1 course handbook 2018-2019 ba (hons) in commercial modern ... · ba in commercial modern music...

BA in Commercial Modern Music Year 3 Course Handbook © BIMM 2018

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Course Handbook 2018-2019

BA (Hons) in Commercial Modern Music

Year 3


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Content

• Content ................................................................................................................... 2

• Welcome Back!...................................................................................................... 6

• Year 3 BA (Hons) Assessment Calendar ...................................................................... 8

• Academic Development & Quality Assurance ............................................................ 9

• General Assessment Regulations ...................................................................... 9 Exam grades ................................................................................................................................... 9 Written and Practical Examinations ............................................................................................... 9 Plagiarism ..................................................................................................................................... 11 Referencing – The Harvard Reference System (HRS) ................................................................... 11 Adhering to Submission Deadlines ............................................................................................... 11 Assessment Feedback Process ..................................................................................................... 12 Extensions .................................................................................................................................... 12 Disability ....................................................................................................................................... 15

• Policy on plagiarism, collusion and misconduct ........................................... 16 Academic misconduct .................................................................................................................. 16 Collusion ....................................................................................................................................... 16 Plagiarism ..................................................................................................................................... 16 Investigation of misconduct ......................................................................................................... 16

• Award Criteria and Classification Overview ................................................... 17 Generic Marking Scheme ............................................................................................................. 17 General Marking Scheme BA (Hons) Commercial Modern Music ............................................... 17 BIMM Institute Dublin Undergraduate Categorical Marking Scheme ......................................... 19

• The Student Complaint Process ............................................................................... 20

• Procedures Following the Publication of Results .......................................... 22 Viewing of Assessments/Examination Scripts .............................................................................. 22 Re-checks ...................................................................................................................................... 22 Re-Marks ...................................................................................................................................... 22 Appeals ......................................................................................................................................... 23 The Appeals Procedure ................................................................................................................ 24

• Exams/Assessments FAQ ................................................................................. 26 Assessment Submission Form ...................................................................................................... 28

• Moodle .................................................................................................................. 29

• Registration and Student Card ................................................................................. 30

• Details on how to access the e-learning support ...................................................... 30

• Communication arrangements for the programme .................................................. 30

• Class Timetables ..................................................................................................... 31

• Module Information ................................................................................................ 32 DN/MM707 Research Methods ................................................................................. 32

Module Summary ......................................................................................................................... 32 Aims .............................................................................................................................................. 33 Indicative Study Topics ................................................................................................................. 33


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Teaching & Learning Methods ..................................................................................................... 33 Formative Assessment ................................................................................................................. 33 Learning Outcomes ...................................................................................................................... 33 Assessment ................................................................................................................................... 34 Assignment Brief .......................................................................................................................... 34 Assessment Criteria ...................................................................................................................... 36 Reading List .................................................................................................................................. 36

DN/MM706 Professional Musicianship .................................................................... 39 Module Summary ......................................................................................................................... 39 Aims .............................................................................................................................................. 40 Indicative Study Topics ................................................................................................................. 40 Teaching & Learning Methods ..................................................................................................... 40 Formative Assessment ................................................................................................................. 40 Learning Outcomes ...................................................................................................................... 40 Assessment ................................................................................................................................... 41 Assignment Brief .......................................................................................................................... 41 Assessment Criteria ...................................................................................................................... 42 Reading List .................................................................................................................................. 43

DN/MM703 - Cultural Perspectives ................................................................................ 44 Module Summary ......................................................................................................................... 44 Aims .............................................................................................................................................. 45 Indicative Study Topics ................................................................................................................. 45 Teaching & Learning Methods ..................................................................................................... 45 Formative Assessment ................................................................................................................. 45 Learning Outcomes ...................................................................................................................... 45 Assessment ................................................................................................................................... 46 Assignment Brief .......................................................................................................................... 46 Assessment Criteria ...................................................................................................................... 48 Reading List .................................................................................................................................. 49

DN/MM701 Advanced Music Theory & Arrangement ............................................ 50 Module Summary ......................................................................................................................... 50 Aims .............................................................................................................................................. 50 Indicative Study Topics ................................................................................................................. 51 Teaching & Learning Methods ..................................................................................................... 51 Formative & Summative Assessment........................................................................................... 51 Learning Outcomes ...................................................................................................................... 52 Assessment ................................................................................................................................... 52 Assignment Brief .......................................................................................................................... 52 Assessment Criteria ...................................................................................................................... 53 Reading List .................................................................................................................................. 54

DN/MM711 Digital Marketing in the Music Business ............................................. 56 Module Summary ......................................................................................................................... 56 Aims .............................................................................................................................................. 57 Indicative Study Topics ................................................................................................................. 57 Teaching & Learning Methods ..................................................................................................... 57 Learning Outcomes ...................................................................................................................... 58 Assessment ................................................................................................................................... 58 Assignment Brief .......................................................................................................................... 58 Assessment Criteria ...................................................................................................................... 59

DN/MM705 Performance in Context ......................................................................... 61 Module Summary ......................................................................................................................... 61 Aims .............................................................................................................................................. 62


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Indicative Study Topics ................................................................................................................. 62 Teaching & Learning Methods ..................................................................................................... 62 Learning Outcomes ...................................................................................................................... 63 Assessment ................................................................................................................................... 63 Assessment 2 is a pass required Assessment in this module ....................................................... 64 Assignment Brief .......................................................................................................................... 64 Artistic Development and Planning Essay (1000 words) .............................................................. 65 Assessment Criteria ...................................................................................................................... 66

DN/MM708 Studio Musicianship .............................................................................. 68 Module Summary ......................................................................................................................... 68 Aims .............................................................................................................................................. 68 Indicative Study Topics ................................................................................................................. 69 Teaching & Learning Methods ..................................................................................................... 69 Formative Assessment ................................................................................................................. 69 Learning Outcomes ...................................................................................................................... 69 Assessment ................................................................................................................................... 70 Assignment Brief .......................................................................................................................... 70 Assessment Criteria ...................................................................................................................... 71 Reading List .................................................................................................................................. 71

DN/MM710 The Songwriter/Producer ...................................................................... 72 Module Summary ......................................................................................................................... 72 Aims .............................................................................................................................................. 73 Indicative Study Topics ................................................................................................................. 73 Teaching & Learning Methods ..................................................................................................... 73 Formative Assessment ................................................................................................................. 73 Learning Outcomes ...................................................................................................................... 73 Assessment ................................................................................................................................... 74 Assignment Brief .......................................................................................................................... 74 Assessment Criteria ...................................................................................................................... 76 Reading List .................................................................................................................................. 77

DN/MM709 Studio Recording ................................................................................... 78 Module Summary ......................................................................................................................... 78 Aims .............................................................................................................................................. 79 Indicative Study Topics ................................................................................................................. 79 Teaching & Learning Methods ..................................................................................................... 79 Formative Assessment ................................................................................................................. 79 Learning Outcomes ...................................................................................................................... 80 Assessment ................................................................................................................................... 80 Assignment Brief .......................................................................................................................... 80 Assessment Criteria ...................................................................................................................... 81 Reading List .................................................................................................................................. 82

DN/MM704 Music Publishing ......................................................................................... 83 Module Summary ......................................................................................................................... 83 Aims .............................................................................................................................................. 84 Indicative Study Topics ................................................................................................................. 84 Teaching & Learning Methods ..................................................................................................... 84 Formative Assessment ................................................................................................................. 84 Learning Outcomes ...................................................................................................................... 85 Assessment ................................................................................................................................... 85 Assignment Brief .......................................................................................................................... 85 Assessment Criteria ...................................................................................................................... 86


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• Overview .............................................................................................................. 89

• Educational Aims ................................................................................................ 90 BA Year 1 & 2 Level 6 Course Learning Outcomes ....................................................................... 91 BA Yr. 3 Level 7 Course Learning Outcomes ................................................................................ 92 BA Yr. 4 Level 8 Course Learning Outcomes ................................................................................ 92

• Core Structure Diagram – Instrumental Stream ............................................. 94

• Core Structure Diagram – Songwriting Stream .............................................. 95

• Major Themes ...................................................................................................... 97


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Welcome Back!

Dear BIMM Musician,

Welcome back to what is set to be a very exciting third year on the BA (Hons) in Commercial Modern Music at BIMM Institute Dublin. Last year it was inspiring to see the level of improvement and confidence you had achieved by the end of your second year on the BA programme. We hope that you will be able to take the many lessons learned in the first two years and apply this knowledge to your studies in the coming year. One of the most powerful skills is the understanding that you only get out what you put in, in other words if you work hard you will reap the dividends. This second half of your BIMM journey is a wonderful opportunity to build on the skills you have already learned and explore all the areas and facets that will contribute to you reaching your full potential as a musician and performer.

Enjoy your remaining time here and continue to collaborate and connect with your fellow students, getting involved in as many bands and projects as you can - this will all help to enrich your knowledge and enhance your skills. It is important that you use your time here to shape a solid network of contacts and alliances, so that when you have completed your degree you will have built a strong foundation and connection base upon which to develop your future career as a music industry professional.

As you already know, we are here to guide you through your time at the college and to help you achieve your ultimate goal of successfully completing your degree, and embarking on a sustained career in the music industry. If you feel you need support at any time you know we will do our best to help you in any way we can. We are committed to having the best music college in Ireland, providing an inspiring environment where all musicians are treated as individuals, can learn and develop their career paths, and where the very best musicians and industry professionals are keen to make a contribution. Please read through this manual and understand that everything in it is there for you to get the most out of your time at BIMM Institute Dublin.

We wish you the very best for a fulfilling, creative and productive time with us in your third year. Good luck, make the most of this exciting opportunity and don’t forget we are here to help you.

Dara Kilkenny

Executive Principal


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Dear BIMM Musician,

Welcome to your third year at BIMM Dublin and congratulations for completing year

two!

It was very encouraging to see a continued, enthusiastic approach to learning and a high level of achievement last year. All of us here are committed to ensuring that the quality of education you receive is second to none. We have a great team of dedicated tutors as you know, and a few more joining us who combined, have a wealth of real world experience to draw upon. We’ve managed to attract these top academic and industry professionals because BIMM Dublin’s reputation is growing, enhanced by the fact that you are the talented forerunners of a new wave of musicians in Ireland.

Your feedback has informed many exciting changes to the course, including the development of key modules in BA3 and BA4 to ensure that your classes are stimulating and rewarding. All of us here are committed to ensuring that the quality of education you receive is second to none, but remember, we need you to help us make modules work; please attend all of your classes so that you can share your ideas and skills with your tutors, but most importantly, with each other.

Please remember that in addition to your structured classes, you can book supplementary tutorials with a tutor from any discipline and take advantage of learning in that unique situation. Tutorials are an essential component of your BIMM course. They provide an opportunity for you to continue your development as a multi-faceted individual, and are provided so that you can achieve your goals. You’ve probably noticed that time can seem to go quickly and therefore use every single resource as best you can to further your development as a musician.

Music is a creative art form and you are at the vanguard of the development of that art form. There are many ways to apply that creativity, and many different roles within the industry to consider. As we look towards the next two years and beyond, we will help you realise the potential you have, in whatever direction you wish to take it.

I hope you’ll continue to perceive all of the staff here as being approachable. We’re here ultimately to support the mechanisms that help you achieve both academically and in your career. Most of all, I hope you have a great and enjoyable year!

Mark Greaney

Head of Education


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Year 3 BA (Hons) Assessment Calendar You have a varied assessment programme, including on-going course work, practical exams, written submissions and written examinations.

This table shows you what assessments to expect. Classes are held each week up to and including the final ‘summative’ assessment, except on non-written assessment weeks (greyed-out below):

Wk. W/C

DN/MM707 DN/MM706 DN/MM703 DN/MM701 DN/MM711 DN/MM705 DN/MM708 DN/MM710 DN/MM709 DN/MM704

Research Methods

Professional Musicianship

Cultural Perspectives

Ad. Music Theory and Arrangement

Digital Marketing in

the Music Business

Performance in Context

Studio Musicianship

The Songwriter/ Producer

Studio Recording

Music Publishing

Term 1

1 17/09/2018

2 24/09/2018

3 01/10/2018

4 08/10/2018

5 15/10/2018

6 22/10/2018

Review Week

29/10/2018

7 05/11/2018

8 12/11/2018 L&L Gig

9 19/11/2018

10 26/11/2018

11 03/12/2018

12 10/12/2018 Ethics Form Submission Deadline

Short Written Score &

Arrangement Notes

Live

Performance 1 EOT Gig

Production Task

Term 2

13 07/01/2019

14 14/01/2019 AOS & Viva

Voce

15 21/01/2019 Short Essay Marketing

Case Study

16 28/01/2019 Presentation

17 04/02/2019 Presentation Arrangement Task

L&L Gig

18 11/02/2019 Presentation

Artistic Development and Planning Essay

19 18/02/2019 Presentation Written Exam

20 25/02/2019 Presentation Aural / Written

Exam

Written Exam

21 04/03/2019

22 11/03/2019 EOT Gig

Review Week

18/03/2019

Term 3

23 25/03/2019 Studio

Session/Log Book

24 01/04/2019 Studio

Session/Log Book

25 08/04/2019 Live

Performance 2

Perform. Exam

and Viva

Studio Session/Log

Book

Easter Break

15/04/2019

26 29/04/2019

Performance

Exam and Viva

Voce

Long Essay L&L Gig Marketing Plan and Report

Live

Performance 2

Perform. Exam

and Viva Show reel

Studio Session/Log

Book Essay

27 06/05/2019 Project

Submission

Performance

Exam and Viva

Voce

Written Score & Arrangement

Notes

Live

Performance 2

Perform. Exam

and Viva

Studio Session/Log

Book

28 13/05/2019

Performance

Exam and Viva

Voce

Live

Performance 2

Perform. Exam

and Viva

Studio Session/Log

Book

29 20/05/2019

Performance

Exam and Viva

Voce

EOT Gig Live

Performance 2

Perform. Exam

and Viva

Studio Session/Log

Book


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Academic Development & Quality Assurance

BIMM is committed to maintaining the highest standards of academic and vocational excellence in modern music education. As part of this obligation we continue to look for ways to communicate information about this mission to all stakeholders including our staff, students (current and prospective), and their parents and guardians.

To accomplish this, we have created this page to make information available on the way we assure academic standards and manage and enhance the quality of learning opportunities we provide to our students in partnership with our awarding institutions.

http://www.bimm.ie/academic-quality/

General Assessment Regulations Examinations are conducted in accordance with the DIT General Assessment Regulations. Students are expected to familiarise themselves with all the regulations and procedures:

http://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/

Exam grades

Exams are marked by the BIMM teaching faculty and moderated by an Internal Verifier. The examination procedures are subject to external inspection and moderation from DIT. This ensures that we mark consistently within our own departments and also to national standards. Be aware marks given are not final until verified by DIT.

Written and Practical Examinations

• It is the student’s responsibility to ascertain the date, time and venue for written and practical examinations. Timetables will be published well in advance of the examinations.

• Students should familiarise themselves with the content and assessment methods of the modules in which they are enrolled. This information is included in this manual.

• Take careful note of the Assessment Calendar in this manual, outlining specific deadline dates. Details for all assessments are outlined within each module section.

• Grades and/or feedback will be sent to students throughout the year however results are provisional until approved by the examination board at the end of the year.

• If a student is referred in a module (i.e. has not passed it) the examination board will look at the components of the module and determine what a student is required to do in terms of re-examination. The options normally available are:

http://www.bimm.ie/academic-quality/

https://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/



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1. Repeat written/practical examination. 2. Redo assessments/assignments/essays/projects 3. Repeat written examination plus redo assessments/assignments

etc.

• A referral in a module is regarded as a second/subsequent attempt. Students who pass a referred module will have a maximum mark of 40% recorded for that module.

• A deferral in a module - usually for medical reasons and supported by a Personal Circumstances Form (see link below) means that a student can undertake reassessment without any penalties.

• All supplementary submissions whether referrals or deferrals are subject to one final submission deadline. The five day late penalty is not applicable to any supplementary submissions or to assignments where an extension has been granted.

• Students will need to be available during the first half of August to undertake written/practical supplemental examinations.

• From the commencement of Academic Year 2014 – 2015, students may only make four attempts at any module (including the first try). Please note that it is possible to use up two attempts in one year.

• The classification of the final degree awarded is weighted 40/60 between third and fourth year marks respectively.

http://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/

• Essay & Written Work: It is each student’s own responsibility to ensure that all submitted assignment files are in correct working order at the time of submission. If your files are found to be corrupt, missing or are not accessible to the examiner due to being in the wrong format you will receive a zero grade for that element.

• Format: All written submissions must be Word-Processed as a Microsoft Office Word Document. When submitting through the VLE (Virtual Learning Environment) only .doc or pdf files should be used.

• Submission deadlines: These will be issued to you well in advance of the date, usually in a detailed brief. The brief will specify how the work should be submitted (e.g. via your VLE or another mode). Follow the brief carefully and ensure that you submit in the correct format.

• Spacing: Double-spaced (so the marker has space to write in comments)

• Font: 11 or 12 point type in a clear font such as Times or Arial

• Information: Each page must include your student (candidate) number (in the header) and a page number (in the footer)

• Presentation: For hand in submissions presentation is specific to the assignment brief given.

• Media: USBs, CDs or additional materials should be firmly attached to the hand in submission and should always be checked to ensure that they are in working order.

• Bibliography: All written work should include a Bibliography and be referenced using the Harvard Referencing System – see below




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• Submission Form: A submission form for non-electronic submissions should be attached to your assignment.

• Transcription/notation submissions: Please refer to the task brief issued to you by your tutor for specific requirements relating to transcription/notation submissions.

• Word count: Word counts must be stated at the beginning of all written submissions. There is a 10% margin on word counts (plus or minus 10%) and written work falling above or below this 10% margin will be penalised by 10%. For example a grade of 70% will be reduced to 60% if the word count is more than 10% over or under the required amount.

• Original Material: It is the student’s responsibility to keep copies of all their work, either in digital, print or photocopied form, including CDs and recorded submission. Important: Work will not be accepted if not submitted in the above format.

Plagiarism

All written work (dissertations and essays) must be appropriately referenced. Students who plagiarise will get zero marks and may face disciplinary measures. For further information on this topic please see visit Policy on Plagiarism, Collusion and Misconduct and DIT General Assessment Regulations: http://www.dit.ie/qualityassuranceandacademicprogrammerecords/student-assessment-regulations/general/

Referencing – The Harvard Reference System (HRS)

When you submit written work, you are confirming that the work that you have submitted is your own and that you have referenced any external sources using the following academic conventions:

All written work that uses material from other sources needs to acknowledge the author and location of the quoted work. The Harvard (author-date) system is one way of laying out this information in a standardised form. BIMM requires that you use this method of referencing for all your essays and written submissions.

Please see your “Student Resources” section on Moodle for the BIMM Harvard Referencing Guide. A hard copy of this guide is also available in the student common room.

Adhering to Submission Deadlines

• Work submitted after the submission date is penalised at a rate of 5% (per working day) up to a maximum of five days. For example, a grade of 70% will be reduced to 60% if the assignment is received two working days after the published due date. Work will not be accepted after this five-working day late period has passed.

• Please note this late penalty period does not apply to any supplementary assessments or to assignments where an extension has been granted.

• All non-submissions attract a mark of “zero” and this may affect your grades and chances of progression.




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Assessment Feedback Process

• While attending BIMM you will receive written feedback on all your assessments and assignments.

• This feedback will be made available (along with your grade) within 15 working days of your assessment date.

• BIMM’s exams team will contact you directly via your DIT email address to alert you once your feedback is available. So be sure to check this email account regularly.

• Once you have received confirmation that your feedback is available, you will be able to view it directly on Moodle. Instructions as to how you may access this will be included in the email from the exams team. (It is worth noting that the feedback will usually be available under the assessment week in Moodle)

• If you experience an issue accessing your grade and feedback, contact the BIMM exams team directly.

Extensions

In exceptional cases where a student knows for good reason that a deadline cannot be met in advance, they may request an extension of a deadline. A form should be sought from the Student Services Team and this form should be submitted two working days* IN ADVANCE of the deadline – it is expected that such requests will normally be the exception rather than the rule. The circumstances under which such a request would be considered are:

• Serious personal and/or family reasons;

• prolonged period of ill health supported by medical documentation (please note assessment deadlines are communicated well in advance to allow adequate time for students to prepare. Therefore illness in the week before a deadline, unless of a grave nature, will not be considered).

Extension requests may not be used for:

• General work pressure

• Tight deadlines

• Unavailability/breakdown of equipment, technology etc.

• Personal disruptions (weddings, holidays etc.)

*In certain circumstances and where there is a justifiable reason for such, an extension request may be considered within two working days of the deadline. No requests will be considered after the deadline has passed.

Students who are granted an extension of an assignment deadline, must submit before the agreed new deadline and will not be permitted to submit within an additional late penalty period. All Extensions are given at the discretion of the Student Services Team.


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Personal Circumstances

DIT General Assessment Regulations (second edition 2009), among other things, make provision for an Examination candidate who feels that personal or other serious difficulties, for example accident, illness or bereavement, which were largely unforeseen and adversely affected their performance in an assessment and wishes to bring this to the attention of the Examination Board. It should be noted that the examination board will normally require the student to complete the learning outcomes for a module.

The PC1 Form can only be used to determine if a student should undertake an alternative form of assessment or if a student’s next attempt at an assessment / Examination will be considered as their first attempt or second (or subsequent) attempt. The PC1 Form cannot be used to alter a mark or exempt a student from completing the learning outcomes of the programme. Personal Circumstances as envisaged under this regulation relate to serious adverse factors only.

Situations that the PC1 Form should not be used include:

• Reporting Quality Assurance Issues

• Complaining about general work pressure

• Informing the College of Personal Disruptions (Holidays / Weddings etc.)

• Informing the College about Financial Constraints

• Making excuses for missing assessments / Examinations / deadlines

• Complaining about tight deadlines

• Reporting the unavailability / breakdown of equipment, technology etc.

• Complaining about class room delivery of modules.

Deadline for submission of PC Form

• In the case of course work, the deadline for submitting a Personal Circumstances form is normally the same as the scheduled hand-in date for the assignment.

• In the case of written or practical examinations, the completed form should be submitted not later than two days after the last examination taken.

The Examination Board may take such action as it sees fit to take into account the evidence provided by the student. While there may be an acceptance that personal circumstances have resulted in poor performance in coursework or examinations, the Examination Board will normally require the student to complete the learning outcomes for a module.

In cases where a student has a temporary disability, i.e. as a result of an accident and requires special arrangements, they should immediately contact The Student Support & Quality Department who will liaise with the Disability Service if necessary.

The Disability Service requires medical documentation to register any students for temporary exam accommodations.


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Assessment Schedule Deferral Request

Please note that in certain exceptional circumstances we may be able to amend the assessment schedule to facilitate industry leave of significant professional value to the student and/or where there is an unforeseeable obstacle to the student sitting the exam on a particular day e.g. bereavement. However, requests to amend the assessment schedule must be made in advance of accepting any professional commitments. Students must also make contact with the Exams office or their Student Services officer with as much advance notice as possible if they would like to request that their exam take place on a specific date or time. Slots are final once they have been communicated to students, and we will not consider any timetable change requests, including swap requests, once they have gone out. Please also note that where all students sit the assessment at the same time, e.g. a written exam, there can be no flexibility with the time or date of the assessment.


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Disability

It is the policy of BIMM Dublin to facilitate by all appropriate means the participation of students with a disability in the Institute’s programmes.

All students with a disability must be registered with the Disability Service and provide medical documentation or psycho-educational reports. All exam accommodation for students in the Institute are in accordance with the exam accommodations requirements of the Disability Advisors Working Group (DAWN) examination policy.

In circumstances where, as a result of disability, a student is unable to undertake assessment by the means defined for the stage/year then special arrangements may be approved as follows:

Additional time may be permitted for the completion of an invigilated assessment or for the submission of coursework; only with pre-approval from course coordinator for in term coursework.

Special facilities such as Braille, audiotape or computer, with or without specialised software, may be provided in an Examination Hall as an alternative to a printed examination paper and/or answer books;

The employment of special facilities such as amanuensis, reader, interpreter and personal assistants; Students must fulfil specific criteria as required by the DAWN Examinations Policy to avail of these exam accommodations.

Special alternative forms of assessment, only through consultation with the relevant school.

Procedure for requesting special assessment arrangements

A request for special assessment arrangements should be made by the student with disability, normally at the beginning of the academic year, but not later than six weeks prior to the assessment.

A request for special assessment arrangements should be made in the first instance to the Disability Liaison Officer who, in consultation with the Student Services team at BIMM, shall ensure that appropriate arrangements are made.

The student with a disability shall be required to formally indicate in writing to The Student Services Department that the special arrangements proposed are acceptable for the purposes of the assessment.

The Student Services Department shall write out to all students identifying their specific accommodations and in cases where the student required a separate room, advising them where to go for their examination.

The Module Board will be notified of any student that has been assessed using special arrangements.


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Policy on plagiarism, collusion and misconduct

Academic misconduct

It is an offence for any student to be guilty of or party to, attempting to commit or committing collusion, plagiarism, or any other misconduct in an examination or in the preparation of work that is submitted for assessment.

Misconduct in assessment exercises, examinations or in the presentation of marks achieved elsewhere is conduct likely to be prejudicial to the integrity and fairness of the examination process. The submission of a dissertation, essay or any other assessment exercise will be considered by the examiners to be a declaration that it is the candidate's own work.

Collusion

Collusion is the preparation or production of work for assessment jointly with another person or persons unless explicitly permitted by the examiners. An act of collusion is understood to encompass those who actively assist others as well as those who derive benefit from others’ work. Where joint preparation is permitted by the examiners but joint production is not, the submitted work must be produced solely by the candidate making the submission. Where joint production or joint preparation and production of work for assessment is specifically permitted, this must be published in the appropriate course documentation. Assessments in this handbook are clearly marked as individual or group work, please consult your tutor or module leader if you are unsure about group or individual assignments.

Plagiarism

Plagiarism is the use, without acknowledgement, of the intellectual work of other people, and the act of representing the ideas or discoveries of another as one’s own in written work submitted for assessment. To copy sentences, phrases or even striking expressions without acknowledgement of the source (either by inadequate citation or failure to indicate verbatim quotations), is plagiarism; to paraphrase without acknowledgement is likewise plagiarism. Where such copying or paraphrasing has occurred the mere mention of the source in the bibliography shall not be deemed sufficient acknowledgement; each such instance must be referred specifically to its source. Verbatim quotations must be either in inverted commas, or indented, and directly acknowledged.

Investigation of misconduct

If a member of staff has sufficient reason to suspect that misconduct has taken place, an investigation into the case will be held. Candidates must be available, if required, to attend an academic misconduct hearing.


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Award Criteria and Classification Overview

Generic Marking Scheme

Marking Scheme (BA) Degree qualifications are divided into First, Upper Second (2:1), Lower Second (2:2) and Third Class grade bands. Assessments are marked as percentages, which translate to class marks as follows:

First Class >70%

Second Class,

Division I 60-69.99%

Second Class,

Division II 50-59.99%

Third Class 40-49.99%

General Marking Scheme BA (Hons) Commercial Modern Music

90%-100%

Exceptional work with presentation of a very high standard. There is coherence of ideas and demonstration of a thorough knowledge and understanding. The work demonstrates a very high level of technical competence and skill and is supported by external knowledge that is meticulously referenced where required

80%-89%

Outstanding work with presentation of a very high standard. There is coherence of ideas and demonstration of a thorough knowledge and understanding of the subject. The work demonstrates a high level of technical competence and skills and is supported by external knowledge accurately referenced as appropriate

70%-79%

Extremely good work with presentation of a high standard. There is coherence of ideas and demonstration of thorough knowledge and understanding. The work demonstrates a strong level of technical competence and skills and is supported by external knowledge which has been properly referenced where necessary

60%-69%

The work is well presented and coherently structured. There is evidence of a sound knowledge and understanding of the issues with theory linked to practice where appropriate.

The work demonstrates a good level of technical competence and skills and is supported by external knowledge that is well referenced where required


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50%-59%

Work is of a good standard and presentation is acceptable but with some errors. There is knowledge and understanding of issues under discussion and some evidence of the application of knowledge and ideas where appropriate. The work demonstrates a sufficient level of technical competence and skill and is supported by appropriate references to external knowledge as required

40%-49%

Presentation is acceptable but attention to structure and style is required. The content is relevant but largely descriptive or unimaginative. There is evidence of a reasonable level of knowledge and understanding but there is limited use of external knowledge to support the ideas. Some links are made to external knowledge where appropriate

30%-39% – Fail

The work is poorly structured and presented. Some material may be irrelevant. There is little evidence of technical competence or skills. Content is based largely on taught elements with very little evidence of independent study and little or no reference to external knowledge.

20-29% – Fail

Fails to meet the brief. The work is very poorly structured and presented. Much material is irrelevant. There is minimal evidence of technical competence or skill. Content is based almost entirely on taught elements with very little evidence of any purposeful engagement with or reference to external knowledge.

0-19 % - Fail

The work is extremely poorly structured and presented. It demonstrates no real knowledge or understanding of key concepts and principles. Much material is irrelevant. No effective use of external knowledge. No evidence of technical competence or skill. Not a genuine attempt to engage with the assessment requirements and/or subject matter.


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BIMM Institute Dublin Undergraduate Categorical Marking Scheme

For use in the marking of all BA assessments except unseen examinations with separately published mark schemes.

Mark Category Equivalent

Classification BIMM HE Generic Mark

Scheme

100 95 90 85 80 75 72

First

90-100

80-89

70-79

68 65 62

2i

60-69

58 55 52

2ii

50-59

48 45 42

3rd

40-49

38 35

High Fail (Compensation

Zone)

30-39

30 20 10 5 0

Fail

20-29

0-19


20

The Student Complaint Process The procedures below outline the sequential stages to be followed when a student

makes a complaint in relation to their programme of study. Any student on a

programme of study leading to DIT award who wishes to make a complaint should

do so as soon as the issue leading to the complaint emerges and within the

semester in which the issue has emerged.

A class representative or DITSU officer can make the complaint on behalf of a larger

student group.

Stage 1: Head of School

a) The Complainant submits the Complaint Form to the Head of School. The

Complainant should ensure that they retain copies of the Complaint Form sent

to the Head of School, as they must submit a copy of this form, should they

wish to pursue the complaint through the stages outlined below.

b) The Head of School shall consider the complaint. If the Head of School

upholds the complaint he/she shall agree and implement action to be taken to

resolve the matter.

c) If the Head of School dismisses the complaint, the Complainant may bring the

complaint forward to the College (via the College Director) within 5 working

days of the notification of the decision of the Head of School. The Complainant

should forward a copy of the Complaint Form sent to the Head of School,

along with relevant correspondence.

d) The decision of the Head of School is communicated in writing to the

Complainant and Chair of Programme Committee within 10 days of receipt of

the Complaint Form.

Stage 2: College

a) The College Director or nominee shall consider the complaint. If the complaint

is upheld, the College Director shall decide action to be taken to resolve the

matter and shall refer this decision to the Head of School for implementation.

b) The decision of the College Director will be communicated in writing to the

Complainant, Head of School and Chair of the Programme Committee within

10 working days of receipt of the Complaint Form.


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Stage 3: Institute

a) If College Director dismisses the complaint the Complainant may submit the

complaint to the matter to the Director of Academic Affairs and Registrar within

5 working days of the notification of the decision of the College Board. The

Complainant should forward a copy of the Complaint Form sent to the Head of

School, along with relevant correspondence.

b) The Director of Academic Affairs and Registrar considers the case. If the

complaint is upheld, the Director of Academic Affairs and Registrar shall

decide action to be taken to resolve the matter and shall refer this decision to

the Head of School for implementation. The decision of the Director of

Academic Affairs and Registrar is final.

c) The decision of the Director of Academic Affairs and Registrar is then

communicated to the Complainant, College Director, Head of School and

Chair of Programme Committee.

Heads of School, College Directors and the Director of Academic Affairs must keep a

record of complaints submitted along with written evidence and related

correspondence in accordance with the relevant Records Retention schedule.


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Procedures Following the Publication of Results

Viewing of Assessments/Examination Scripts

Candidates who wish to discuss their examination performance in any assessment should contact the School/Department. Each semester Examination Offices publish a calendar of dates for the publication of results and Schools publish dates for the viewing of examination scripts. Viewing of examination scripts and provision of feedback shall normally be scheduled within four days of the publication of results. The Head of School or nominee shall produce the assessed work and demonstrate to the candidate the basis on which the marks were awarded.

Re-checks

A candidate wishing to have an examination paper re-checked should make a formal request (on form A/R 1) which should be returned together with the requisite fee to the Examinations Office within three working days of the date scheduled for the viewing of the examination script.

The re-check process shall be carried out under the direction of the Head of School, and shall normally involve establishing that all attempted parts of each question were marked, and that no computational error occurred during the marking process or the recording of the marks. It shall also involve establishing that all answers, part-answers and/or other assessment materials have been assessed.

Where the process gives rise to a change of mark, it shall be open to the Head of School to require that a re-check be undertaken in respect of all examination scripts in the module concerned. Where this course of action is deemed appropriate, the Head of School may nominate another examiner to carry out the re-check.

Re-Marks

A candidate may seek a re-mark of the examination paper or assessment by submitting form A/R 2 together with the requisite fee to the Examinations Office within five working days of the date scheduled for the viewing of the examination script or within two working days of the submission of the recheck application form.

The Head of School or nominee will make the necessary arrangement for the re-marking of the assessment. In the event that the recheck gives rise to a change of mark, the Head of School shall notify the Examinations Office with a view to reconvening the relevant Examination Board.


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Appeals

The appeals process provides for an appeal by a candidate against a decision of the Examination Board on the grounds specified here:

i. that the Regulations of the Institute have not been properly implemented; ii. that circumstances exist which may not have been specifically covered by the

Regulations; iii. that there is new, attested, documented and relevant information, that was not

made available to the Examination Board for justifiable reason, and therefore not considered.

These are the only grounds on which an appeal may be made.

The Appeals Panel and Appeals Board(s)

The function of the Institute’s Appeals Board(s) shall be to adjudicate on an appeal against the provisional examination results of the Examination Board having regard to one or more of the specific grounds as set out in [14.2] above.

An Appeals Panel shall be composed of not more than thirteen persons, including the Chairperson, two Vice Chairpersons, all of whom shall be members of academic staff and shall be appointed for a two year period. The Head of Quality Assurance and Academic Programme Records is an ex-officio member of the panel. To facilitate the simultaneous hearings of appeals, Appeals Board(s) may be constituted from the Panel comprising the Chairperson or a Vice-Chairperson who will act as Chairperson to the Board together with at least three other members of the Panel. See [14.2.2] in relation to eligibility of appeals.

Any member of the Appeals Panel who was a member of the Examination Board at which an appellant’s examination results were determined or who was previously involved in any way at an earlier stage of a particular appeal shall not be present for the hearing other than to present relevant information [see 14.4.2] and shall not otherwise adjudicate on the case.

At the end of the initial two-year period, half the membership of the Panel shall stand down. Thereafter half the membership shall stand down on an annual basis. A retiring member shall not be eligible for reappointment until a further two year period has elapsed.

The Appeals Board(s) shall meet on the scheduled dates, which shall be published annually and shall hear the appeals presented to it for that occasion and make determination thereon. All necessary information shall be processed through the Quality Assurance and Academic Programme Records Office and presented in writing to the Board for each hearing.


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The Appeals Procedure

An appeal must be lodged with the relevant College Administrator on the Appeals Form (Form A/A 1) within seven working days of the date scheduled for the viewing of the examination script. The application must be accompanied by the appropriate fee which shall be refunded if the appeal is successful.

Appeals lodged shall be referred promptly to the College Director, who shall be responsible for initiating the preparation of a written report from the relevant Head of School. The form together with the written report and other documentation to accompany the appeal shall be referred to the Quality Assurance and Academic Programme Records Office within 10 working days, who shall have responsibility for presenting them to the Appeals Eligibility Sub-Group;

An Appeals Eligibility Sub-Group comprising:

Chairperson;

Vice Chairperson and;

the Director of Academic Affairs and Registrar

shall convene to determine whether there are valid grounds for an appeal under the Regulations and shall bring a recommendation in relation to the eligibility/ineligibility of the application to an Appeals Board.

In the event that an appeal has not been heard prior to the commencement of the academic stage the appellant shall be entitled to apply for temporary attendance on the following year of the programme pending the outcome of the appeals process. If the appeal is not upheld the temporary registration shall terminate.

The parties to an appeal are the Institute and the candidate. However, the Appeals Board shall consider all evidence (oral and written) relevant to the appeals listed for hearing and may, at its discretion, consult other parties where this is considered appropriate.

The Head of School, or nominee, shall present the written report to the Appeals Board and respond to matters raised by the Board.

The appellant shall be invited to present the case in person to the Appeals Board and shall indicate on the form [see 14.4.2] if she/he wishes to appear and/or be represented by a third party e.g. DITSU.

The decisions of the Appeals Board meeting in private session shall normally be formulated by consensus. Where the Board is divided, the outcome shall be decided by a majority decision. In the event of an equality of votes the Chairperson of the Board shall exercise a casting vote.


25

No change shall be made retrospectively in assessment regulations for the particular assessment involved in the appeal.

The Appeals Board shall notify in writing the Appeals Panel, the appellant, the Chairperson of the Academic Council, the College Director, the Head of School and the College Administrator of its decision as soon as possible.

The decisions of the Appeals Board(s) shall be final and binding on the Institute and the appellant.

The Chairperson of the Appeals Panel shall present to Academic Council each academic year a written report on the work of the Panel.


26

Exams/Assessments FAQ

What happens if I can’t attend an exam because of illness or other reasons? You may be granted a deferral (rescheduling of the exam) by completing a Personal Circumstances form (to be requested from the Student Support Department). This must be submitted as follows:

• In the case of course work, the deadline for submitting a Personal Circumstances form is the same as the scheduled hand-in date for the assignment

• In the case of examinations, the completed form should be submitted within 2 working days of the exam

A deferral may then be granted at the discretion of the Head of School.

What grounds can I seek a deferral? Things like:

• Illness (supported by a medical note)

• Bereavement or serious illness of a close family member, partner or close friend necessitating absence

• Unavoidable circumstances requiring absence from exams/submission of assessments

• Excessive personal stress where certified by a doctor or counsellor

Deferrals will not be granted, in particular, in the following circumstances:

• Lack of preparedness for exams/assessments (without other mitigating factors)

• Uncertified illness or stress

If I am granted a deferral, can I still sit an Exam/submit the work? Yes you can sit any or all of those exams/submit any or all of the assessment work. We will write to you and tell you the date of the re-sits.

Is there a penalty if I’m granted a deferral? No. Your work is graded as normal.

What happens if I submit an assessment late?

• Work submitted after the submission date is penalised at a rate of 5% (per working day) up to a maximum of five days. For example a grade of 70% will be reduced to 60% if the assignment is received two working days after the published due date. Work will not be accepted after this five working day late period has passed.

• Please note this late penalty period does not apply to any supplementary assessments or to assignments where an extension has been granted.

• All non-submissions attract a mark of “zero” and this may affect your grades and chances of progression.


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What happens if I fail an exam? You’ll be ‘referred’. This means you’ll be required to re-sit that exam. The re-sits are called ‘Supplemental exams’ and typically take place in August. Grades are capped at 40%. We will write to you and tell you the date of the re-sits. In the case of referred submitted assessments (essays etc.) we will write to you with details of the new deadlines etc.

If I fail an exam will I fail the module? Not necessarily. The grades for all your exams are combined to make up your overall grade for that module (the breakdown of these are specific to the modules - have a look in your course manual). There are two types of assignment: ‘formative’ and ‘summative’. You must reach the pass mark for a summative assignment which is 40%. The overall pass mark for a module is 40%

What if I don’t reach the overall pass mark for a module? There are two possible outcomes:

• You will fail the module and need to re-sit the exam/re-submit the assignment(s) that you failed (see above).

• If your grade is greater than 35% you may be able to avail of compensation. This is a discretionary process whereby you are allowed to progress because you have good performance in all other modules.

If I fail a module (fail the re-sit) will I be allowed to progress to the following year? Yes. If you have passed all other modules you may be allowed to progress to the next year. It is possible to carry forward that module and re-take it alongside the modules of the next stage. Only ONE module can be carried forward. However, you must pass that module before progressing to the next year.

How do I get my results? We will email you your results and feedback. DIT will also email you (to your DIT email address) with instructions about how to log on to the Electronic Gradebook (EGB) to check all your grades.


28

Assessment Submission Form

BA (Hons) in Commercial Modern Music

Assignment Submission Form

Your work should be submitted at BIMM Dublin.

In submitting this work for marking you are confirming that you have followed all guidelines on formatting and submissions as laid out in your student manual. In addition, handing in this work marks your confirmation that the material contained in this assignment is all your own work. Where the work of others has been drawn upon it has

been properly acknowledged according to appropriate academic conventions.

...........................................................................................................................................

..... Submission Receipt - Please also complete this section to allow for a quicker hand in.

Course (Tick as appropriate)

BA (Hons) Year 1

BA (Hons) Year 2

BA (Hons) Year 3

BA (Hons) Year 4

Instrument (Tick as appropriate)

Bass

Drums

Guitar

Vocals

Songwriting

Code/ Number Name

Module

Assignment

Word Count

Candidate Number

Date Due

Date

Submitted

Candidate no.

Assignment Code

Module Code

Date of submission

Staff Confirmation


29

Moodle

Moodle is the BIMM Institute’s Virtual Learning Environment (VLE). It is an online space containing materials and tools to support and enhance your learning experience. This platform is an integral part of the student experience at the BIMM Institute. It is not only an online extension of your classroom, but is also the place where you will submit digital assignments and receive grades and feedback.

It also contains a wealth of valuable guidance to support you during your studies. You will find your course handbook, important information on assessment deadlines, guides to each module on your course, and important student services information. Each module on your course has a dedicated space where you can access materials used in class and additional study resources.

Moodle is also where you can book tutorials, book rooms to rehearse and study, secure places for master classes and guest lectures, or apply for work experience opportunities

You’ll find links to college news and networking forums, annual monitoring reports, college board of studies and student rep forum minutes, and much more.

Moodle can be accessed directly at moodle.bimm.co.uk, or via the following link: www.bimmstudents.com, where you will also find helpful links to:

CELCAT timetable

EBSCO electronic library

Email, Cloud storage and Apps

IT Support and Resources

http://www.bimmstudents.com/


30

Registration and Student Card

All CPD students are required to enrol with BIMM Institute and to register with DIT. You will receive a pre-enrolment form via email on acceptance of your place. This form should be filled out in advance of the enrolment session which usually take place the week before classes commence. During the enrolment session, you will be issued with a BIMM Institute student card. If, for any reason, your card cannot be provided to you on the day, BIMM Institute staff will instruct you on how to collect it in the future.

You will receive their invitation to register with DIT and instructions on how to complete registration via post. Registration for CPD students is usually completed online. Once registration has been finalised, you will be automatically issued with your log-in details for your DIT email account and instructions on how to collect your DIT student card. Your DIT card is required for access to DIT services such as the library.

Details on how to access the e-learning support

You will receive an email before classes commence which includes your username and password for all BIMM Institute I.T. services, including your timetable and our e-learning platform, Moodle. You can access these I.T. services via our website, www.bimmstudents.com. You can also manage your passwords and user profile on this website.

Any queries relating to I.T. services can be directed to [email protected]. If you do not have access to the correct modules on Moodle, please contact [email protected].

Communication arrangements for the programme

BIMM Institute staff will only communicate with you using your DIT email account, so it is essential that you monitor this account regularly. Your Moodle account will also be linked to your DIT email. You will receive your log-in details for your DIT email account once you have completed your DIT registration.

http://www.bimmstudents.com/

mailto:[email protected]

mailto:[email protected]


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Class Timetables

CELCAT Calendar is the primary platform through which BIMM students can access their class timetables.

Once enrolment has taken place, each student receives an email with a link to CELCAT Calendar, log in credentials and instructions on how they can log in and view their timetable.

In addition to CELCAT Calendar, BIMM students may also subscribe to a direct feed of their timetable via their smart phone using iCal.

Once students subscribe to iCal, they will be provided with a link that will allow them to view their timetable through their smart phone using Apple Calendar, Google Calendar or Outlook.

Details on how to subscribe to iCal is sent to each student following enrolment and remains available through the Student Resource section of Moodle for the duration of the academic year.


32

Module Information

DN/MM707 Research Methods

Key Information

Course: BA (Hons) Commercial Modern Music

Module Code: DN/MM707

Module Level: 7

Module Credits: 10

Pre-requisite module or learning: None

Module type: Core

Teaching & Learning

Lectures: 22 x 1.5 Hours

Tutorials: 2 x 1 Hour

Personal Development Time: 165 Hours

Module Leader: James Mackin Tutors: Laura Mackey, James Mackin

Module Summary

This module helps musicians and project managers understand how to conduct research using a variety of different methods. This module is linked to the final project, and the research skills and methods employed will contribute to the planning and preparation of the final year Professional Project or Analytical Perspectives modules. Many musicians are frustrated in their ambitions because they lack the skills to view their own and others’ work objectively. Talented individuals sometimes invest significant time and resources in projects with little commercial potential under the illusion that ‘success’ is somehow attainable in the future. This module can help musicians develop the skills to road-test their ideas and offer an objective assessment of their work. The ability to carry out research is an invaluable resource to musicians who wish to develop informed ideas, viable music projects and realistic business plans.


33

Aims

Musicians will develop an understanding of effective research techniques and methodology

Candidates will be able to apply their understanding to their written work and develop informed and independent self-development

Candidates will develop an understanding of key issues in research; including reliability, validity, bias, ethics and triangulation

Musicians will be able to use their skills in planning their practical projects Candidates will be able to construct and reference work appropriately

Indicative Study Topics

Research methods in Higher Education, including research families, approaches and techniques

Devising and designing potential projects Developing and presenting a project proposal Generating data and interpreting findings Key issues in research: reliability, validity, bias and ethics Producing a project report

Teaching & Learning Methods

This module will be delivered using a range of methods including; formal lectures with audio/visual support, small group work, seminars, presentations, coursework, in class exercises, tutor demonstrations, e-learning through the BIMM VLE and independent study and research.

Formative Assessment

Formative assessment will help to monitor individual student progress. It includes in-class presentations with Q&A; in class exercises to prepare written work, peer and tutor feedback during exercises, email feedback on draft presentations and projects.

Learning Outcomes

On completion of this module a successful student will be able to:

1. Select and utilise a variety of appropriate research methods. 2. Gather and interpret valid and reliable data. 3. Demonstrate an informed understanding of their research problem.


34

Assessment

No Summative Assessment Methods

Length Learning Outcomes Addressed

Assessment Weighting

Formative/ Summative

Assessment Week

1

Presentation 10 mins 1,2 20% Formative W16-W20

2 *Research Project

3,500 words

1,2,3 80% Summative W27

Assignment Brief

1. Presentation (10 mins) - Individual work Please note, that in-order to present, you are required to submit a Research Proposal Ethical Consent Form. This form will be available on your VLE and must be submitted in advance of the published deadline (Week 12). Further information will be provided by your tutor.

The Presentation is an opportunity to demonstrate and explain your research project to your peers and your tutor. Describe and justify your proposed methodology in detail, including a budget and time management plan where necessary. Other topics might include: what prompted your original idea and the desired outcomes of the project, your activities within the project, how the research could relate to your Professional Project or Analytical perspectives modules in fourth year, your literature review and reading around the subject, how you will account for important factors such as validity, reliability, ethics, bias and triangulation. Discussion of the more challenging aspects of the research is encouraged, and the fact that your project might not be complete will not hinder your ability to talk about aims and objectives or the progress of the project. Please note however, that musicians are advised to negotiate their choice of subject and methodology with the tutor before committing to a set path. The Presentation should last exactly 10 minutes.


35

2. Research Project (3,500 words) - Individual work This is a report on the research activity that you have undertaken. You do not need to have completed your research to begin writing the project report as your work will draw on much of the material gathered in your research proposal, so you can draft some of the early sections as the research is being conducted. Your report should include the following elements: 1. Title Page: Project title, module title, candidate number (not name), date.

2. Contents Page: With chapter headings and page numbers.

3. Abstract: This is a very brief explanation of what the project is about, the main approach and methodology used, and any major conclusions and recommendations. This small paragraph helps other researchers decide on the relevance of your work to their own.

4. Introduction: This section should, set out the research question(s), give a rationale for the project (including any connection to the Professional Project), identify scope and limitations of the project, and provide any definitions.

5. Literature Review: Explain how existing literature influenced and illuminated your own project. You shouldn’t restrict yourself solely to discussing material that agrees with your point of view: evaluating conflicting sources is an important part of research. Make sure that your source material is current, and properly referenced according to the Harvard Reference System.

6. Methodology: Describe and justify your choice of research methods and approaches. Critically evaluate the approaches used (and not used) and, where appropriate, discuss such issues as triangulation, validity, reliability, ethics and bias.

7. Methods: Concisely explain how you conducted the research. What did you do and what problems did you encounter? Also consider what you learned and how you might do things differently next time. Remember your audience here – you are trying to give enough information for someone to test/replicate your results.

8. Project Findings: Present your findings in a clear way with full discussion and interpretation. When presenting numerical data use a visual representation (such as a graph or chart) of the results.

9. Conclusions and Recommendations: This section should be clear and concise, and the conclusions drawn from the project findings might include recommendations for other researchers or musicians, as well as ideas for further research. You might also want to discuss your learning about conducting a successful research project.

10. Bibliography: This should be formatted according to DIT’s Harvard referencing guidelines, which can be found on the BIMM VLE or the DIT website.

11. Appendix or Appendices: Illustrative and support material referred to in your text should be included here, including concise samples of the questionnaires or surveys used in gathering research data and your collected statistics. NOTE: this is a pass required assessment


36

*Please refer to the section entitled ‘Essay & Written Work’ in the General & Assessment Regulations at the back of this manual for further guidance on how to present and submit your project.

Assessment Criteria

Reading List

Core texts: Bell, J. (2014). Doing Your Research Project. 6th edn. Maidenhead: McGraw-Hill

Education.

Cottrell, S. (2005) Critical Thinking Skills: Developing Effective Analysis and

Argument (Palgrave Study Guide). London: Palgrave Macmillan.

Additional reccomended texts: Bailey, Stephen (2015) Academic Writing: A Handbook for International Students.

Abingdon: Routledge.

Blaxter, L. (2010) How to Research. Maidenhead: McGraw-Hill Education.

Campbell, D. (2015) Arts, Research, Innovation and Society. London: Springer.

Outcome Students will be assessed on their ability to:

Assessment method

1. Select and utilise a variety of appropriate research methods.

Understand and apply primary research methods and data collection techniques Apply their knowledge of research methods to their undergraduate practice

Presentation,

Research Project

2. Gather and interpret valid and reliable data.

Use graphic models such as charts and diagrams to demonstrate their collected data Demonstrate an understanding of key issues in primary research, including validity, reliability, bias and ethics

Presentation,

Research Project

3. Demonstrate an informed understanding of their research problem.

Show how secondary research and a literature review has informed their work Reflect on their practice in the context of other work in the field of study

Research Project


37

DaFoe, Nancy (2013) Breaking Open the Box: A Guide for Creative Techniques to

Improve Academic Writing and Generate Critical Thinking. Lanham: R&L Education.

Donley, A. (2012) Research Methods. New York: Facts on File, Inc.

Eco, Umberto (2015) How to Write a Thesis. Cambridge, Massachusetts: The MIT

Press.

Emm, Adèle (2014) Researching for the Media: Television, Radio and Journalism.

London: Routledge.

Gambrill, E. (2009) Critical Thinking for Helping Professionals: A Skills-Based

Workbook. Oxford: Oxford University Press.

Gorard, Stephen (2006) Using Everyday Numbers Effectively in Research. London:

Continuum.

Greetham, Bryan (2013) How to Write Better Essays. Basingstoke: Palgrave Study

Guides.

Hancock, D. (2006) Doing Case Study Research: A Practical Guide for Beginning

Researchers. New York: Teachers College Press.

Hancock, D. (2011) Doing Case Study Research: A Practical Guide for Beginning

Researchers. New York: Teachers College Press.

Klein, Sheri (2012) Action Research Methods: Plain and Simple. New York: Palgrave

Macmillan.

Klickstein, Gerald (2009) The Musician's Way: A Guide to Practice, Performance,

and Wellness. Oxford: Oxford University Press.

McIntosh, Paul (2010) Action Research and Reflective Practice: Creative and Visual

Methods to Facilitate Reflection and Learning. London: Routledge.

McNiff, Jean (2013) Action Research: Principles and Practice. Abingdon, Oxon:

Routledge.

Merriam, S. (2015) Qualitative Research: A Guide to Design and Implementation.

Fourth edition. San Francisco, CA: Jossey-Bass.

Oliver, P. (2010) Understanding the Research Process. Los Angeles: SAGE

Publications Ltd.


38

Riemer, Frances (2012) Qualitative Research: An Introduction to Methods and

Designs. San Francisco: Jossey-Bass.

Rugg, G. (2007) A Gentle Guide to Research Methods. Maidenhead: McGraw-Hill

Education.

Scott, A. (2015) Sourcebook for Research in Music. Bloomington: Indiana University

Press.

Sharp, J. (2002) The Management of a Student Research Project. Aldershot,

England: Gower.

Stauffer, S. (2009) Narrative Inquiry in Music Education: Troubling Certainty.

Springer.

Taylor, Gordon (2009) A Student's Writing Guide: How to Plan and Write Successful

Essays. Cambridge: Cambridge University Press.

Walliman, N. (2011) Research Methods: The Basics. London: Routledge.

Journals:

Journal of New Music Research Taylor & Francis Journal of Research in Music Education SAGE Music Education Research Routledge Websites: Google Scholar: scholar.google.com Improbable Research: improbable.com

Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.


39

DN/MM706 Professional Musicianship

Key Information



Module Level: 7

Module Credits: 10


Module type: Core

Teaching & Learning


Tutorials: 1 Hour


Module Leader: Keith Farrell

Tutors:

James Nash, Dave Hingerty, Lorna McLaughlin, Keith Farrell

Module Summary

In this module a student takes control of the direction of their instrument-specific technical development and progression.

If a musician wishes to be employable in a competitive environment, they must consider the direction they take as a performing artist very carefully. Many players are highly skilled technicians but have developed specialist abilities in an area that may have limited professional application. This module encourages a musician to reflect upon their desired career outcomes (as defined in their Programme Planning document) and plan their technical development and working practice accordingly, mapping their current abilities against those of working professionals.

An area of specialism is negotiated with the module tutor. Emphasis will be placed upon the development of effective working practice and the contextualisation of technique within the working environment.

Students should negotiate their technical study path with their tutor and specialise in one particular branch of instrumental or vocal technique. For example, a guitar player may opt to undertake a detailed study of alternate tunings or slide guitar, a drummer may study double bass drum technique, and a vocalist may develop their range or projection. If this choice is judged to have sufficient substance to warrant detailed analysis, then this direction can be pursued under the guidance of the tutor.


40

Aims

To facilitate the advancement of instrument-specific technique and proficiency. To facilitate the development of an area of specialism, relevant to ongoing career

outcomes. To develop practice routines to facilitate progression and development in the

chosen area.


Technical Development: Study of designated instrument-specific exercises designed to develop and hone technique.

Style & Genre: Including study of the key traits associated with (across disciplines) Rock, Jazz, Latin, Blues, R&B, Soul, Funk and Reggae.

Equipment Knowledge: Including microphone technique, instrument knowledge and set-up.

Tonal and Sonic Quality: Including how to get a variety different sounds using different equipment and techniques

Practice: Including the creation of realistic and workable practice routine. The validity of practice and what to work on to get the best results.

Improvisation and Musicality. How to play with musical flair as well as accuracy. How to improvise creatively and effectively.


This module will be delivered utilising a range of methods, including formal lectures with audio-visual support, small group work, tutor led seminars & master-classes, e-learning through the BIMM VLE and Independent study & research and practice.


Formative assessment will help to monitor student progress, using in-class activities such as quizzes, practical demonstrations, peer assessment and tutor feedback. The development of the Area of Specialism will also be assessed formatively (informally) in the practical sense, and summatively via the practical assessment in weeks 26-29.

Learning Outcomes


1. Display technical proficiency and musicianship on their instrument. 2. Create and implement effective practice routines. 3. Understand the principles of Professional Musicianship and the development

thereof over time. 4. Perform music written in notation.


41

Assessment

No Summative

Assessment Methods



Formative/

Summative

Assessment Week

1 Performance Exam and Viva Voce

10mins 1,2 25% Formative W14


25mins 1,2,3,4 75% Summative W26-W29

Assignment Brief

1. Solo Performance Exam (5 mins – 1 piece)

This assessment will specifically address the student’s chosen Area of Specialism.

Each musician will be expected to perform a practical demonstration of their chosen Area of Specialism (AOS), consisting of ideas put forward in the Viva Voce (see below). The performance should last approx. 3 minutes and should demonstrate some development of the technical areas in focus within their chosen AOS.

Viva Voce (5 mins) - Individual Work

In addition, each musician will be asked to justify his or her choice for the Area of Specialism performance in the Performance Exam.

Students will have 5 minutes to present their ideas, which should include pertinent information on why they chose the area for study, any research that informed their decision, and an outline plan of a structured preparation process and practice routine.

Students will also need to demonstrate a wider understanding of how this choice relates to the wider principles and practices of Professional Musicianship, with regard to career goals and enhancement of their professional skillset.

2. Solo Performance Exam (15 mins – 2 pieces)

This assessment will address both the chosen Area of Specialism and the wider technical competency of the learner.

Piece 1- Students will be expected to perform a set piece with a high level of accuracy and musical flair. Notation and music for the piece to be examined on will be given to the learner in advance of the exam.

Piece 2- Each musician will also be expected to perform a practical demonstration of their chosen Area of Specialism consisting of ideas put forward in the Viva Voce (see below). The performance should last 5 minutes and showcase the students’ ability in the chosen area. Each performance piece will be weighted evenly towards the final grade.


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NOTE: Students may not perform the same AOS piece for both assessments.

Viva Voce (10 mins) - Individual Work

In addition, each musician will be asked to justify his or her ideas and practice methodology for the Area of Specialism performance in the Performance Exam.

Students will have 10 minutes to present their ideas, which should include pertinent information on how they chose the area for study, justification and structure of a practice routine and proposals for the performance of their area of specialism piece in the Performance Exam.

Students will also need to demonstrate a wider understanding of how this approach relates to the wider principles and practices of Professional Musicianship, with regard to further development and progression in the subject and career choice.

Assessment Criteria


Assessment method

1. Display technical proficiency and musicianship on their instrument.

Perform or sing a technically- challenging piece of music, with a high level of accuracy and musical flair.

Perform a practical demonstration of the chosen Area of Specialism.

Performance Exam / Viva Voce 1 & 2

2. Create and implement effective practice routines.

Demonstrate an understanding of the required practice discipline to ensure development in the Area of Specialism, and wider areas of instrument-specific facility.

Performance Exam / Viva Voce 1 & 2

3. Understand the principles of Professional Musicianship and the development thereof over time.

Demonstrate knowledge of what being a professional musician entails and how this relates to their own development and progression.

Performance Exam / Viva Voce 1

4. Perform music written in notation.

Perform a piece of music written in conventional music notation, with an excellent level of musicality and accuracy.

Performance Exam / Viva Voce 1


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Reading List

Core texts:

Coryat, Karl (ed.) (1999) The Bass Player Book. San Francisco: Miller Freeman Publishing.

Govan, G. (2002) Creative Guitar 1 and 2. London: Sanctuary. Kain, R. (2003) The Complete Vocal Workout, a step-by-step guide to Tough Vocals. Chicago: SMT Publications.

McGill, T.S. (2013) The Guitar Arpeggio Compendium. London: CreateSpace Independent Publishing Platform.

Reed, T. (1996) Progressive Steps to Syncopation for the Modern Drummer. New York: Alfred Publishing Co. Inc.

Riley, J. (1994) The Art of Bop Drumming. New York: Manhattan Music Inc.

Sandole, D. (1981) Guitar Lore. Philadelphia: Theodore Presser Company.

Additional texts:

Baxter, M. (1999) The Rock ‘n’ Roll Singer’s Survival Guide. Milwaukee: Hal Leonard

Publishing.

Goines, L. & Ameen, R. (1990) Afro-Cuban Grooves for Bass and Drums –

Funkifying the Clave. New York: Alfred Publishing Co.

Goodrick, M & Metheny, P. (1998) Advancing Guitarist - Applying Guitar Concepts

and Techniques. Milwaukee: Hal Leonard.

Magadini, P. (1993) Polyrhythms – The Musicians Guide. Milwaukee: Hal Leonard

Corporation.

Journals:

Rhythm: Future Publishing Ltd.

Guitarist: Future Publishing Ltd.

Total Guitar: Future Publishing Ltd.

Bass Player: New Bay Media Ltd.

Sound on Sound: SOS Publications group. 0951 6816

Performing Musician & Live Sound World: SOS Publications group.



44

DN/MM703 - Cultural Perspectives

Key Information



Module Level: 7

Module Credits: 10


Module type: Core

Teaching & Learning


Tutorials: 2 x 1/2 Hour


Module Leader: Elis Czerniak Tutors: Elis Czerniak

Module Summary

A cultural history of popular music from 1900 to 1970, this module examines the social and political conditions that influenced the development of genres in popular music by evaluating key releases from influential artists. Most professional musicians have an in-depth understanding of the development of contemporary music and draw upon this knowledge in their own work. Any artist hoping to produce work of substance must demonstrate a keen awareness and a deep appreciation of the historical and social significance of past material. Students will analyse the growth of popular music from the turn of the twentieth century through to 1970. They will study the development of successive genres from delta blues and early jazz onwards, exploring the dynamic relationship between popular music, popular culture, and social change. The module also introduces critical approaches to culture and popular music such as postmodernism, postcolonialism, feminism, and Marxian analysis.


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Aims

Students will be encouraged to examine significant moments in the evolution of popular music genres by employing established methods of critical theory.

Important individuals and their work within each genre will be analysed according to the factors that have made them longstanding writers and performers.

Originality and creativity: what social, cultural, and societal factors these artists’ work so influential?

Students will understand the cultural impact of musical originality and creativity in the context of social and economic history.


Students will examine the development of popular music genres through the practice of key artists in the context of relevant economic, social, and cultural developments:

Popular music and race, including the influence of African American music on mainstream popular music.

Technological change: how did the development of new technologies shape emerging genres in popular music?

Popular music and gender, including the impact of key writers and performers. Popular music and people’s beliefs: how have genres in music been influenced

by prevailing religious practices? Popular music and historical events, including the impact of war and economic

depression in twentieth century popular music. The 1960s cultural and social revolution. Various philosophical approaches to interpreting, critiquing, and analysing the

evolution of popular music through the early-mid twentieth century.


Teaching and learning is delivered via lectures, Q&A, audio and video material, internet resources, discussions and debates, in class presentations, small group discussions, coursework, in class exercises, e-learning facilitated by the BIMM VLE and independent study and research.


Formative assessment includes tutorials, Q&A and discussion during class sessions.

Learning Outcomes


1. Consider the relationship between popular music and social change 2. Evaluate the contribution of a key artist from 1900 to 1970 3. Apply academic resources to construct informed arguments


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Assessment

No Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Short Essay 1,000

words

1,2,3 25% Formative W15

2 Long Essay 3,500

words


Assignment Brief

1. Short Essay (1,000 words) – Individual work

Your first essay must engage an artist from the pre-1960s era.

Choose an artist within the timeline (1900-1959) and select one key song from their career as a defining example of their work. Please note: the artist must be different to the one chosen for the long essay. Your title should simply be the name of the artist and the title of the song, for example: Louis Armstrong, ‘Wonderful World’. Using the chosen song as an example, show how your chosen song reflected key cultural and social developments of the time. Refer to the recurrent themes and study topics of the course (race, technology, world events, gender, religion, media, youth, etc.) where appropriate. Demonstrate academic rigour by engaging with a wide range of literature, including peer reviewed journals and other sources from the published reading list. All written work submissions should be accompanied by a bibliography.


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2. Long Essay (3,500 words) – Individual work

This assignment asks you to evaluate the social, cultural, and political context of an important and influential album release (or a collection of songs) in the period 1900 to 1970. Please note: the artist must be different to the one chosen for the short essay. Choose an artist from this period and examine their relationship to the cultural and social framework of their era with reference to an important or influential album. (If the artist did not release any albums you may choose a collection of representative songs.) Analyse and evaluate your chosen artist in relation to their impact on music and popular culture and their relationship to the themes of this module (class, race, gender, world events, technology, religion, etc.) as they are relevant. Your essay title can be chosen from the options given on the BIMM VLE (uploaded over Easter) or it can be a title of your own choosing. Original essay titles (those not from the options on the BIMM VLE) must be negotiated in advance via email discussion with the Module Leader. Essays should be neatly presented in accordance with academic conventions. Your work should incorporate the relevant course themes and demonstrate engagement with suitable reading. Source material should reflect appropriate academic standards and should include material from the course book list, peer review journals, and other relevant texts. All written work submissions should be accompanied by a bibliography.


48

Assessment Criteria

Outcome Students will be assessed

on their ability to:

Assessment

method

1. Consider the

relationship between

popular music and

social change

Critically evaluate the contribution of a

key artist in relation to societal and

cultural changes in the period.

Comment on the interaction between

popular music and important cultural

and/or social developments in the

period.

Long Essay

Short Essay

2. Evaluate the

contribution of a key

artist from 1900 to

1970

Demonstrate a detailed knowledge and

informed understanding of the career of

a genre-defining artist from 1900 to

1970.

Comment critically on the contribution

of that artist to their associated genre of

popular music and their wider

contribution to popular culture

Long Essay

Short Essay

3. Apply academic

resources to

construct informed

arguments

Demonstrate academic rigour by

engaging with a wide range of

literature, including peer review

journals and other resources on the

reading list.

Present fully referenced work

accompanied by a detailed and

relevant bibliography.

Present arguments coherently and

clearly

Long Essay

Short Essay


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Reading List

Core texts:

Feldstein, R. (2013) How It Feels to Be Free: Black Women Entertainers and the Civil Rights Movement. Oxford: Oxford University Press.

Kaufman, W. (2011) Woody Guthrie: American Radical. Chicago: University of Illinois Press.

Longhurst, Brian and Danijela Bogdanovic (2014) Popular Music and Society. Cambridge: Polity. Storey, J. (2012) Cultural Theory and Popular Culture: An Introduction. Oxon & New York: Routledge. Additional texts:

Boucher, D. & Browning, G. (2004) The Political Art of Bob Dylan. New York: Palgrave Macmillan.

Brothers, T. (2006) Louis Armstrong’s New Orleans. London: WW Norton & Co. Corcoran, N. (2003) Do You Mr Jones? Bob Dylan with the Poets and the Professors. London: Pimlico. Frith, S. et al. (2001) Cambridge Companion to Popular Music. Cambridge: CUP. Guralnick, P. (1998) Searching for Robert Johnson: The Life and Legend of the “King of the Delta Blues Singers”. London: Plume Books. Longhurst, B. (2014) Popular Music and Society. Cambridge: Polity. Macdonald I. (2005) Revolution in the Head: The Beatles’ Records and the 1960s. London: Pimlico Press. Schroeder, P. (2004) Robert Johnson: Mythmaking and Contemporary American Culture (Music in American Life). Champaign, IL: University of Illinois Press. Shuker, R. (2008) Popular Music: The Key Concepts. London: Routledge.

Starr, L. and Waterman, C. (2003) American Popular Music. New York: OUP.

Werner, C, (2002) A Change is Gonna Come: Music, Race and the Soul of America. Edinburgh: Cannongate.


50

DN/MM701 Advanced Music Theory & Arrangement

Key Information



Module Level: 7

Module Credits: 10


Module type: Core

Teaching & Learning


Tutorials: 1 Hour


Module Leader: Adam Taylor

Tutors: Paul Moore, Derek Cronin, Adam Taylor, James Nash, Dave Conway

Module Summary

This module consolidates material studied in first and second year by applying it to arranging for strings and brass combos, based on both notated melodies and aural excerpts. The main focus will be on advancing your harmonic, melodic and rhythmic language, writing charts and lead sheets, applying old and new concepts to arranging for various instrumentations, analysing scores, as well as furthering ear-training, to best prepare the student for the range of musical situations they are likely to encounter as a professional musician.

This module will focus on the fundamentals of arranging, using specific instrumentations as an introduction to common techniques and considerations, the essential aspects of which are transferable to arranging for other instrumentations not covered in this module.

Aims

To train students to identify, notate and create harmonic, melodic, and rhythmic parts within contemporary music using industry standard notation

To enable the student to analyse and transcribe musical excerpts and apply and evaluate music theory concepts

To facilitate the development of practical musicianship skills essential to meeting the demands of the workplace

To instruct students in the fundamentals of arranging and orchestration


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Knowledge of Musical Vocabulary: clefs and staves, note values and rests, time and key signatures, dynamics, expressions, various techniques for different instruments, tempo markings, bar mapping

Ear training: including aural recognition of the rhythmic, melodic, and harmonic aspects of music, sight singing and sight reading

To enable the student to transcribe and analyse musical excerpts and apply and evaluate music theory concepts

Advanced theoretical concepts: including Roman Numeral analysis, construction and inversion of advanced chord structures, chord symbol recognition, modulation, polyrhythm and changing rhythmic meters, chord sequences, voice leading, complex chord construction and harmonic function

Composition: includes inventing short phrases (melodic, harmonic, and rhythmic), harmonising a melody, writing a melody to a given chord sequence, and creating parts or musical excerpts based on given examples

Score reading, chart and lead sheet writing Applying these concepts to arranging for a string quartet, brass combo and

modern five-piece rock band Notational Software


This module will be delivered using a range of methods including formal lectures with audio/visual support, small group work, coursework, in class exercises, tutor demonstration, e-learning through the BIMM VLE and independent study and research.

Formative & Summative Assessment

Formative assessment will help to monitor individual student progress; both in class using Q&A, written assignments, course work, and independent study, research, portfolio and written assignments. Formative assessment will also enable students to highlight areas for improvement before formative and summative assessment in weeks 12, 20 and 27.


52

Learning Outcomes


1. Use harmonic principals to arrange and write parts, scores and charts 2. Construct and notate detailed elements of popular music 3. Identify, analyse, and apply advanced music theory concepts

Assessment

Assignment Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1

Written

Score &

Arrangement

Notes

Portfolio

- 2 short

pieces

&

Analysis

(250

words)

1,2,3 25% Formative 12

2 Aural &

Written

Exam

60mins 1,2,3 25% Summative 20

3 Written

Score &

Arrangement

Notes

Portfolio

– 3

short

pieces -

&

Analysis

(500

words)

50% Summative 27

Assignment Brief

1. Written Score & Arrangement Notes (Portfolio) - Individual Work

This portfolio will incorporate 2 separate, short arrangements for different, specific instrumentations that should be analysed using articulate theoretical language. Precise specifications will be made available from your tutor prior to your assessment


53

2. Aural & Written Exam – Individual Work

This exam will serve to consolidate this year’s material with concepts covered in the previous two years.

i) The aural exam will focus on the fundamentals of music theory, the transcription of melodic, harmonic and rhythmic excerpts, and the analysis of contemporary music by ear.

ii) The written exam will focus on the fundamentals of notated music, harmonic principles and functions, the fundamentals of score preparation (dynamics, techniques, bowings, etc.), idiosyncrasies of instruments covered, and score analysis.

3. Written Score & Arrangement Notes (Portfolio) - Individual Work

This portfolio will incorporate 3 separate, short arrangements for different, specific instrumentations that should be analysed using articulate theoretical language. Precise specifications will be made available from your tutor prior to your assessment

*Please note, in addition to achieving an overall passing grade, a student must demonstrate achievement of all learning outcomes in this module to progress.

Assessment Criteria



Assessment

method

1. Use harmonic

principals to arrange

and write parts,

scores and charts

Create appropriate and musically

pleasing arrangements of musical

works from given examples

Portfolio &

Exam

2. Construct and notate

detailed elements of

popular music

Accurately notate melodic, harmonic,

rhythmic and technical aspects of an

arrangement

Notate melodic, harmonic and rhythmic

aspects of music by ear

Portfolio &

Exam


54

Reading List

Notational Software:

Sibelius 7.5 (Recommended)

Finale

MuseScore

Core texts:

Black, D. & Gerou, T. (1999) Essential Dictionary of Orchestration. New York: Alfred Publishing.

Harrison, M. (1999) Contemporary Music Theory Volume 1-3. Milwaukee: Hal

Leonard.

Mancini, H. (1997) Sounds and Scores. London: Music Sales Group Ltd.

Perricone, J. (2000) Melody in Songwriting. Boston: Berklee Press.

Piston, W. (1988) Harmony. New York: W. W. Norton & Co.

Piston, W. (1990) Counterpoint. New York: W. W. Norton & Co.

Piston, W. (1986) Orchestration. New York: W. W. Norton & Co.

Scott, R. J. (2003) Chord Progressions for Songwriters. Lincoln: Writers Club Press.

Turnbull, D. (2004) Aural Time! Grade 8: Practice Tests for ABRSM and Other Exams. London: Bosworth.

Wyatt, K. (2005) Ear Training. Milwaukee: Hal Leonard.

Additional texts:

Byrne, D. (2012) How Music Works. Edinburgh: Canongate.

Goodall, H. (2013) The Story of Music. London: Chatto & Windus.

Harrison, M. (1999) Contemporary Music Theory Volume 1. Milwaukee: Hal Leonard.

3. Identify, analyse, and

apply advanced

music theory

concepts

Recognise theoretical concepts from

written and aural excerpts

Apply advanced techniques to

arranging music for different

instrumentation

Analyse notated excerpts and label

theoretical techniques using industry

standard terminology

Portfolio &

Exam


55

Levitin, D. (2013) This is Your Brain on Music. London: Atlantic Books.

Slonimsky, N. (1999) Thesaurus of Scales and Melodic Patterns. New York: Scribner.

Websites (Free Ear Training and Theory):

www.good-ear.com

www.moneychords.com

www.musictheory.net

www.spytunes.co.uk

www.chordacus.com

www.iwasdoingallright.com

www.robbenfordguitardojo.com

www.teoria.com

Transcription Software:

www.ronimusic.com

Ear Master 6 (Resource Room)

Reading lists are regularly supplemented on the BIMM VLE – your tutor will

advise you on any updates.

http://www.robbenfordguitardojo.com/

http://www.ronimusic.com/


56

DN/MM711 Digital Marketing in the Music Business

Key Information

Course: BA (Hons) in Commercial Modern Music


Module Level: 7

Module Credits: 10


Module type: Optional

Teaching & Learning



Self-Directed Learning: 160 Hours

Module Leader: Michael Roe Tutors: Michael Roe Chris Bubenzer

Module Summary

Digital Marketing in the Music Business has been established to address the increasing importance of digital literacy within the modern music industry. This module focuses specifically on the requirement for modern industry practitioners to be proficient in digital marketing. Core skills associated with digital marketing, are not only increasingly desirable for students in their own musical careers but also a desirable skillset for potential employers. This module is aimed at students wishing to increase their knowledge in a specialised area they can potentially use for BA4 Professional Project, the student aiming to work in the music industry and the DIY musician wishing to increase their knowledge in data, analytics and directly engaging with their audience. This module will increase students’ digital literacy in an area of increasing importance within the music industry, therefore enhancing an individual’s effectiveness as a professional. This module will also equip students with transferrable skills which underpin many facets of the creative and media industries, not just the music industry.


57

Aims

To increase knowledge in a specialised, and, increasingly important area of the music business.

To increase a student’s Digital Literacy. To examine current developments in the music industry and react accordingly to

changes. To understand key changes within the music industry and examine why they

happen.


Ethical issues relating to data collection Data Protection laws in Ireland Data & Analytics in music and translating this information Examining the tools used for collection of data in music (Spotify Insights / Next

Big Sound / Social Insights etc.) Working within a peer group, studying music marketing case studies Planning a music marketing campaign Goal setting for marketing campaigns Implementing and managing a music marketing campaign Developing assets, media and engaging content SEO (search engine optimisation) Direct email marketing Social media marketing Digital music stores Direct to fan sales platforms Budgeting a full marketing campaign Insights, real time and results tracking Benchmarking against other campaigns


Teaching and learning will be delivered via lectures, multimedia presentations, blended learning, practical application of theories, one to one tuition and problem solving, printed course material, in-class peer to peer activities and e-learning facilitated by the BIMM VLE.


58

Learning Outcomes


1. Critically analyse a range of approaches to digital marketing in the music industry 2. Plan and execute a digital marketing campaign, using established conventions 3. Critically evaluate the results of their digital marketing activities

Assessment

No Summative

Assessment

Methods

Learning

Outcomes

Addressed

Assessment

Weighting

Formative/

Summative

Assessment

Week

1 Marketing

Case Study 1 30% Formative W15

2

Marketing

Plan and

Report


Assignment Brief

1. Marketing Case Study - Individual Work A marketing case study requires the student to complete a comprehensive analysis of a full digital marketing campaign. This will include a market analysis and a critique of methods. This could be a live tour, the establishment of new band aesthetic or a new album/single/ep campaign.

Your tutor will provide an additional brief ahead of the assessment.

2. Marketing Plan and Report - Individual Work A marketing plan and report requires the student to assemble a full marketing plan, but to also execute the plan as a campaign. This plan will include a full market analysis, setting KPIs, goals etc., this will also include a full budget spend broken into social spend, ad spend etc. This plan will also assess the students’ knowledge of indicative study topics that underpin the module. The ability to critically analyse and evaluate one’s own work will be incorporated in a report section, which reflects on the success, or otherwise, of the marketing plan undertaken.

Your tutor will provide an additional brief ahead of the assessment.


59

Assessment Criteria



Assessment

method

1. Critically analyse a

range of approaches to

digital marketing in the

music industry

Define and discuss approaches to

digital marketing.

Identify key skills used within particular

marketing campaigns.

Identify and evaluate marketing

methods and techniques within the

music industry.

Marketing Case

Study

Marketing Plan

and Report

2. Plan and execute a

digital marketing

campaign, using

established conventions

Display key skills required to create an

engaging digital marketing plan.

Build evidence to indicate if a campaign

or elements of a campaign have been

successful.

Marketing Plan

and Report

3. Critically evaluate the

results of their digital

marketing activities

Identify and evaluate key indicators that

your campaign has succeeded or failed

in achieving the goals you have set.

Examine solutions to any possible

issues that arose in your marketing

plan or campaign execution.

Marketing Plan

and Report


60

Reading List

Essential Reading:

Chaffey D, Ellis-Chadwick F, 2012. Digital Marketing: Strategy, Implementation and Practice. Pearson

Harrison A, 2014. Music: The Business. The essential guide to the Law and the Deals. London: Virgin

Supplemental Reading:

Ryan D, 2014. Understanding Digital Marketing: Marketing Strategies for Engaging the Digital Generation. London: Kogan Page

Charlesworth A, 2015. An Introduction to Social Media Marketing. London: Routledge

Springer P, Carson M, 2012. Pioneers of Digital: Success Stories From Leaders in Advertising, Marketing, Search and Social Media. London: Kogan Page

Allan D, 2015. This Note's For You: Popular Music + Advertising = Marketing Excellence. New York: Business Expert Press

Scott D M, 2015. The New Rules of Marketing and PR: How to Use Social Media, Online Video, Mobile Applications, Blogs, News Releases, and Viral Marketing to Reach Buyers Directly. New Jersey: Wiley

Eagle L, 2015. Marketing Communications. Oxon: Routledge

Richardson B, 2013. Tribal Marketing, Tribal Branding: An Expert Guide to the Brand Co-creation Process. New York: Palgrave MacMillan

Westwood J, 2013. How to Write a Marketing Plan. London: Kogan Page

All reading material will be provided closer to module commencement date on the BIMM VLE

Websites: College Music Update: http://www.thecmuwebsite.com/daily/ (Downloadable Podcast)

Music Business Worldwide: https://www.musicbusinessworldwide.com/

BillboardBiz: http://www.billboard.com/biz

HypeBot: http://www.hypebot.com/

Next Big Sound (Music Business Analytics): https://www.nextbigsound.com/

IMRO: https://www.imro.ie/


http://www.thecmuwebsite.com/daily/

https://www.musicbusinessworldwide.com/

http://www.billboard.com/biz

http://www.hypebot.com/

https://www.nextbigsound.com/

https://www.imro.ie/


61

DN/MM705 Performance in Context

Key Information

Course: BA (Hons) in Commercial Modern Music


Module Level: 7

Module Credits: 10


Module type: Elective

Teaching & Learning

Lectures: 23 x 2 Hours

Tutorials: 1 Hour

Personal Development Time: 160 hours

Module Leader: Phil Christie Tutors: Phil Christie Maud Reardon

Module Summary

Performance in Context provides an active and creative learning environment where students can develop their skills as creative musicians and performers. The contextual considerations that inform contemporary performance practices are increasingly understood as highly significant in framing how performers and audiences engage with popular music. The use of space and movement, questions of authenticity and theatricality and the role of the audience can all be crucial in determining how a repertoire is communicated in a live setting.

In this module, students are given a unique opportunity to develop their performance practice (both individually and within group settings) with respect to such considerations while simultaneously considering how changes in performance practices are related to broader social and artistic movements.


62

Aims

To facilitate students in the development of original and ambitious work To nurture a spirit of inquiry and curiosity that is supportive of all

collaborators To prepare students for the challenges of group work and problem solving in a

variety of musical situations To foster a critical understanding of performative approaches to music making To identify, articulate, and improve areas for personal development in terms of

performance To investigate the role of critique in the maintenance of standards in the delivery

of performances


The Performative Turn Character and Authenticity Contextualising Form Authorship: Sampling and Referencing Gestural Communication Arrangement and Dynamics Performance and Critique Performance Anxiety Durational Performance Improvisation The Performer-Audience Dynamic Spatial Considerations in Performance and Staging Artist-led Workshops


Classes will make use of tutor presentations, performance exercises, work-shopping, class discussions and feedback sessions in introducing and unpacking topics. Given the nature of the module and assessments, students are expected to complete tasks/assignments outside of class time as necessary. Reading and video resources as well as class assignments will be posted on Moodle and students will be expected to keep up to date with class developments on the VLE.

If necessary, tutors will organize additional musicians to join the class for the purpose of work-shopping material and performances. Students will be encouraged to work collaboratively with an emphasis placed on the development of a process-oriented approach. Regular tutor and peer feedback sessions will be undertaken in order to nurture a healthy and supportive approach to critique and self-development.


63

In-class workshops, led by artists/practitioners from outside the college will take place in both Term 1 and Term 2. These workshops aim to contextualize coursework and encourage a diversity of perspectives while also exposing students to the work of artists and musicians active in contemporary music performance.

Each student is expected to engage with the assignments set during term time (which will include the submission of audio recordings, videos and written work). Students will be expected to refer to these submissions in the rationale submitted in relation to each Performance Exam.

Learning Outcomes


1. Exhibit technical expertise and aesthetic awareness as a member of an ensemble

2. Develop and arrange thematic musical ideas into coherent musical structures

3. Perform a cohesive musical set that shows consideration for arrangement,

stagecraft and presentation

4. Evaluate artistic development articulately with reference to relevant influential

factors

5. Demonstrate competency in planning and organising an ensemble performance

Assessment

No Summative

Assessment Methods




Assessment Week

1 Performance Exam 1

10 minutes

1, 2, 3, 25% Summative

W12

2 Artist Development and Planning Essay

1000 words

4, 5 25% Summative

W18

3 Performance Exam 2

20 minutes

1, 2, 3, 50% Summative

W25-W29

*Please note, in addition to achieving an overall passing grade, a student must demonstrate achievement of all learning outcomes in this module to progress.


64

Assessment 2 is a pass required Assessment in this module

Assignment Brief

Performance Exam 1 (10 minutes) Individual and Group work

Performance Exam 2 (20 Minutes) Individual and Group work

These examinations will take the form of a live performance in front of peers and invited guests. NB: each individual performance will be assessed in the context of the role played in the overall ensemble performance. Ensembles should treat the exam performance as a professional gig, addressing all aspects – the music, the performance, and the presentation as well as practical considerations. A professional attitude is expected of all participants.

NB: Students will be assigned to an Ensemble at the beginning of Term 1, within which they will work collaboratively on classwork and assignments during the year. Students are required to perform within their assigned working group for Performance Exam 1. For Performance Exam 2, students will have the option to perform within an ensemble of their choosing.

Performance Exam Rules

Each assessed performance must be comprised of students from the Performance in Context module (exceptions will be made where particular instrumentalists are not available within the class)

Students must base each exam performance on one of the topics covered in class during the year. The repertoire, approach and presentation must be justified in relation to the relevant coursework.

Students must choose a different project and submit appropriate accompanying material (rationale, samples of coursework) for each exam performance.

Repertoire should be chosen in consultation with the Module Leader and tutors, taking aesthetic and practical considerations into account

The material may be original work or re-interpreted existing published pieces Repertoire must be sufficiently demanding to allow tutors to assess musical skills

appropriately. Each student must submit a short rationale for each assessed exam

performance. This rationale should include a short, written justification of the approach taken and audio/video evidence of preparatory work that demonstrates engagement with coursework. This material is crucial in establishing the context of the development of students’ ideas (in much the same way that secondary literature demonstrates breadth of research in a written assignment)

Each ensemble is required to submit a Technical Sheet in advance of the performance – this is a simplified version of ‘Tech Specs’ that all professional touring acts utilise


65

Note: Performances will be judged against the Assessment Criteria (see below).

Artistic Development and Planning Essay (1000 words)

This essay requires students to critically reflect on one (or more) of the topics covered in coursework and provide a detailed and informed discussion of its relevance to the development of their performance practice. The brief engages the student’s capacity for critique both of existing work and their own developing practice. This critique should be supported with reference to the relevant literature using the Harvard Referencing method. Relevant links to video and audio clips of performances and interviews may be used to supplement secondary research.

Students are also required to submit a brief proposal for Performance Exam 2 in which they set out and justify their plans with reference to Performance Exam 1, class assignments and relevant research. Plans to prepare for Performance Exam 2 should be outlined, covering aspects such as repertoire, ensemble members and instrumentation and preparation/rehearsal.


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Assessment Criteria


Assessment method

1. Exhibit technical

expertise and aesthetic

awareness as a member

of an ensemble

Exhibit competency with regard to: Ensemble skills - musical rapport and group integration, understanding of role within group Technique: pitching, tuning/intonation, assurance and control of scales, rudiments, accuracy in terms of rhythmic and solo playing, aural skills, tempo, time-keeping Musicality & Expression: interpretation, imagination, fluency, phrasing, groove, transitions, contrasts, dynamics, pauses, use of space, tone, special effects

Performance Examination 1 & 2

2. Develop and arrange

thematic musical ideas

into coherent musical

structures

Demonstrate an engagement with coursework through submission of a coherent rationale (that includes relevant examples of preparatory work) and a consideration of process in the realisation of aesthetically cohesive performance.

Arrange original musical material and re-arrange existing published material for performance in a cohesive and creative way.


3. Perform a cohesive musical set that shows consideration for arrangement, stagecraft and presentation

Plan and execute a well prepared set that displays attention to thematic and stylistic unity, set dynamics, and continuity Demonstrate stagecraft appropriate to a performance - movement, body language, ensemble interaction and unity and audience engagement Address aspects of visual presentation such as stage layout, positioning of ensemble members, attire, backdrops, props and projected visuals



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Reading List Core texts: Performance In Context 1819 – Class Reader (to be distributed by tutors in class) Schechner, Richard., (2002). Performance studies : an introduction. London ; New York :Routledge,

Storey, J. (2006). Cultural theory and popular culture: An introduction.

Athens: University of Georgia Press


4. Evaluate artistic

development articulately

with reference to

relevant influential

factors

Identify personal strengths and areas for improvement in music making and performance. Set accompanying goals that relate to activity in the module Reflect on what you have learned from your participation in the module, referring to topics studied, assignments undertaken and relevant references to the literature Discuss your proposal for Performance Exam 2 – explain thematic aspects, your motivation and influential factors with reference to a particular project.

Artist Development and Planning Essay

5. Demonstrate

competency in planning

and organizing an

ensemble performance

In your essay, outline a viable plan for Performance Exam 2, addressing aspects such as repertoire, ensemble members and instrumentation, individual and group preparation, equipment and logistical considerations

Artist Development and Planning Essay


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DN/MM708 Studio Musicianship

Key Information



Module Level: 7

Module Credits: 10

Pre-requisite module or learning: Final


Teaching & Learning


Tutorials: 1 Hour


Module Leader: Robbie Malone

Tutors: Dave Whyte, Shelley Bukspan, Jason Oglesby, Robbie Malone

Module Summary

In this module musicians will be placed in simulated, “deadline driven” recording session environments. They will be encouraged to attain an understanding of professional production values and an awareness of the responsibilities of the recording musician. These responsibilities will include professional performance skills, studio etiquette and technical knowledge.

Aims

To enable students to become effective studio performers within a professional environment

To attain high performance standards with limited preparation time in a variety of stylistic contexts

To consolidate students’ musicianship skills by combining an awareness of the expectations of a professional recording studio session with technical accomplishment and musical knowledge


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Studio Performance: includes recorded performances in a simulated studio setting, taking in part writing and improvisation in various styles

Critical Analysis: includes acting in the role of producer in regard to recorded performances

Ear Training: students will be required to analyse, emulate or interpret found examples

Basic Engineering Principles: students will study discipline specific recording concepts

Advanced Tone Generation, Timing and Feel Musicological Study Roadmap Chart Conventions: includes the reading, writing and interpretation of

chart and roadmap conventions


This module will be delivered utilising a range of methods including: studio recording, audio-visual resources, small group work, tutor led discussion & practical workshops/demonstrations, student led discussion, e-learning through the BIMM VLE and independent study & research.


Formative assessment will help to monitor individual student progress; both in class using Q&A and set course work tasks and online utilising multiple-choice questionnaires (via the BIMM VLE). During each lesson aural and performance skills will be continually assessed by peers and by the tutor, as will technical, analytical and musicological insights.

Learning Outcomes


1. Demonstrate technical excellence in a recording studio environment 2. Execute the tasks commonly required of a studio musician within limited

preparation time 3. Critically analyse the roles and responsibilities of the recording musician and

reflect on their own performance


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Assessment

No Summative

Assessment Methods



Formative/

Summative

Assessment Week


40 minutes

1, 2, 3 100% Summative W25-W29

Assignment Brief

1. Studio Performance Exam and Viva Voce (40 min.)-Individual Work Studio Performance Exam (30 min.) A “real world” track will be available for download in advance of the studio performance exam and students will be required to prepare a main part for the track and supply an accompanying chart. This will test part-writing skills and knowledge of notation conventions. Studio skills and technical ability will be tested in a performance of your prepared part in a studio recording session. In addition, the studio performance will include improvisational skills and you will be required to respond to producer direction by re-recording sections of the track using different musical styles and textures. Aural skills will be tested by the analysis, arrangement and performance of unseen material and students are expected to observe good studio etiquette throughout the session. This part of your exam will be weighted at 80% of your mark. Viva Voce (10 min.) Also, you will be able to justify and articulate your artistic choices and to offer insights into the standard of your performance in a final Q&A session with your tutor after your Studio Recording Session. This part of your exam will be weighted at 20% of your mark.


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Assessment Criteria

Reading List

Core texts:

Borwick, J. (1996) Sound recording practice Oxford: Oxford University Press.

Additional texts:

Coryat, K. (2005) Guerilla Home Recording: How to Get a Great Sound from Any Studio. San Francisco: Backbeat

Green, B. & Gallwey, W. (2015) The Inner Game of Music. London: Pan Books.


Assessment method

1. Demonstrate technical excellence in a recording studio environment

Demonstrate appropriate creative part-writing skills

Demonstrate appropriate tone generation techniques in the studio

Employ technique: pitch, tuning/intonation, tone, aural skills, memorisation, tempo, time-keeping, scales, arpeggios and rudiments

Employ musicality & expression: interpretation, imagination, creativity, emotive power, transitions, dynamics, fluency, phrasing, understanding of large and small-scale structures

Studio Performance Exam & Viva Voce

2. Execute the tasks commonly required of a studio musician within limited preparation time

Improvise over complex arrangements

Interpret verbal instruction from a musical director or producer and respond appropriately


3. Critically analyse the roles and responsibilities of the recording musician and reflect on performance

Describe aspects of deadline-driven recording to professional standards, creative part-writing, stylistic and artistic decisions and studio etiquette



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DN/MM710 The Songwriter/Producer

Key Information



Module Level: 7

Module Credits: 10


Module type: Core for songwriters elective for others

Teaching & Learning


Tutorials: 1 Hour


Module Leader: Stephen O’Brien

Tutors: Stephen O’Brien and Phil Christie

Module Summary

This module will address the musical and technological aspects of writing and producing popular songs and other related compositions and will include focus on song forms and structures as well as lyric writing. Musical examples will be analysed in class from a variety of genres and historical periods. The module will address the working practices of professional songwriters and composers across a variety of disciplines and media. Students will apply their learning by producing a body of work in the form of a show reel, which will demonstrate a range of original material as well as a written analysis of the writing and production process.

Topics in this module are closely linked to Advanced Theory & Arrangement module content. For the song-writing stream of students, this module will also serve as a broad foundation for the BA Year 4 Commercial Song-writing module.


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Aims

To develop professional level compositional technique To understand and develop the role of lyric writing in composition To understand and operate industry standard digital recording systems To develop team working skills in writing and arranging for ensembles


Recording theory and technology including digital and analogue recording formats, microphone theory and technique

DAW use including; recording, tracking, editing, mixing, remixing, and production Harmony and song structure, the principles of song-writing and their application Lyric writing and the roles of the composer and lyricist Composition and arrangement techniques Working with media; Film, TV, Radio Narrative & meaning; the use of music with image Writing for ensembles, arrangement and direction Working to a commercial brief


This module will be delivered utilising a range of methods including; formal lectures with audio-visual support, small group work, tutor led seminars & practical workshops/demonstrations (Utilising a DAW resource room), student led seminars, studio work, e-learning through the BIMM VLE and Independent study & research. It is recommended to use an external hard drive rather than a USB key for your work.


Formative assessment will help to monitor individual student progress; both in class using Q&A and set course work tasks and online utilising multiple-choice questionnaires (via the BIMM VLE).

Learning Outcomes


1. Understand the operation of a range of basic audio equipment and Music IT in making controlled audio recordings to an appropriate standard

2. Illustrate sensitivity and critical understanding of the relationship between sound and image and how audio can impact on narrative and meaning

3. Compose original material within a range of Popular Music genres and apply a variety of lyric writing devices, techniques and song forms


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Assessment

Assignment Brief

1. Production Task- individual work

You are required to complete an in-class practical exam which consists of a series of DAW based tasks. The tasks will be based upon content covered from weeks 1-11. This will occur on site under BIMM Dublin examination conditions in week 12.

You tutor will provide a more detailed brief ahead of the assessment.

2. Arrangement Task- individual work You are required to compose and arrange music for a provided film clip. Full score/lead sheets should be generated via appropriate software in PDF format and an MP4 or QuickTime reference video is also required. Submission is via the VLE (Moodle) You tutor will provide a more detailed brief ahead of the assessment.

No Summative

Assessment Methods



Formative/

Summative

Assessment Week

1 Production Task

1,3 15% Formative W12

2 Arrangement Task

1,2,3 15% Formative W17

3 *SHOWREEL:

Compositions to set commercial briefs:

TV Advert

Film Scene

Song for a Commercial Artist

& Written Critical analysis of Project

7-10 mins

1500 words



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3. Portfolio – individual work

Students will write, record and produce 3 pieces of music to the following commercial briefs: TV Advert – a finished TV advert chosen from those proposed in class Film Scene – a three-minute song edited to a two-and-a-half minute film scene

provided in class Pop Artist – a three minute ‘single’ for a pop musician chosen from the list

provided in class

Written Critical Analysis of Project – (2000 words) - Individual work

This should be a reflective critical analysis of the work produced for this assignment. The essay should include the following elements:

1. Introduction and detailed briefs for each composition 2. A brief description of the production process 3. Analysis of the strengths and weaknesses of each element 4. Reflection on what the process has taught you in terms of the task set 5. Conclusion


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Assessment Criteria


Assessment method

1. Understand and operate a range of basic audio equipment and Music IT in making controlled audio recordings to an appropriate standard

Operate a Digital Audio Workstation (DAW) to produce finished recordings

Produce compositions to a commercial standard and in the correct format

Understand and apply industry, practices, conventions and standards

Reflect on practice and own development

Production Task

Arrangement Task

SHOWREEL: Compositions to set commercial briefs

2. Illustrate sensitivity and critical understanding of the relationship between sound and image and how audio can impact on narrative and meaning

Understand and utilise the critical relationship between sound and image

Manipulate or emphasise meaning in audio visual work

Produce work of quality to a commercial brief


Arrangement Task


3.Compose original material within a range of Popular Music genres and Apply a variety of lyric writing devices, techniques and song forms

Apply compositional techniques effectively to produce work to a brief

Understand and apply contextual understanding to songwriting practice

Write original music and lyrics


Production Task

Arrangement Task



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Reading List

Core texts:

Keane, J. (2007) The Musicians Guide to Pro-Tools. Maidenhead: McGraw-Hill Education.

Webb, J. (1999) Tunesmith: Inside the Art of Songwriting. New York: Hyperion.

Additional texts:

Baheny, J. (2001) The Craft and Business of Songwriting. Cincinnati: Writers Digest.

Collins, M. (2004) Pro Tools for Music Production: Recording, Editing and Mixing. London: Routledge.

Huber, D. (2005) Modern recording techniques. 6th ed. Boston: Focal Press.

Pattison, P. (1996) Writing better lyrics. Cincinnati: Writers Digest.

Journals:

Audio Media: IMAS Publishing Ltd.

Pro-Sound News Europe: CMP Information Ltd.

Resolution: S2 Publications Ltd.

Sound on Sound: SOS Publications group.



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DN/MM709 Studio Recording

Key Information



Module Level: 7

Module Credits: 10



Teaching & Learning




Module Leader: Stephen O’Brien

Tutors: Stephen O’Brien and Ciaran Bradshaw

Module Summary

This module will enable musicians to understand basic engineering practice and become more effective studio performers. Studio engineers must be able to balance practical and technical concerns with artistic and creative ones if they are to contribute effectively to the recording process. The distinction between engineering and production can sometimes be blurred and it is important for musicians to understand the principles behind the technology and the protocols of the studio in order to communicate effectively in this environment. You will be taught how to plan resources and events to enable a successful recording session alongside development of an understanding of the theory and application of recording technology and the principles of acoustic theory. Emphasis will also be placed on the development of team-working skills, decision-making and leadership in the production of work to a brief and against a deadline.


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Aims

To introduce students to recording technology and theory To make students aware of the roles and responsibilities of engineers, producers

and musicians in a studio environment To develop planning and team working skills


Audio theory: includes acoustics and human hearing, digital and analogue recording formats, microphone theory and technique.

Session Planning: includes session aims and objectives, identification of client requirements, setting an agenda, meeting a budget, time constraints, responding to feedback from those involved in a session, etc.

Sound Engineering: includes the practical applications of the mixing desk, multi-tracks, microphones, signal/effect processors, mastering formats, synchronisation, preparation, sound checking, recording, tracking, editing, mixing, remixing, and mastering formats.

Interpersonal Skills: includes understanding the roles of the producer, engineer, programmer, songwriter, record company and A&R representative. Emphasis will be placed on the value of personal skills, including flexibility, professionalism, dedication, and time management.

Production Skills: includes knowledge of industry requirements cf. Record Industry, Film, TV, Games Industry, Radio, etc.


This module will be delivered utilising a range of methods including; formal lectures with audio-visual support, small group work, tutor led seminars & practical workshops/demonstrations, student led seminars, studio work, e-learning through the BIMM VLE and Independent study & research.


Formative assessment will help to monitor individual student progress; both in class using Q&A and set course work tasks and online utilising multiple-choice questionnaires (via the BIMM VLE).

The development of the project plan and Critical Path Analysis (CPA) will also be assessed both formatively and as part of the summative assessment of the studio session (see below for details).


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Learning Outcomes


1. Plan resources, personnel and events to facilitate a recording session

balancing practical and technical concerns with artistic and creative goals. 2. Understand and explain; recording techniques, audio and acoustic theory,

including the function and use of industry standard studio equipment. 3. Work effectively as a member of a team to identify and define production

values and devise appropriate solutions.

Assessment

No Summative Assessment Methods




Assessment Week

1 Written exam 90 mins 2 30% Formative Week 19

2 *Practical studio recording session

& Logbook

60 mins

500 words

1, 2 & 3 70% Summative Week 23- 28

Week 29

Assignment Brief

1. Written exam (90 mins) – Individual work

A one and a half hour written examination to test basic acoustic theory and studio engineering, with reference to taking responsibility for your own sound and being able to communicate effectively with engineers and producers. 2. Practical studio recording session (60 mins & 500 words) – Individual Take the role of producer at a studio session, with your tutor as engineer under your guidance. This will test your ability to express your directions to an engineer and a band. Be able to justify and articulate your preferences in a final Q&A session with your tutor. Marks will be weighted equally between the running of the session and the quality of the recorded outcome. A logbook of the session (500 words +/- 10%), detailing practice and rationale. N.B. Students will be expected to be flexible in their availability for this assessment due to the variability of studio booking times. NOTE: The Term 3 Practical Studio Recording Session & Log book is a Pass Required assessment.


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Assessment Criteria


Assessment method

1. Plan resources, personnel and events to facilitate a recording session balancing practical and technical concerns with artistic and creative goals

Produce a session plan showing all booking requirements, equipment requirements, band details, musicians required, deadlines and budget details Implement session planning Undertake the roles of producer, programmer, engineer and/or songwriter Supervise and direct the operation of relevant studio equipment during the stages of recording, mixing and mastering

Practical studio recording session & Logbook

2. Understand and explain; recording techniques, audio and acoustic theory, including the function and use of industry standard studio equipment

Correctly identify key studio equipment and explain its application Understand and explain the fundamentals of acoustic theory Understand and explain the recording and mixing process Explain specific technical language


Exam

3. Work effectively as a member of a team to identify and define production values and devise appropriate solutions.

Effectively communicate with the team to achieve the project target Supervise and direct the operation of relevant studio equipment and personnel during the stages of recording, mixing and mastering



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Reading List

Core texts: Huber, D. (2005) Modern recording techniques. 6th ed. Boston: Focal Press.

Additional texts: Howard, D. & Angus, J. (2001) Acoustics & Psychoacoustics. Boston: Focal Press.

Alton, E. (2015) The Master Handbook of Acoustics. Maidenhead: McGraw-Hill Education.

Borwick, J. (1996) Sound recording practice Oxford: Oxford University Press.

Collins, M. (2004) Pro Tools for Music Production: Recording, Editing and Mixing. London: Routledge.

Rayburn, R. (2011) Eargle’s The Microphone Book. Boston: Focal Press.

Moylan, W. (2002) The Art of Recording: Understanding and Crafting the Mix. Boston: Focal Press.

Rumsey, F. (2005) Sound and Recording: An Introduction. Boston: Focal Press.

Journals: Sound on Sound: SOS Publications group. Resolution: S2 Publications Ltd. Pro-Sound News Europe: CMP Information Ltd. Audio Media: IMAS Publishing Ltd. Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates.


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DN/MM704 Music Publishing

Key Information



Module Level: 7

Module Credits: 10

Pre-requisite module or learning:

None

Module type: Core module for songwriters elective for others

Teaching & Learning


Tutorials: 2 x ½ Hour


Module Leader and tutor: Aaron Casey Tutors: Aaron Casey, Ann Marie Shields

Module Summary

The administration of mechanical and performance copyright royalties in songs generates huge amounts of money every year. This makes Music Publishing a vital source of income for most professional songwriters and many musicians.

This module will familiarise songwriters with the fundamental issues in music publishing. It will begin with the history of the industry, the key concepts of music copyright, and the collection societies and music publishing companies that administer the royalty streams generated therein.

As the module progresses it will cover more complex topics, including a detailed evaluation of music publishing contracts, before moving on to other advanced subjects including sub-publishing and synchronisation.

The module will conclude with a comprehensive analysis of contemporary issues in publishing, including online exploitation of copyright and new business models. Digital copyrights issues, including the impact of file sharing systems, licensing arrangements between IMRO, PRS for Music and YouTube, or the impact of ad-supported music sites such as Spotify will be analysed and discussed using the latest news sources.

This module will encourage musicians to apply their knowledge in real world situations with their own material, and is an essential module for all songwriters who want to make a living from their music.


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Aims

To understand music copyright and apply this knowledge to the collection of mechanical and performance royalties

To understand music publishing companies and the contracts they offer To identify and examine important issues in music publishing, including the

impact of key contemporary developments


Music copyright: including copyright infringement and disputes, co-writing and publishing splits

Collection societies: IMRO, PRS for Music & MCPS; ASCAP, BMI & SESAC; BIEM, JASRAC, GEMA etc.

Publishing companies: major labels and independents Publishing contracts: the assignment and reversion of rights, options, territories,

advances, royalties, obligations and minimum commitments Sub-publishing and other issues in royalty calculation: “at source” and “receipts”

deals, controlled composition clauses Music and media: synchronisation Cover versions Single song assignments and administration deals Contemporary developments in publishing: digital publishing issues and new

business models.


Teaching will be via lectures, Q&A, audio and video material, internet resources, discussions and debates, small group exercises, the BIMM VLE and independent study.

Teaching material will include examples from real world contemporary legal agreements, important music industry media sources and leading texts on the subject.


Formative assessment includes tutorial, discussion in class, peer and tutor feedback from small group exercises studying real world legal documents, music industry media sources and relevant texts, and Q&A sessions in class.


85

Learning Outcomes


1. Recognise and analyse fundamental concepts in music publishing 2. Interpret and evaluate key terms in music publishing contracts 3. Recognise and evaluate important contemporary issues in the discipline

Assessment

Assignment Summative

Assessment

Methods

Length Learning

Outcomes

Addressed

Assessment

Weighting

Assessment

Week

1 Written Exam 80

minutes

1,2,3 50% W20

2 Essay 2,500

words

1,2,3 50% W26

Assignment Brief

1. Written Exam – Individual work

An 80-minute written paper that will examine the candidate’s empirical knowledge and conceptual understanding of music publishing. It will cover all aspects of the course, including copyright, collection societies, music publishing companies, music publishing contracts, and a discussion of contemporary developments.

2. Essay – Individual work (2500 words) Identify and evaluate the most important recent developments in contemporary music publishing. Apply knowledge of underlying principles of music publishing (including copyright, royalty collection and the role of collection societies, and key terms of agreement, and key music publishing practices) to contemporary issues. Use real world examples to show how these changes have affected songwriters and the music publishing business. Musicians will research, prepare and submit an essay discussing and evaluating important contemporary topics in music publishing. Students will be required to demonstrate their knowledge of the underlying principles of music publishing including copyright, royalty collection and the role of collection societies, publishing companies and key terms of a publishing contract; and apply it to important contemporary issues using high level reading, case studies and contemporary industry media sources to support their arguments.

Please refer to the sections entitled “Submission of Written Work” and “Essay & Written Work Format” in the General & Assessment Regulations in this manual for further guidance on how to present and submit your essay


86

Assessment Criteria



Assessment

method

1. Recognise and

analyse

fundamental

concepts in music

publishing

Demonstrate an understanding of music

copyright

Correctly identify mechanical and

performance royalty collection societies

and evaluate their roles

Understand and explain music publishing

company practices

Correctly identify and evaluate key terms

in music publishing contracts

Exam

Essay

2. Interpret and

evaluate key

terms in music

publishing

contracts

Demonstrate an understanding of the

assignment of copyright

Show how music publishing company

practices are reflected in their legal

agreements with songwriters and

composers

Correctly identify and evaluate key terms

in music publishing contracts

Exam

Essay

3. Recognise and

evaluate

important

contemporary

issues in the

discipline

Apply knowledge of copyright and music

publishing contracts to contemporary

issues in the discipline

Use real world examples of music

publishing practice to

evaluate contemporary issues in the

discipline

Show how contemporary issues in music

publishing present opportunities for

songwriters

Exam

Essay


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Reading List Core text: Harrison, A. (2014) Music: The Business: The Essential Guide to the Law and the Deals. 6th Edn. London: Virgin.

Additional texts: Baheny, J. (2001) The Craft and Business of Songwriting. Cincinnati: Writers Digest.

Beale, H. (2007) Chitty on Contracts. London: Sweet and Maxwell.

Gordon, S. (2015) The Future of the Music Business: How to Succeed with the New

Digital Technologies. San Francisco: Backbeat Books.

Passman, D. (2004) All you need to know about the Music Business. London:

Penguin.

Poe, R. (2006) New Songwriter's Guide to Music Publishing: Everything You Need to

Know to Make the Best Publishing Deals for Your Songs. Cincinnati: Writer’s Digest.

Whittset, T. (2000) Music Publishing: The Real Road to Music Business Success.

Florence, KY: Course Technology Inc.

Wixen, R. (2007) Plain and Simple Guide to Music Publishing. Milwaukee: Hal

Leonard

Journals: Music Week London; CMP Record of the Day London: Music Today Ltd Websites: Irish Music Rights Organisation: https://www.imro.ie/ Irish Association for Songwriters, Composers and Authors: http://www.iasca.ie/ Game Developers: http://gamedevelopers.ie/ Mechanical Copyright Society Ireland: https://www.imro.ie/faqs/mcps-ireland-membership/ Irish Film Board: http://www.irishfilmboard.ie/ World copyright Organisation: http://www.wipo.int/copyright/en/ American Society of Composers, Authors and Publishers: www.ascap.com BBC Radio 1’s One Music: www.bbc.co.uk/radio1/onemusic/legal Bemuso: www.bemuso.com Bureau International des Sociétés Gérant les Droits d'Enregistrement et de Reproduction Mécanique: www.biem.org Broadcast Music Inc.: www.bmi.com British Phonographic Industry: www.bpi.co.uk Kobalt Music Group: www.kobalt.com Lee & Thompson: www.leeandthompson.com

https://www.imro.ie/

http://www.iasca.ie/

http://gamedevelopers.ie/

https://www.imro.ie/faqs/mcps-ireland-membership/

https://www.imro.ie/faqs/mcps-ireland-membership/

http://www.irishfilmboard.ie/

http://www.wipo.int/copyright/en/

http://www.ascap.com/

http://www.bbc.co.uk/radio1/onemusic/legal

http://www.kobalt.com/


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Music Publisher’s Association (UK): www.mpaonline.org.uk Music Publisher’s Association (USA): www.mpa.org Music Tank: www.musictank.co.uk National Music Publishers Association: www.nmpa.org PRS for Music & Mechanical Copyright Protection Society: www.prsformusic.com Record of the Day: www.recordoftheday.com SESAC: www.sesac.com Wixen Music Publishing, Inc www.wixenmusic.com Reading lists are regularly supplemented on the BIMM VLE – your tutor will advise you on any updates


89

Overview

The course is designed specifically for performing artists, songwriters, music teachers, and those running commercial music projects, who want to gain a degree level qualification while at the same time fulfilling their creative and commercial potential. The course encourages musicians to develop realistic and attainable career goals using a deadline-driven project element to bring focus to the individual’s aspirations.

Students have an obligation to develop their critical, analytical and reflective faculties. This is pursued while developing the high levels of technical musicianship required of professional musicians.

Alongside the attainment of these high-level practical skills, students will be stimulated to research, analyse and justify their chosen methodology, draw conclusions and make recommendations for future working practice. This set of skills and knowledge will be developed using a variety of methods including practice logs, reflective elements, learning diaries and various forms of research project.

Musicians are asked to map their own achievements against professional work, critically assessing the two and drawing conclusions and recommendations from the process for future working practice. The individual’s progress, both through the qualification and their skill and knowledge as a project manager, is monitored and regularly discussed by the Education Manager and the individual student.

Recognising the need for musicians to find employment in an extremely competitive industry, the qualification has a vocational emphasis and (in addition to academic skills) focuses on the following areas:

Technical awareness and competence Performance awareness and competence Project management and music business studies Research methods Commercial composition and arrangement

A consistent theme throughout the course is reflection, requiring students to examine and learn from their experiences. The goal of the course is to assist musicians in becoming life-long, self-reliant learners, capable of determining their own future and professional progression.


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Educational Aims

The course aims to provide graduates with the knowledge and skills appropriate to a range of career outcomes in the music industry. Students are encouraged to develop their individual creative ability and support this with the development of a high level of technical skill. In particular, the course aims to enable students to develop:

A range of physical, creative, technical and performance skills relevant to employment in professional musicianship and the creative industries

An understanding of the key critical, social, cultural, historical and business concepts, issues and debates relevant to the area of modern music, and to organise and sustain an argument

A comprehensive knowledge of contemporary practice for careers in the music business and the creative process in the professional field in which they will specialise, together with an awareness of current areas of development and innovation in music and the music industry

The ability to make creative use of and experiment with new and existing methodologies in contemporary professional musical practice

A clear understanding of where their creative strengths lie and how these can be utilised in the music industry and potential career opportunities

Skills in research, analysis, problem solving and critical reflection and the visual, written and verbal communication skills required of a graduate entrant to the music industry

Initiative and personal responsibility, experience of collaborative working methods and the ability to be responsive and adaptable to changing needs and the transferable skills and competencies which enable lifelong learning within the context of professional musicianship

Transferable skills, in planning and analysis, communication, problem solving, IT and presentation skills relevant to a career in the music industry

To describe, comment upon, analyse and discuss particular aspects of current research or equivalent advanced scholarship at the forefront of contemporary popular music and the music industry

An appreciation and recognition of the uncertainty, ambiguity and limits of knowledge within music and the music industry

The ability to manage and organise their own learning, and to make use of scholarly reviews and primary sources, such as research articles and/or original materials appropriate to professional musicianship.


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BA Year 1 & 2 Level 6 Course Learning Outcomes

Knowledge and Understanding Able to: A1. Demonstrate awareness of key issues in their area(s) of study

A2. Identify practices and structures within professional contexts

A3. Learn and apply new concepts within a variety of contexts

A4. Identify and reproduce symbols representing music and apply aural skills

Intellectual (thinking) skills Able to: B1. Communicate ideas clearly via visual, verbal and written modes of expression

B2. Analyse information and summarise concepts

B3. Explore a range of appropriate reading material and discuss the findings

B4. Acknowledge quotations from other’s work

Subject practical skills Able to: C1. Demonstrate appropriate technical skills in relation to instrumental or vocal performance or in composition

C2. Implement appropriate forms of musical expression, demonstrating an awareness of spiritual or emotional elements

C3. Reproduce key aspects of musical styles and genres

C4. Apply skills necessary to performing music

C5. Demonstrate awareness of professional protocols and practices

Key/Transferable skills Able to: D1. Employ Information and Communication Technology (word-processing, e-mail, online sources and other electronic information services) appropriately

D2. Undergo disciplined professional development: practice, learn new repertoires, obtain new skills, identify career options

D3. Employ initiative and time management skills to carry creative and other projects to completion

D4. Present work in public, as appropriate to a range of professional contexts

D5. Utilise interpersonal skills to communicate ideas clearly and unambiguously within collaborative contexts

D6. Identify career options and access routes to employment within a variety of appropriate contexts

D7. Evaluate one’s own work to inform further professional development


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BA Yr. 3 Level 7 Course Learning Outcomes

Knowledge and Understanding Able to: A1. Demonstrate awareness of the key issues in their area(s) of study, and an appreciation of why these areas are important

A2. Identify, decode, rework and reproduce symbols representing music

A3. Digest pertinent academic literature and relate it to music practice

A4. Apply concepts from fields of study to a related area of practice

A5. Make connections between the historical, social, cultural, political, philosophical, economic context of music

Intellectual (thinking) skills Able to: B1. Collect, combine and appraise information, using quotes from appropriate texts

B2. Analyse information to create and evaluate relevant arguments and ideas

B3. Acknowledge quotations and ideas from other’s work and question their hypotheses and assumptions

B4. Conceptualise and apply pertinent theories and concepts in relation to their own work

Subject practical skills Able to: C1. Demonstrate technical proficiency and sustained application of skills in relation to instrumental or vocal performance or in composition

C2. Identify the human mechanics and psychology involved in playing an instrument or singing

C3. Implement appropriate forms of expression to perform music convincingly

C4. Identify musical styles and genres aurally or by written score

C5. Utilise appropriate musical equipment for creating music

C6. Perform effectively as part of an ensemble

Key/Transferable skills Able to: D1. Employ information and communication technology (word processing, e-mail, online sources and other electronic information services) appropriately

D2. Present work in public, recognising audience expectations

D3. Use appropriate professional procedures

D4. Utilize disciplined professional development: practice, learn new repertoires, explore freelance opportunities, obtain new skills, initiate career moves

D5. Apply time management skills to demonstrate reliability and consistency

BA Yr. 4 Level 8 Course Learning Outcomes


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Knowledge and understanding Able to: A1. Demonstrate comprehension of key aspects in their field of study based on the latest advances in their discipline

A2. Evaluate theoretical and aesthetic concepts, relating them to practice

A3. Draw upon a varied repertoire

A4. Discover and assimilate new musical sounds, concepts and repertoires

Intellectual (thinking) skills Able to: B1. Synthesise techniques of analysis and enquiry using established procedures

B2. Discuss, debate and appraise issues in current research and scholarship

B3. Acknowledge and evaluate the imperfections and limits of understanding within the discipline

B4. Combine inputs (materials, knowledge, intuition, convention) to generate informed and original outputs in written, aural and practical work

B5. Propose, prepare, execute and appraise original work

Subject practical skills Able to: C1. Compose or select a performance repertoire that demonstrate stylistic versatility and personal strengths

C2. Employ original ideas in an imaginative way

C3. Draw upon contextual knowledge, musical analysis, personal development and listening skills to creatively interpret the chosen repertoire

C4. Execute work effectively, acknowledging and responding to an audience

Key/Transferable skills Able to: D1. Direct their own learning, drawing on scholarly material such as research articles and/or original materials

D2. Work as a productive member of a team, responding to others and demonstrating awareness of partnership and leadership roles and responsibilities

D3. Synthesise original concepts from others, and present the results effectively

D4. Employ self-guided learning and work routines to create one’s own timetables, ensuring sufficient preparation time and meeting deadlines

D5. Apply problem-solving skills to cope with new situations, translate information and ideas, manage difficult situations, and work effectively with others under pressure

D6. Use reflective practice and critical thinking to undertake informed personal, academic and professional development.


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Core Structure Diagram – Instrumental Stream *For simplicity & clarity we have separated Instrumental & songwriting streams

Year One Students take 6 modules. All modules are year-long and are mandatory.

Module Title Module Code

Credit points

Styles 1 DN/MM607 10

Techniques 1 DN/MM609 10

Music Business & Study Skills DN/MM603 10

Artist Development and Entrepreneurship

DN/MM601 10

Live Performance Workshop DN/MM605 10

Music Theory and Keyboard Skills DN/MM604 10

Year Two - Higher Certificate Award Attainable Students take 6 modules. All modules are year-long and are mandatory.

Module Title Module Code Credit points

Styles 2 DN/MM618 10

Techniques 2 DN/MM619 10

Applied Music Business & Study Skills DN/MM611 10

Essential Development Skills DN/MM614 10

Performativity & Live Music DN/MM616 10

Applied Music Theory, Transcription & Keyboard Skills

DN/MM612 10

Year Three – Ordinary Degree Award Attainable Students take six modules. Mandatory modules are in bold. Students select two from six elective modules, one from Group A and one from Group B. All modules are year-long.


Credit points

Research Methods DN/MM707 10

Professional Musicianship DN/MM706 10

Cultural Perspectives DN/MM703 10

Advanced Music Theory & Arrangement

DN/MM701 10

Electives Group A

Performance in Context DN/MM705 10

Studio Musicianship DN/MM708 10

Digital Marketing in the Music Business

DN/MM711 1

Electives Group B

The Songwriter/Producer DN/MM710 10

Studio Recording DN/MM709 10

Music Publishing DN/MM704 10


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Year Four - Honours Degree Award Attainable Students take five modules. Students follow either Pathway A or Pathway B and also select three from seven elective modules which must include one module from Group A and one module from Group B. All modules are year-long.


Credit points

Pathway A

Professional Project Major DN/MM810 20

Analytical Perspectives Minor DN/MM801 10

Pathway B

Analytical Perspectives Major DN/MM802 20

Professional Project Minor DN/MM809 10

Electives Group A

Commercial Songwriting DN/MM803 10

Solo Performance DN/MM811 10

Ensemble Performance DN/MM805 10

Options Group B:

Music Business Studies DN/MM806 10

Music Teaching Practice DN/MM807 10

Professional Development DN/MM808 10

Composition and Analysis DN/MM804 10

Core Structure Diagram – Songwriting Stream


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Year One Students take six modules. All modules are year-long and are mandatory.


Songwriting Techniques 1 DN/MM606 10

Styles Analysis DN/MM608 10

Music Business & Study Skills DN/MM603 10

Artist Development and Entrepreneurship

DN/MM601 10

Live Arrangement Workshop DN/MM602 10

Music Theory and Keyboard Skills DN/MM604 10

Year Two - Higher Certificate Award Attainable Students take six modules. All modules are year-long and are mandatory.


Songwriting Techniques 2 DN/MM617 10

Arrangement Analysis DN/MM613 10

Applied Music Business & Study Skills DN/MM611 10

Essential Development Skills DN/MM614 10

Live Performance Workshop (SW) DN/MM615 10

Applied Music Theory, Transcription & Keyboard Skills

DN/MM612 10

Year Three - Ordinary Degree Award Attainable Students take six modules. Mandatory modules are in bold and students select one from four elective modules. All modules are year-long.


Research Methods DN/MM707 10

Cultural Perspectives DN/MM703 10

Advanced Music Theory & Arrangement DN/MM701 10

Music Publishing DN/MM704 10

The Songwriter/Producer DN/MM710 10

Electives 10

Digital Marketing in the Music Business DN/MM711 10

Performance in Context DN/MM705 10

Studio Musicianship DN/MM708 10

Studio Recording DN/MM709 10

Year Four - Honours Degree Award Attainable Students take five modules. Students follow either Pathway A or Pathway B and also select two of six elective modules, one from Group A and one from Group B. All modules are year-long.


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Pathway A

Professional Project Major DN/MM810 20

Analytical Perspectives Minor DN/MM801 10


Pathway B

Analytical Perspectives Major DN/MM802 20

Professional Project Minor DN/MM809 10


Electives Group A

Ensemble Performance DN/MM805 10

Solo Performance DN/MM811 10

Music Business Studies DN/MM806 10

Electives Group B:

Music Teaching Practice DN/MM807 10

Professional Development DN/MM808 10

Composition and Analysis DN/MM804 10

Major Themes


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The curriculum is designed to mimic the learning experiences that a young artist or professional musician would experience within their apprenticeship in the industry. With this in mind, the courses are offered within specialist disciplines and focus is placed on the development of high-level instrumental skills. Alongside these skills students develop key business, personal and academic skills in a way that designed to equip them to be reflective and entrepreneurial practitioners.

A summary of the major themes present in the BA course is presented in the diagram below:

Major Themes for BA Commercial Modern Music

Instrumental or Songwriting skills

Technical & transferable skills - Teamwork, Music equipment, IT, communication & presentation

Performance and Production skills

Business & management (personal & project) skills

Academic skills - history & context, research, critical analysis & synthesis

Music theory, aural and notation skills

1 course handbook 2018-2019 ba (hons) in commercial modern ... · ba in commercial modern music...

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