Final Projects (TFT)

End purpose

End purpose in this case means the end or objective which a task, action or project is designed to achieve. The end purpose of this project is to perform a concert. One could say that the end purpose is, strictly speaking, what actually motivates the production.


In order to obtain the Bachelor of Music qualification it is necessary to create and publicly defend a final project, which is based directly on what has been learned. It is a written project composed of explanations, theories, ideas, reasoning, etc. on a particular theme and then put into practice in the context of a concert/performance.

The student must demonstrate the capacity to apply the acquired knowledge in diverse environments; to know how to communicate the conclusions, knowledge and theories on which the project is based.


The objective of the FP is to communicate, in an organised, formal, clear and precise manner, the results or conclusions which have been reached in the process of studying the theme at hand, as well as the methodology used, the process followed, the documents consulted, etc. Ultimately, it is all about conveying meaning.

In the case of the Bachelor of Music at ESEM, you must convey meaning in two different ways.

1. In the concert/show. What is transmitted in the concert must be coherent with the conclusions of the study. The concert will involve staging, control of the musical discourse and musical coherence. Ultimately, it must be a professional concert and should aim to be entertaining. In this regard, the ESEM wishes to promote the FPs commercially as entertainment. To this end, the Festival Talent has been launched in order to promote new musical talents and to introduce them and their projects to the general public. 

2. Written project/Oral defence. It is a project generated from research into a subject. In the oral defence, the student presents and defends their work. The ESEM views the work as something to be published and used as a reference for future projects. It must demonstrate that the student has carried out an exhaustive study into their topic of choice.

Therefore, for the creation of a successful project the following must be taken into account: organisation (format and structure), authorship, (persuasiveness, creative capacity etc.), clarity (language etc.), and correction, as well as the specific presentation of the conclusions which have been reached.


In the case of the Bachelor of Music, the resulting FP has two different products.  The format will therefore be:


A panel will evaluate parameters such as:

  • Musical coherence
  • Scope of the performance. Scripting of the performance
  • Staging
  • Time management
  • Wardrobe (coherent with what the performer wishes to transmit)
  • Stage presence
  • Communication
  • Belief in what the student is doing

Written project/Oral defence

Following the guidance given in terms of methodology, the student must submit in writing a project made up of a collection of explanations, theories, ideas and reasoning, and:

  • Cover sheet
  • Index
  • Introduction
  • Development
  • Conclusions
  • Bibliography
  • Appendices

The student will present and defend the project before a panel. The student must convince the panel of the rigor with which they have carried out their planning, research and information-gathering and later apply this subject matter to a concert, where appropriate.

The proposal

It must respond to the following questions:

  • What subject do I want to address?
  • What objectives am I setting for myself?
  • What is the focus of my work?
  • What is my study plan?
  • How am I going to put it into practice?

The proposal must not lose sight of the fact that the concert will have an audience to whom it is directed, and that the research project contains findings that contribute to the community and have added value.

Grading of the project

The project will be first submitted to the research tutor, who will authorize (or not) its presentation for this exam session.

Each part will weighted at 50% of the final grade for the FP.


Given the complexity of the task, the involvement of other professionals specialising in research and scenography is advisable in order to complete the tutoring process and these may assume the tasks of counselling and research guidance.

Tutor profile

  • Instrumental tutor: each teacher may tutor a maximum of four projects. The tutor will be responsible for the tutoring of each concert project, incorporating the input of the stage director.
  • Research tutor: with a graduate profile and having demonstrated their abilities in music and social research etc. They will be tasked with guiding the student's research and providing the necessary guidelines for quality research work.
    The research tutor must coordinate effectively with the instrumental tutor and ensure that the guidance given is cohesive in order to give the student consistent feedback and advice.


Work with students is begun in the third year to prepare for the Final Project the following academic year.

1) Methodology sessions: 3 sessions of 2 hours (during the previous academic year).

Two group sessions of two hours (in total the student receives four hours) a specialist teacher will give each students advice about methodology guidelines, documentary sources, formats, etc. that the students must consider in their research project.

2) 1st work session with the research tutor before the summer holidays.

3) Meeting with tutors: 1 session of 1 hour with both tutors together.

The student, their instrumental tutor and their research tutor meet to outline the project, plan the timeline and designate work. The student must leave the meeting with concrete objectives.  Every student shall have a three-way meeting.

4) 1st meeting with the stage director. 1 group session of 2 hours.

5) Sessions with the research tutor: 6 sessions of 1 hour (the 1st having been done before the summer holidays during the previous year).

There are three follow-up meetings between the student and the research tutor. These are individual tutorials. The tutor prepares the student for the oral defence. The tutor and student will arrange these to their mutual convenience. From the 1st to the 3rd meeting, parts of the student's work or draft versions will be handed to the tutor for review and feedback. The 4th session is the final one before the oral defence.

6) Individual concert tutorials: 7 hours of concert tutorials in total.

7 hours of individual meetings with the instrument teacher. The tutor and the student are to plan them so that there are typically one or two left at the end, just before the concert. It is recommended that the tutor attend some of the student's rehearsals to be able to provide feedback.

7) 2nd meeting with the stage director. 1 group session of 2 hours.


The research tutor has a further 3 non-teaching hours.
The instrumental tutor has a further 3 non-teaching hours.

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More information on the programme page of the Festival Talent.