• Metropolitan Attachment
Wing Lung
Programme Bank Building for Business
• Career counseling/advising Studies
• Job opportunities
Website:
Scholarships & • Grants and loans
http://sa.hkbu.edu.hk/
home/campus-life-
Financial Aid • Scholarships
support/
scholarships-financial-
Unit
aid/
Tel: 3411 2307
Email: sfa@hkbu.edu.hk
Address: WLB401, The
Wing Lung
Bank Building for Business
Studies
Website:
Undergraduate • Hall admission http://sa.hkbu.edu.hk/sas
s/ugh/
Email:
Halls • Hall life education
ughall@hkbu.edu.hk
Tel: 3411 2602
Address: Undergraduate
Halls, 5
Baptist University Road
Website:
Mainland • Guidance and Mentoring
http://sa.hkbu.edu.hk/
Student Service cdc/?page_id=734
Email:
Services Unit • Orientation and Training
mssunit@hkbu.edu.hk
• Social Networking Tel: 3411 2328
Address: WLB403, The
Wing Lung
Bank Building for Business
Studies
• General Education courses Website:
General
and http://ge.hkbu.edu.hk/
Education requirements Email: ge@hkbu.edu.hk
Office • University Life Tel: 3411 2106
Address: AAB805,
Academic and
Administration Building
Website:
Language • Chinese Speaking & Writing
http://lc.hkbu.edu.hk/
Centre Enhancement Services Email: lc@hkbu.edu.hk

38
 • English Speaking & Writing Tel: 3411 7589
Address: OEE1203, Oen
Enhancement Services
Hall (East)
• Putonghua Speaking
Enhancement Service
• Chinese supplementary
courses,
English supplementary
courses, Putonghua
supplementary courses,
foreign languages
supplementary courses
Website:
Finance Office • Payment of tuition fee http://fohome.hkbu.edu.
hk
Email: fo@hkbu.edu.hk
Tel: 3411 5123
Address: DLB620, David
C. Lam
Building
• Student Exchange Website:
International
Programme http://intl.hkbu.edu.hk/
Email:
Office • Summer programmes
exchange@hkbu.edu.hk
Tel: 3411 2188
Address: AAB 703,
Academic &
Administration Building

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