Master in Music and Musicology – Music Therapy | Antonine University

Faculty of Music and Musicology
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Master in Music and Musicology – Music Therapy

Explanations in Arabic, documentation in French, English, and Arabic

  • 36Credits
  • 2Duration of the program
  • $175Price
Official Name of the Program Master in Music and Musicology – Music Therapy
Official Degree Level Master
Price/Credit Collective course: $175 – Individual course: $220
Campuses Availability Hadat–Baabda

Program Objectives

This program responds to the growing need of Lebanese society, which is inherent in music-related professions.

It is, above all, about the Lebanese school education sector, which needs to recruit large number of music educators. This need arises from the implementation of a law-making music education mandatory at all school levels, as well as from the establishment within the CRDP of a comprehensive music education program for all pre-university education cycles. Teaching music at the secondary level in particular requires educators who have received university-level training in music education sciences at the master’s level.

It is also about music therapy, the adjunct care sector in neurology and psychiatry, using musical listening, and music practice. The profession of music therapist (as an allied healthcare worker collaborating with teams of neurological and psychiatric specialists) is in a promising emerging phase in Lebanon.

Furthermore, it addresses professionals in musical sound and music production, expert researchers in the integration and processing of music in media (including the press), through the use of digital technology and artificial intelligence, as well as qualified researchers in musicology and experts in the musical traditions of Western Asia and the Mediterranean. It also targets high-level professional musicians (specializing in Eastern musical traditions and baroque music) who possess an academic background in musicological research.

Graduates of this program are expected to become musical experts, and researchers in musicology – above all, music educators, music therapist (as allied healthcare workers collaborating with neurological and psychiatric specialist teams), professionals in musical sound and digital music technology, or cultivated, high-level professional musicians, notably in Western Asian and ancient European and Mediterranean musical traditions. They are expected to pursue these careers in higher education institutions, in public or private schools, as well as in technical schools and music schools, in healthcare centers (music therapy), in cultural and/or media production companies, or in professional music performance and training settings.

This master’s program, offered with six concentrations, enables students to develop and deepen their musical and general musicological skills, as well as those specific to each of the six concentrations, while introducing a strong component of scientific research training. As a fully professionalizing high-level degree, the successful completion of this master’s program (with a GPA above 3.3/4) also paves the way for doctoral enrollment. The Faculty of Music and Musicology offers its top graduates the opportunity to benefit from co-supervision agreements with Sorbonne University and the Institut de Recherche en Musicologie, while remaining affiliated with the Faculty’s Research Center on Musical Traditions.

These music-related professions require the articulation of several types of complementary skills. Some of these skills are general:
1. essential practical and theoretical musical competencies, in Levantine and European music;
2. scientific research skills, inherent in musicology and related disciplines of targeted concentration.
Others are specific :
3. pedagogical competencies (M_MM_SEM) ;
4. health care competencies (M_MM_MTP).
5. technological competencies (M_MM_MTM) ;
6. advanced oriental music competencies (M_MM_MSA) ;
7. advanced western music competencies (M_MM_MSE).
It is also about soft-skills :
8. verbal and musical, written and oral communication ;
9. critical thinking ;
10. scientific rigor ;
11. ethical correctness ;
12. friendliness in diversity.

Graduates of this program, while becoming school music educators, music therapists (allied healthcare professionals working in collaboration with neurological and psychiatric specialist teams), professional musicians, experts in digital music sound technology, or high-level music critics in the press and media, may also pursue doctoral studies to become university teacher-researchers.

Eligibility

The Master’s program in Music and Musicology (M-MM) is primarily intended for holders of a Bachelor’s degree in Music and Musicology in the same concentration (awarded by the FMM-UA or any other accredited higher education institution). When the bachelor’s degree was completed in a concentration different from the one targeted for the master’s, the candidate must complete required remedial courses, at the undergraduate level, in the chosen concentration during the first year of the master’s program. If the candidate has previously validated courses listed among these remedial requirements, they are, of course, exempt from taking them again.

Conditions of admission in Master
For all plans:
1. hold a Lebanese Baccalaureate, or its equivalent;
2. hold a BA in music and musicology, which the transcript is examined by the FMM Transfers and Equivalences Commission, with an average of more than 15/20 (in European system) or a GPA higher than 2.6 (in the American system);
3. pass on an orientation interview with the Dean.

Teaching Methods

Educational practices are classified into
1. Lectures in musicology, music education sciences, and music therapy, which follow the traditional lecture format while integrating complementary and diverse learning strategies, notably technopedagogy, group work, case studies, and the preparation of documentary syntheses and presentations by students;
2. Research seminars;
3. Courses in musical training (Levantine and Western) and harmony, which combine ear training through musical listening, memorization, group singing, collective and individual sight-reading, and musical dictation, while also using technopedagogy and group activities;
4. Supervised music therapy practice internships.

Evaluation Process

Assessment components
The system for assessing students’ achievement of course learning outcomes is based on the evaluation components as follows, depending on the types of courses taught:
1. Theoretical courses A of mainly lecture-based teaching leading to a cumulative assessment of four evaluative components, as follows:

  • Component 1, with 20%: continuous evaluation (classroom activities, tests, assignments, oral presentations, etc.);
  • Component 2, with 20%: Test 1 (Written test of 30 minutes);
  • Component 3, with 20%: Test 2 (Written test of 30 minutes);
  • Component 4, with 40%: Final exam (anonymous test taken at the end of the semester);

2. Theoretical courses B of mainly lecture-based teaching leading to a cumulative assessment of four evaluative components, as follows:

  • Component 1, with 20%: continuous evaluation (classroom activities, tests, assignments, oral presentations, etc.);
  • Component 2, with 20%: Test 1 (Written test of 30 minutes);
  • Component 3, with 20%: Test 2 (Project presentation);
  • Component 4, with 40%: Final exam (anonymous test taken at the end of the semester);

3. Courses of western musical training, Mashriq musical training, and harmony, leading to a cumulative evaluation consisting of six evaluative components, as follows:

  • Component 1, with 10%;
  • Component 2, with 10%;
  • Component 3, summary, with 30%;
  • Component 4, with 10%;
  • Component 5 with 10%;
  • Component 6, summary, with 30%.

4. The internships are evaluated by the supervising teacher as follows:

  • Component 1, evaluation of internship participation, with 30%;
  • Component 2, evaluation of placement learning outcomes, with 30%;
  • Component 3, evaluation of the placement report with 40%.

5. Individual musical practice courses shall be evaluated by the teacher and a Board of Examiners as follows :

  • Component 1, continuous assessment, with 60%;
  • Component 2, assessment by the Board of Examiners, with 40%.

The passing grade for all courses in the graduate is set at 70/100.

Grading
The scoring of results and the conditions for graduation differs between

  • The students under the academic regime without GPA (cohorts enrolled for the first time in a Bachelor’s or Master’s program before September 2019 and not concerned by the calculation of the GPA) and
  • The students covered by the academic regime with GPA (cohorts enrolled for the first time in a Bachelor’s or Master’s program from September 2019 and concerned by the calculation of the GPA).

The main difference involves the taking into consideration of the calculation of the Grade Point Average or GPA for the graduation of students under the academic regime with GPA; the GPA does not consider the graduation of students under the academic regime without GPA.
For the grades and the calculation of the GPA, see section 7.a (graduate).

Program Learning Outcomes (PLOs)

Common to the Master Program

At the end of the program of M_MM, the student will be able to

  • analyze the structural grammar of a musical work used in scientific research, clearly describing its semiotic framework and the principles underlying its cognitive neuropsychological processing;
  • design a musicological research project within a subdiscipline well mastered by the student, on a research topic within their reach, by appropriately formulating objectives, research questions, and hypotheses, in line with the epistemological standards of the chosen field;
  • carry out musicological research on a subject familiar to the student, employing appropriate methodological tools, and adhering strictly to the epistemological standards of the selected subdiscipline as well as to the ethical principles of scientific research;
  • adhere to the ethical standards governing research and musicological disciplines;
  • communicate research findings effectively, both orally and in writing (in French, English, or Arabic), by constructing a clear, credible, and well-argued discourse that meets recognized methodological standards;
  • produce a well-structured and thoroughly written research thesis (minimum 15,000 words) within the musicological subdiscipline of the chosen concentration, demonstrating originality and scholarly relevance;
  • defend this research before an academic jury, presenting a coherent and well-argued synthesis of the work, clearly outlining the scientific approach, highlighting key findings, and responding convincingly to questions from jury members.

Specific to the Program

At the end of the Master in music and musicology, MTP option, the student is capable

  • to develop a scientific research project in music therapy culturally contextualized concerning Lebanon and the Levant. This his research being original, relevant, ethically compliant with scientific research standards, and well written;
  • to use music in a therapeutic context, as an adjunct to neurological or psychiatric care, in a receptive perspective, and an active perspective, and music-based rehabilitation. This practice is based on psychopathological and neurological diagnostics established by medical specialists and carried out under their strict supervision.
Job Prospects

Graduates of this program shall become researchers in musicology.

Program Structure

General Common Requirements


Code Course Credits
MRCH 701-AC00 Musicological Research Methodology
Musicological Research Methodology
MRCH 701-AC00
3

This course briefly explains the progress of research in the field of musicology, including music education and music therapy. It is based on teaching the student researcher the steps of designing a coherent and rich research work. In principle, the design will be divided into six stages: (1) Analyze the topic staring by defining its main objective, and stating the problematic and the associated hypotheses; (2) Explain in depth the method of collecting and reviewing the appropriate sources and data: selection, reading, and summarization; (3) Build the text in its three stages: introduction, expansion, and conclusion; (4) Edit the research work: sections, references and writing using Word; (5) Develop the strategy of e-search: navigation and techniques of finding the proper information; (6) Basic typing skills: Text processing.

(3 Cr.)
MUMS 154-AC00 Introduction to cognitive neuropsychology of music
Introduction to cognitive neuropsychology of music
MUMS 154-AC00
3

This course offers an introduction to the cognitive and neural mechanisms involved in musical production and reception, integrating contributions from cognitive psychology and cognitive neuroscience. It explores the brain’s processing of musical information, from composition and interpretation processes to auditory perception, drawing on experimental research, the analysis of brain lesion effects, and advances in neuroimaging and neurochemistry. The course examines the mechanisms of musical perception, learning, and memory, in connection with neuroplasticity, and focuses on the emotional dimensions of musical processing, particularly in relation to brain reward circuit and stress regulation. It also traces the evolution of research on musical perception through the study of polyphonic tonal music and modal monodic traditions.

(3 Cr.)
MUMS 158-AC00 Analysis of traditional Mashriq musical utterances
Analysis of traditional Mashriq musical utterances
MUMS 158-AC00
3

This course proposes a musical analysis of modal semiotic essence carried out on examples borrowed from the monodic musical traditions of Mašriq, eastern and Mediterranean part of the Arab world. As for modal semiotics, it consists of a study of musical sound signs and their significant references, which has as its field the musical statements governed by modes, ways of being of a musical text on the melodic level. This approach poses the system consisting of all the modes of this territory as a melodic tongue that traditional usage declines in the form of temporally articulated musical texts and whose rhythmic stylistic schemes or traditional norms configure the metric and rhythmic component, regulate the syntax and structure the general form. This method is based on a modelling taking the form of a transformational rewriting that is divided into four components: (1) musical phonological, (2) musical morphological, (3) modal syntactic and (4) introverted vs extroversive semiosis. The first part of this analysis course is devoted to the acquisition of the basic tools for this type of analysis, The second part is devoted to the implementation of this approach and related tools and the development of recorded traditional music sequence analyses.

(3 Cr.)
MUMS 155-AC00 Experimentation involving music: between ethics, statistics, and artificial intelligence
Experimentation involving music: between ethics, statistics, and artificial intelligence
MUMS 155-AC00
3

This course aims to introduce students to scientific experimentation methods applied to music. They will learn to design reliable experimental protocols, use appropriate statistical tools, and leverage artificial intelligence resources for the analysis and categorization of musical data. Particular attention will be given to ethical issues, methodological biases, and scientific responsibility in the collection, processing, and publication of results. By the end of the course, students will be able to conduct rigorous experimental studies, critically interpret results, and situate their work within a broader reflection on the human and technological challenges of contemporary musical research.

(3 Cr.)
SRCH 103-AR00 Research Seminar – Master in Music and Musicology
Research Seminar – Master in Music and Musicology
SRCH 103-AR00
3

This research seminar provides support to the apprentice researchers enrolled in the first year of the master in music and musicology, all concentrations combined. It focuses on interdisciplinary research (in neuromusicology, music therapy, musical education, general musicology of monodic modal traditions, computer music, musical sound technologies, musical performance) culturally contextualized, therefore having as an object of musical study the modal monodic music notably from Western Asia. One part of the seminar is devoted to the epistemological and methodological discussion of questions relating to research undertaken by students, the other being dedicated to the presentation of state-of-the-art reports, reviews of articles and sessions and work in progress.

(3 Cr.)
MUMS 155-AC00 Introduction to Music Computing in the Light of Artificial Intelligence
Introduction to Music Computing in the Light of Artificial Intelligence
MUMS 155-AC00
3

This course presents music computing in its applications useful for musicological research, musical learning and music production. In fact, it is a discipline that involves aspects of sound synthesis, assistance with musical composition, even musical composition without human assistance. This discipline has greatly developed with the recent rise of artificial intelligence, at the same time as it has become more accessible to the public. This course aims to provide apprentice researchers in musicology with some tools allowing them to develop their skills in this future field.

(3 Cr.)
Specific courses


Code Course Credits
MUMS 142-AC00 Music Therapy and Childhood Disorders
Music Therapy and Childhood Disorders
MUMS 142-AC00
3

Each of the childhood disorders will be treated as follows: definition, diagnostic criteria, classification, etiology, major associated disorders, some epidemiological data, and signs of appeal, followed by resources on the subject and how to act in music therapy for each disorder.

(3 Cr.)
MUMS 152-AC00 Music Therapy Practical Internship 1
Music Therapy Practical Internship 1
MUMS 152-AC00
3

This course provides an in-depth theoretical foundation and practical application of concepts used in both active and receptive music therapy. The theoretical component defines music therapy as a distinct scientific discipline and clarifies its framework and fields of intervention, particularly as an adjunct to medical therapies, especially in psychiatry and neurology. The practical component allows future professionals to immerse themselves, observe, and practice music therapy in real-world settings under the guidance of certified music therapists. Finally, the course concludes with an analytical component that examines therapeutic practices, focusing on the use of musical elements—whether played or listened to—within the therapeutic relationship as part of music therapy support.

(3 Cr.)
MUMS 148-AC00 Music Therapy and Its Therapeutic Framework
Music Therapy and Its Therapeutic Framework
MUMS 148-AC00
3

The therapeutic framework refers to all the practical and psychological elements that enable the establishment of a care process between a music therapist, a healthcare professional, and a patient. Its purpose is to create a safe and supportive environment that fosters therapeutic processes and change in the patient. The therapeutic framework generally includes elements such as the care request, scheduling, duration and frequency of sessions, location, confidentiality rules, payment terms, professional ethics and deontology, as well as mutual expectations between the therapist and the patient. This course will define the different types of frameworks that can be used in music therapy, tailored to the diverse populations served.

(3 Cr.)
MEMO 507-AM00 Research Thesis in Music Therapy
Research Thesis in Music Therapy
MEMO 507-AM00
6

The research thesis in music therapy is developed by the student during the second year of the master’s program in Music and Musicology, concentration in Music Therapy, under the supervision of a qualified faculty researcher. The research topic must align with one of the established epistemological approaches in music therapy, such as functional sedative music therapy, active music therapy, receptive music therapy, or neuro-music therapy/rehabilitation music therapy, while emphasizing the cultural contextualization of the musical practices and therapeutic interventions implemented, and incorporating neuroscience perspectives. The experimental methodology used may be clinical or conducted on healthy subjects to explore specific effects of music. The thesis may be written in French, English, or Arabic, depending on the student’s language proficiency. It must adhere to the FMM style guide, follow APA citation standards (7th edition), and include a minimum of 14,000 words.

(6 Cr.)
MUMS 153-AC00 Music Therapy Practical Internship 2
Music Therapy Practical Internship 2
MUMS 153-AC00
3

This course builds upon the "Practical Internship in Music Therapy 1" course. It provides a deeper theoretical foundation and practical application of concepts used in active and receptive music therapy. The theoretical component defines music therapy as a fully-fledged scientific discipline and clarifies its framework and fields of intervention, particularly as an adjunct to medical treatments, especially in psychiatry and neurology. The practical component enables future professionals to immerse themselves, observe, and practice music therapy in the field under the supervision of certified music therapists. The final component focuses on the analysis of therapeutic practices, exploring the use of musical elements—played or listened to—within the therapeutic relationship as part of music therapy support.

(3 Cr.)