University of the Arts Helsinki Nordic Master in Jazz Thesis Guide: 8 ECTS Research Paper + 20 ECTS Recital

Quick answer: what is the current NOMAZZ proficiency route?

The current Nordic Master in Jazz (NOMAZZ) at the University of the Arts Helsinki is a Sibelius Academy Master of Music programme. Its current Study Guide object is 16139 / M6N_2024, with a formal scope of 150 ECTS, a formal duration of 2.5 years, and English as the degree language. The programme is organised collaboratively with the Royal Academy of Music in Denmark and the Royal College of Music in Sweden.

The current proficiency module is S-JZOMN, 30 ECTS. It is not one 30 ECTS written thesis. The module consists of S-JZOMA_24 Research paper, 8 ECTS, S-JZOMB_24 Research paper seminar, 2 ECTS, and S-JZOMC_24 Master’s recital, 20 ECTS. The maturity essay is a separate 0 ECTS requirement. There is also a separate compulsory S-JZ16A_24 Proficiency demonstration preparation, 10 ECTS course outside the 30 ECTS proficiency module.

1. Use programme object 16139 / M6N_2024

NOMAZZ has its own current programme structure. Do not copy the proficiency architecture from Nordic Master in Folk Music, ordinary Jazz studies, Music Business or another Sibelius Academy programme. The controlling current programme code is M6N_2024.

The formal Uniarts degree is Master of Music, 150 ECTS, with a normative duration of 2.5 years. English is the degree language.

2. NOMAZZ is a joint Nordic programme

The programme is organised collaboratively by institutions in Denmark, Finland and Sweden. Students encounter different Nordic jazz environments and partner institutions take turns hosting studies.

That joint structure is important for study planning, but the current Uniarts Study Guide still controls the exact Uniarts proficiency course codes and credits discussed here.

3. The proficiency module is S-JZOMN, 30 ECTS

The current Study Guide places three credit-bearing elements inside S-JZOMN Proficiency demonstration, 30 ECTS. They are the 8 ECTS research paper, 2 ECTS research paper seminar and 20 ECTS master’s recital.

The arithmetic is exact: 8 + 2 + 20 = 30 ECTS. The maturity essay is separate and carries 0 ECTS.

4. S-JZOMA_24 Research paper is 8 ECTS

The written component is S-JZOMA_24 Proficiency demonstration: Research paper (jazz), 8 ECTS. It is graded Pass-Fail.

Its learning outcomes require critical reflection on issues significant for jazz, written expression, familiarity with music education research and literature, topic selection and delimitation, basic academic-research competence, information searching and a clear written presentation.

5. Do not call the research paper a 30 ECTS thesis

The 30 ECTS figure belongs to the complete S-JZOMN proficiency module. The research paper itself is only 8 ECTS. The seminar is 2 ECTS and the recital is 20 ECTS.

Keeping those objects separate prevents credit errors and helps you plan the workload realistically.

6. The research paper has an exact pre-defence workflow

The current S-JZOMA_24 card states that the research paper must be sent as a Word document to the seminar supervisor and opponent one week before the defence.

This is programme-specific evidence. Do not replace it with a generic Sibelius deadline table from another programme.

7. After the defence, corrections come before final PDF submission

After the defence and after making corrections, the current course description instructs the student to submit the research paper online in PDF format to the supervisor and the library, with a summary entered using the library’s form.

That means the pre-defence Word version and the final post-defence library version are different workflow stages.

8. The research paper is assessed by an assigned teacher

The exact course card says the research paper is assessed by a teacher assigned by the head of the department, and the student receives written feedback.

Do not assume that the recital committee is automatically the research-paper assessment body. The official workflows distinguish them.

9. No fixed public research-paper page count was verified

The current S-JZOMA_24 public course description reviewed for this guide does not publish a fixed page count.

Do not import a page range from another programme. Confirm current expectations with the research-paper seminar supervisor or department before drafting the final structure.

10. S-JZOMB_24 Research paper seminar is 2 ECTS

S-JZOMB_24 Proficiency demonstration: Research paper seminar (jazz), 2 ECTS is a separate Pass-Fail course within the proficiency module.

Its outcomes focus on information searching, informative writing and critical reflection on issues significant for jazz. The current card recommends completion in the second study year, spring semester.

11. Use the seminar to narrow the paper early

The research paper will be stronger if the topic is delimited before the final recital period becomes intensive. Use the seminar to turn a broad interest into a manageable question, identify relevant literature and test whether the planned material can support a clear argument.

A focused paper can still connect artistic practice, jazz history, pedagogy, aesthetics or professional questions.

12. S-JZOMC_24 Master’s recital is 20 ECTS

The artistic component is S-JZOMC_24 Proficiency demonstration: Master’s recital (level A) (jazz), 20 ECTS. The exact course is graded Pass-Fail.

The learning outcomes include setting a demanding artistic goal, systematic long-term work, independent programme design and leadership, professional artistic independence, instrument command, personal expression and ensemble communication.

13. The recital is about 60 minutes

The current completion method describes preparation, artistic direction and performance of a concert programme of about 60 minutes.

The exact course also states that all songs must be played or sung by heart. This is an important jazz-specific requirement and should not be replaced by rules from another performance programme.

14. The recital is an independently led artistic project

The student is expected to design, conduct, rehearse and deliver an extensive artistic programme and perform as the leading musician. The outcomes also include the ability to assemble and coach an ensemble.

Your preparation therefore involves more than personal instrumental practice. Programme design, rehearsal leadership, communication and artistic coherence are part of the competency being demonstrated.

15. The recital examination board gives oral feedback

The current recital card says the examination board evaluates the performance and gives oral feedback. The current jazz performance page likewise says the committee provides oral feedback after the level performance.

The student may record the feedback for personal use under the current jazz guidance.

16. The exact recital grade is Pass-Fail

Generic Sibelius jury rules contain both 0-5 and Pass-Fail procedures because they cover many kinds of level performance. For NOMAZZ, the exact S-JZOMC_24 course card is controlling and uses Pass-Fail.

Do not infer a 0-5 grade simply because the general committee policy discusses that scale elsewhere.

17. Level B prerequisites may matter

The recital card lists Level B and related prerequisites. If the student’s bachelor’s degree was not completed at the Sibelius Academy, the head of department may require completion of the Level B performance examination first.

Check your individual prerequisite status early so that it does not become a late-stage graduation obstacle.

18. S-JZ16A_24 is a separate 10 ECTS preparation course

S-JZ16A_24 Jazz music, proficiency demonstration preparation (instrument and voice), 10 ECTS is compulsory but separate from the 30 ECTS S-JZOMN module.

It develops the ability to structure the proficiency demonstration, match recital content to Level A criteria, identify personal artistic strengths in relation to the current jazz mainstream and execute an artistic programme.

19. Do not add S-JZ16A_24 to the 30 ECTS proficiency credits

The preparation course supports the proficiency process, but its 10 credits are a separate degree-structure object. Calling the proficiency package 40 ECTS by combining them would misstate the current Study Guide.

Use the preparation course as a development space rather than treating it as a hidden part of the recital grade.

20. Level A registration currently uses Taito

The current jazz performance page says Level A registration takes place in the Taito portal no later than eight weeks before the artistic level performance.

The page was updated in September 2026, but operational schedules can change. Recheck the live page in your own examination cycle.

21. NOMAZZ is explicitly included in the Level A schedule

The current jazz page explicitly lists Nordic Master in Jazz Music (NOMAZZ) among the master’s degree structures whose students give Level A performances in the fifth academic term.

This connects the general jazz Level A operational page directly to the current NOMAZZ recital route.

22. The Level A application includes production material

Current jazz instructions require the description, promotional photo and stage map with the Taito application.

Preparing those materials early reduces the risk that production details distract from final artistic rehearsals.

23. The recital process description is 2-3 pages

The current jazz Level A page requires a reflective process description of 2-3 pages about preparation of the master’s degree concert. It is prepared together with the supervising teacher, who accepts the content and marks the task completed.

This is a recital-specific reflective document.

24. The 2-3 page process description is not the 8 ECTS research paper

The recital process description and S-JZOMA_24 Research paper are separate outputs. The process description is short, recital-focused and part of the Level A workflow. The research paper is an 8 ECTS academic written component with its own seminar, defence and final submission route.

Do not merge the two just because both involve writing and reflection.

25. Submit the process description one week before the concert

The current jazz page says the process description is submitted to the master’s concert committee one week beforehand. The committee may use it as background information in assessing the concert.

This one-week timing is distinct from the research paper’s one-week pre-defence Word submission.

26. Current Level A venue and production arrangements are operational, not permanent

The current jazz page says Level A performances are generally organised at Black Box and describes producer contact, sound and lighting support and other technical arrangements.

These are useful current operational instructions, but they should be rechecked rather than treated as permanent degree regulations.

27. Concerts outside Helsinki Music Centre need advance planning

If you want to give the Level A concert outside Helsinki Music Centre, current jazz guidance says to negotiate details with the head of department before the Taito application. The student is responsible for the external concert arrangements.

This can affect venue, production, equipment, recording and communication responsibilities.

28. The programme leaflet is your responsibility

The jazz page says the student is responsible for creating and printing the programme leaflet for the audience. Copyright must be considered for images and text.

The page does not establish that the programme leaflet is always the NOMAZZ maturity essay.

29. Copyright also matters in the public recital

Current jazz instructions require attention to copyright when copyrighted music is performed in a public Level A concert. The page includes a current reporting route for music performed in the examination.

If you arrange protected music, use excerpts, reproduce notation or publish recordings, check the relevant rights before the final event.

30. Current level performances are recorded

The jazz page says level performances are video recorded using the fixed hall system, with recordings available for personal use. Publishing promotional recordings or using them commercially introduces additional copyright and permission considerations.

Treat recording availability as documentation support, not automatic permission to publish every element online.

31. The maturity essay is separate and 0 ECTS

The degree structure includes the S-KS_24 Maturity essay offering. The current English course S-KS9123_26 carries 0 ECTS and is graded Pass-Fail.

The maturity requirement still matters for graduation even though it does not add credits.

32. Do not claim one universal NOMAZZ maturity format

The exact English maturity card tells students to check the completion method on the course-unit page of their degree programme or major. The Sibelius Academy section of the general maturity guide likewise directs students to the Study Guide.

The current NOMAZZ research-paper, recital and jazz Level A pages reviewed here do not establish one universal rule that the maturity essay is always an abstract or always the programme leaflet.

33. Maturity language can depend on educational background

The maturity test also serves statutory language purposes in some cases. Prior school education and earlier demonstration of Finnish or Swedish proficiency can affect the language route.

English degree language does not mean every student’s maturity requirement is identical.

34. AI applications are prohibited in the maturity test

Current Uniarts ethical guidance says AI applications are not permitted in the maturity test. Complete that assessment independently.

For the research paper and other academic work, follow the current programme and university rules on permitted AI use and disclosure.

35. The research paper should be academically clear, not artificially empirical

The exact S-JZOMA_24 outcomes require basics of academic research, literature and critical reflection, but they do not prescribe one universal empirical method.

A project may use interviews, observation or other participant data when justified, but those methods are not automatically required. The method should answer the paper’s actual question.

36. A jazz research paper can connect practice and scholarship

Depending on the approved topic, evidence might include recordings, transcriptions, repertoire analysis, scores, rehearsal documentation, reflective notes, historical sources, pedagogical material or relevant research literature.

Choose material because it supports the question and argument, not because a method looks more academic.

37. Human-participant methods create data-protection obligations

If the research paper uses interviews, surveys, observation, video or other material involving identifiable living people, you are likely processing personal data.

Plan purpose, controller, legal basis, participant information, storage, access and lifecycle before collecting the material.

38. Pseudonymisation does not automatically mean anonymity

Uniarts guidance states that pseudonymised information can remain personal data when re-identification is possible. This matters in small jazz communities where roles, ensembles or unusual career details may identify someone even without a name.

Collect only what the project actually needs.

39. Formal ethical review is not automatic for a master’s paper

Uniarts says supervisors of bachelor’s and master’s projects should normally design the project so that formal ethical review is not required. Certain research settings can still trigger review considerations.

An ethical-review statement is also not the same thing as a research permit.

40. Taju is part of the written-component workflow

Sibelius Academy guidance says written components related to thesis or proficiency projects must also be stored in Taju. The current library guide requires the written thesis or written part of a proficiency demonstration to be deposited there.

The exact S-JZOMA_24 card also directs the post-defence corrected paper to the library.

41. Keep the assessed and deposited versions consistent

The library guide says the Taju version should be the same version submitted for assessment. Current Uniarts originality guidance also links the final checked version, examination process and Taju.

Follow the exact jazz post-defence correction workflow, then make sure the final approved/deposited version is consistent with the department’s instructions.

42. Taju requires accessible PDF/A

Current library guidance requires an accessible PDF/A. Use meaningful headings, logical reading order, accessible tables and figures, and appropriate alternative text before export.

Accessibility is easier to build into the source document than to repair in a final PDF.

43. The written work is a public document

The written thesis or proficiency component is a public document. It must not contain secret or classified information.

Restricted Taju access can limit online availability, but it does not convert the document into a confidential thesis and public metadata remains available.

44. Turnitin is the current originality system

Uniarts currently uses Turnitin for originality checking of written theses. The system supports source-use review, but a similarity percentage by itself is not an academic quality score.

Use citations accurately and keep the final version consistent with the required assessment and repository workflow.

45. Recital committee composition is governed annually

The Sibelius Academy jury policy says annual committee decisions define eligible members and committee composition. The general framework is a chair plus 1-3 members, subject to the annual decision.

Conflict-of-interest and disqualification rules apply. Do not publish a permanent named committee as if it were a degree rule.

46. Other programmes’ thesis deadlines do not become NOMAZZ deadlines

Generic Sibelius thesis pages can contain annual submission tables that explicitly name particular programmes. Those deadlines should not be copied into NOMAZZ unless NOMAZZ is actually covered.

Use the exact research-paper course workflow, current jazz performance registration page and current department instructions.

47. Graduation requires the whole degree to be complete

Sibelius Academy graduation guidance says the degree-certificate process depends on thesis or proficiency approval, maturity completion and all required studies being complete.

A passed recital alone is not graduation. Check the PSP, research paper, seminar, maturity and all remaining credits.

48. A practical NOMAZZ workflow

First confirm your M6N_2024 degree structure and prerequisites. Develop the research-paper topic in the seminar while planning the artistic programme through S-JZ16A_24. Register the Level A recital in Taito within the current lead time, prepare the stage and communication material, and write the 2-3 page recital process description separately from the research paper. Send the process description one week before the concert. For the research paper, send the Word version to the seminar supervisor and opponent one week before the defence, complete the defence and corrections, then follow the final PDF, library/Taju and originality workflow. Complete the maturity route applicable to your educational background, and finally verify all degree credits and graduation requirements.

49. Keep the recital reflection and research argument connected but distinct

The strongest workflow lets the recital and research paper inform each other without turning them into the same assignment. Your artistic programme can generate questions, examples and documentation for academic reflection, while the research paper can sharpen the concepts through which you understand repertoire, improvisation, ensemble interaction or professional practice. At the same time, the 2-3 page recital process description should remain a concise account of the concert process for the committee, while the 8 ECTS paper follows its own seminar, defence, correction and library route.

Maintaining that distinction helps you avoid submitting a short process narrative where an academic paper is expected or overloading the recital committee with a second research paper.

50. Build a submission calendar backwards from two separate one-week deadlines

NOMAZZ has two current one-week rules that concern different outputs: the research paper Word document goes to the seminar supervisor and opponent one week before the defence, while the recital process description goes to the master’s concert committee one week before the concert. Build a calendar that labels those milestones separately. Add the current Taito registration lead time, rehearsal and production deadlines, defence corrections, final PDF/library deposit, maturity requirement and graduation application.

A backward plan is especially useful in a mobile Nordic programme because travel, partner-institution studies and concert production can overlap. Recheck all operational dates in the live sources rather than assuming the same week pattern each year.

Sources used for this guide

This guide was verified on 12 September 2026 against the current Uniarts Helsinki NOMAZZ programme page, Study Guide programme object 16139 / M6N_2024, exact course objects for the research paper, seminar, recital, preparation and maturity requirement, and current Sibelius Academy jazz performance, jury, Taju, ethics, data-protection and graduation guidance.