definitive document · conforms to shu academic awards framework and assessment regulations yes...

DEFINITIVE DOCUMENT

FACULTY ACES

DEPARTMENT MEDIA ARTS & COMMUNICATION

Award Title Mode(s)

BA (Hons) Popular Music (Performance) Popular Music (Production)

FT

Dip HE Popular Music (Performance) Popular Music (Production)

FT

Cert HE Popular Music (Performance) Popular Music (Production)

FT

Proposed Start Date (academic year) 2018

Proposed Start Date (teaching/induction*) 19/09/18

Date of Next Dept Periodic Review 2021/2022

*specific date of first teaching or induction session, whichever is earliest SUBMISSION DOCUMENT AUTHORISATION FOR THIS PROPOSAL

ACADEMIC LEAD FOR THIS PROPOSAL Susan Donnelly

HEAD OF DEPT Victoria Taylor – BC Brian Tweedale - SHU

DEPT QUALITY LEAD Victoria Taylor- BC Katy Carroll - SHU

SUBMISSION DOCUMENTS AUTHORISED TO PROCEED TO VALIDATION BY

DATE DOCUMENTS AUTHORISED

DATE OF SUBMISSION TO AQS 29/04/16

DATE OF VALIDATION 24/05/16

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SECTION CONTENTS Page

Section One Background, Rationale and Supporting Information

2

Section Two

Course Specification(s) Each Course Specification includes sections on:

1) General Information 2) Entry Requirements and Applicant Profile 3) Course Level Outcomes for Main Award 4) Course Description 5) Course Structure (Diagram) 6) Any Exemptions to University Academic Awards

Framework, Assessment Regulations, Academic Calendar and/or Additional Regulations applicable to the Course

5

Section Three Outcomes for All Intermediate Awards

15

Section Four

Learning Outcomes Map (Core Modules) 19

Section Five

Detailed Course Structure Table incorporating Module Schedule and Assessment Map for each Level/Stage

23

Section Six Phasing Arrangements (if existing courses being replaced by this validation)

27

Appendix 1 Module Descriptors

28

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SECTION ONE BACKGROUND, RATIONALE AND SUPPORTING INFORMATION

See also: GUIDANCE FOR COURSE DESIGN AND PLANNING TEAMS CRITERIA FOR ASSESSING QUALITY AND STANDARDS AT VALIDATION

1 RATIONALE FOR PROPOSAL

The BA (Hons) Popular Music (Performance or Production Route) builds upon existing provision of the Popular Music BA (Hons) validated by Huddersfield University. The updating of the current provision has provided the opportunity to align the course to industry practice and provide contextualised learning throughout. It will prepare students for a career in the music industry or progression onto higher level academic study or training. The course provides opportunities to develop a broad range of both practical and academic skills. The Popular Music (Performance Route) addresses areas such as solo and band performance, through studio and stage technology to composition and case study and the Popular Music (Production Route) addresses areas such as sound recording, mixing and production as well as computer music, composition for media, music business and promotion and video production for the music industry. All modules link to music industry contexts such as working as a session musician, song writer, media composer, arranger, performer, studio or live sound engineer, music producer, sound designer, instrument and effect programmer, events promoter, educator or researcher. This leads the student to produce both practical and academic work which is deemed to be of a professional standard within the music industry, culminating in all students working professionally in their final year project placement (which forms part of their employability skills for music module). Short placements are also encouraged as part of their final year music case study module in which students may explore some aspect of the music industry in detail. Many of the students who apply for this course may come from a vocational qualification background in further education and wish to retain the same ethos within higher education. With this in mind, the LTA strategy for the course offers considerable support and mentoring and places an emphasis on practical outcomes.

2 USE OF EXTERNAL REFERENCE POINTS

All modules have been mapped against the QAA benchmark statements for music (2008). This provides the best nationally accepted standard for music education at level 4, 5 and 6 and embraces the range of academic, practical and generic skills needed to develop the music student to honours degree level. Each module descriptor uses a range of learning outcomes which address these skills and competencies and assignment tasks have been designed in the same way. Other external references include the Quality Code for Higher Education (QAA) and the Code of Professional Conduct, published by the Teaching Council (26/06/12). These documents not only set out the expectations for student progression at each level and the expectation of

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how they should be supported within their studies, they also provide a useful reference point for students working within educational environments as part of their employability skills module.

3 EQUALITY AND DIVERSITY

Sheffield Hallam University policies and guidance in relation to equality and diversity have been considered and implemented in the design of the programme; namely ‘Confidentiality of information relating to student disability and health’, ‘Supporting 16-18 year old students’, ‘religious Equality: Policy statement and implementation note for staff and students’ and ‘Religious Equality: Policy statement and implementation note for staff and students’. During induction all students complete an online training package related to equality and diversity. This is evidenced through the student VLE page and signed and dated on their induction checklist. Full details of the SHU policy for equality and diversity can be found at https://students.shu.ac.uk/regulations/index.html . 4 EMPLOYER INVOLVEMENT IN THE COURSE DESIGN PROCESS The conception of the new SHU validated degrees was originally as a result of the links with music industry employers within the area. Many students have initiated work experience opportunities and short placements as part of their modules in Industry Case Study and Music in Education. The benefits to students were apparent including transferrable skills, independence, confidence and contextualisation of learning within the music industry. It was clear that such links had led to increased engagement with their studies. This in turn has led to the focus of music industry contextualisation within the new degrees. Initial discussions with arts-based companies such as Qdoscreates has shown that the College can work in partnership by receiving placement opportunities for students but also by the companies themselves giving talks about areas such as funding, project planning and delivery, the current work climate and working as freelance artist. Networking opportunities have also been identified within the local community with music technology students recording a local church choir and helping them to create their website. One student working at a placement at the Recovery Centre, Barnsley, which provides therapeutic music activity for people with mental health problems has gained paid employment as a result of her commitment to the project. More importantly this opportunity has helped her to realise that she would like to work in this field after she has completed her degree. Such experience is at the heart of the new degrees with the focus on preparation for work in the music industry. Current music industry links include: Qdoscreates Blue Room Studios Barnsley (Tim Speight) Rhythm Inc (Bob Wynne) Part-time Productions (Glen Sutton) Sounds like Barnsley (Glen Sutton) Team17 (Wakefield) The Recovery Centre, Barnsley Protools (the colege is a registered training centre)

https://students.shu.ac.uk/regulations/index.html

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5 STUDENT INVOLVEMENT IN THE COURSE DESIGN PROCESS Students’ views have been collated through module questionnaires and group discussion. This has involved all current students on the three music courses offered at the College. In particular it has been important to discuss the views of those students who have found it hard to engage with the course in more depth. Common themes which occurred were:

.

Popular musicians needed music theory to be grounded more deeply within the context of Popular Music to serve the functions of each module and not as a stand-alone set of exercises and tasks that have no clear purpose.

Students needed to know how every lecture and every task they complete will help them to gain employment (the purpose of the knowledge and skills they develop).

Students wanted the opportunity to gain more industry experience and work with guest lecturers who are currently working in the music industry.

Too much music theory on the music technology courses that wasn’t relevant or helpful to composition. The music theory related modules needed to be designed for use by technologists.

Students wanted the opportunity to gain more industry experience and work with guest lecturers who are currently working in the music industry

6 INNOVATION IN COURSE DESIGN AND/OR DELIVERY The BA (Hons) in Popular Music (Performance or Production Route) has been

designed with the following innovations in mind:

A strong music industry related focus in all modules with assignments reflecting professional scenarios and contexts

Collaborative links between this course and the BA (Hons) Popular Music Performance and Production Route students. Students are offered a number of opportunities to collaborate within modules. For instance in the year one of both routes students collaborate both on the stage and in the studio creating performances with manipulated music technology mediums and recording band work within the studio. In year two students collaborate in the recording studio on the Production module (MTP) and the Session Musician Skills module (PM) and in year three students may collaborate on the Promotion and Video Production for Music module (MTP) and the Portfolio: Solo Performance (PM) to make online instrument tutorial videos. They may also collaborate on the Production Project Portfolio (MTP) and the Portfolio: Solo Performance/Composition (PM) to create albums, multi-media projects, sound installations, events etc. This type of collaboration provides excellent music industry experience whilst developing the transferrable generic skills which are part of the QAA threshold criteria

All students will develop their employability skills within year three of the course and specifically within the Employability Skills for Music module. Students will link with local businesses or educational institutions to deliver a project, provide a service or create a resource. This will provide students with excellent opportunities

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for networking as well as develop the employability skills and knowledge needed to work in a professional environment within the music industry

6

SECTION TWO COURSE SPECIFICATION

1 GENERAL INFORMATION

Award and Course Title BA (Hons) Popular Music (Performance) BA (Hons) Popular Music (Production)

Course Code 5XBA01945F

Relevant QAA Subject Benchmark Statement[s] and/or other External Reference Points

QAA Benchmark statements for Music (2008) Code of Professional Conduct – Teaching Council (20/06/12) Quality Code for Higher Education - QAA

Details of accreditation by Professional, Statutory or Regulatory body

N/A

Conforms to SHU Academic Awards Framework and Assessment Regulations

Yes

Faculty ACES

Department Media Arts & Communication

Level of Highest Award Level 6

All Intermediate (exit) Awards BA, Dip HE, Cert HE

Mode(s) of Study FT

Normal Duration of Course 3 Years

This Course is also offered in collaboration with the following Partner Institutions (give details of partner and delivery locations)

Barnsley College

Course Leader Susan Donnelly

Date Validated 24/5/2016

Date last Modified

Date of last Departmental Periodic Review

2 ENTRY REQUIREMENTS AND APPLICANT PROFILE

AWARD and COURSE TITLE

Standard Entry Requirements (see University Minimum Entry Requirements)

BA (Hons) Popular Music (Performance or Production Route)

90 UCAS tariff points from: Average of three A Levels at grade C or above BTEC Extended Diploma – MMM or above

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Level 3 Certificates/Subsidiary Diplomas equivalent to 90 UCAS points

English Language and Maths GCSE English - Minimum pass grade C (or equivalent) GCSE Maths - Minimum pass grade C (or equivalent) Minimum IELTS score of 6 (in-line with SHU’s requirements)

BA (Hons) Popular Music (Performance Route Only): Instrumentation Skills

Experience and instrumental ability will be acknowledged as part of the audition process regardless of qualifications gained. Entry through audition is an important part of assessing student ability and main areas of interest. The understanding and development of the student as a whole is very much a part of the ethos at the college. The normal expectation is a performance grade of six or higher . However, students who are able to demonstrate ability to this level during interview would still be equally considered for acceptance on the course.’ Applications from international students are warmly invited.

Details of any non-standard entry requirements (mature students only): Mature students may be accepted onto the course where they have proven experience within the music industry and can demonstrate the required level of skill and academic ability within interview.

Details of any course-specific recognition of prior learning (RPL) arrangements that may apply: The SHU Recognised Prior Learning policy will be adhered to in all APEL and APCL cases.

Details of any course-specific articulations with external qualifications (desirable but not essential): N/A

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3 COURSE LEVEL OUTCOMES FOR MAIN AWARD* The following knowledge, skills and understanding are identified in the QAA benchmark statements for Music (2008). They include the range of learning outcomes which are relevant to the course and appropriate to a student completing a bachelor’s degree with honours in Popular Music (Performance or Production Route). (N.B. Learning outcomes have been numbered in order to map them within section four of this document) Popular Music (Performance):

By the end of the programme you will be able to:

(Knowledge and Understanding Intellectual Skills)

1. Demonstrate an understanding of the relationship between music theory and practice and show the application of underpinning theoretical knowledge within a range of industry-linked contexts 2. Employ a variety of research methods related to the contextual understanding of music and analyse, evaluate and communicate ideas through written work and presentation 3. Demonstrate the appropriate use of ICT to research, produce and present academic work 4. Demonstrate the ability to produce academic and creative work to a high standard showing rigour, flair, imagination and critical evaluation within a number of music industry contexts

5. Research, analyse and critically evaluate arguments related to professional practice and issues within the music industry using a primary research and a variety of research methodology

Subject-specific and/or Professional/Practical Skills

6. Demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field 7. Demonstrate a range of technicality and a variety of musical language within industry- related contexts showing a strong sense of creative flair, imagination, interpretation and communication 8. Evidence the ability to recognise, analyse aurally and notate musical components using a range of technical vocabulary and appropriate notation skills

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9. Demonstrate performance and improvisation skills within an ensemble and as a solo artist working in collaboration with others and taking on leadership roles within group work 10. Demonstrate original voice showing imaginative interpretation and flair through the development of technique and application of practical skills within professional contexts (i.e. stage and recording studio)

Transferable/Key Skills

11.Develop the skills needed to produce, perform/present work which is deemed to be of a professional standard within the music industry 12. Demonstrate time management, planning, team work, negotiation and peer evaluation skills within solo and group music industry related activity and collaborative opportunities 13. Critically review performance and creative work individually and with peers in order to target and make planned and monitored progress

14. Organise, analyse, interpret and synthesise research material from a variety of sources for the purposes of academic study and the underpinning of practical skills 15. Work with complex ideas and contexts, resolve problems and defend viewpoints through the employment of clear research methodologies, including primary sources

*Please also ensure a Learning Outcomes by Level table in completed and included for ALL intermediate (exit) awards - refer to Section Two of this document.

POPULAR MUSIC (PRODUCTION):

By the end of the programme you will be able to:


1. Show an understanding of the principles of sound and acoustics and apply this knowledge to a range of contexts such as sound design, music production, sound engineering and sampling 2. Research up to date software, hardware, skills and techniques including trends linked to music distribution and evaluate, synthesise and apply this knowledge within academic or creative work

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3. Demonstrate the appropriate use of ICT to research, produce and present academic work 4. Demonstrate the ability to produce academic and creative work to a high standard showing rigour, flair, imagination and critical evaluation within a number of music industry contexts 5. Reflect critically for a range of purposes including process and product evaluation, the use of music and technology within society and the function and use of a range of music technology and music technology-related forms of music


6. Use a range of music technology equipment and software to create and record material employing skills such as recording, composing, editing, analysing and synthesising sound 7. Create music using technology within an industry-related context for combination with other media such as film, digital animation, interactive web and mobile technology applications 8. Demonstrate an individual voice within creative work showing imagination, flair and an ability to interpret and express mood through sound and music 9. Demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field 10. Apply critical listening skills at a professional level in a variety of contexts including live sound, recording, sampling, mixing and producing


11. Demonstrate the ability to gather, develop, analyse, synthesise and critically comment on ideas and research using ICT where appropriate and presenting evidence and arguments in written and spoken form 12. Demonstrate the ability to work both independently and within a team showing skills related to negotiation, organisation, decision-making, planning, preparation and delivery 13. Organise, analyse, interpret and synthesise research material from a variety of sources for the purposes of academic study and the underpinning of practical skills

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14. Demonstrate the ability to work professionally within music-industry organisations presenting self and work with integrity 15. Work with complex ideas and contexts, resolve problems and defend viewpoints through the employment of clear research methodologies, including primary sources

4 COURSE DESCRIPTION The whole course is focussed on the knowledge, understanding and applied skills of popular music. In year one and two students take six 20 credit modules and in year three they take four 20 credit modules and a portfolio of 40 credits. This gives the student scope to develop a deeper level of learning and independence in the area of performance or composition or both. The course has been designed to prepare students for progression onto the next year. Many of the modules are core to each year with an increasing level of student independence evident within both delivery and assignment tasks. This links with the QAA expected skills set for students working from level 4, through level 5 to level 6. Year 1 of the course enables students to understand the concepts, theory and practical skills needed to underpin learning and progression throughout year two and three. There is a blend of knowledge and understanding, practical skills and musicianship and generic and graduate skills as outlined in the QAA benchmark statements for Music (2008). Performance Route: Students explore music theory, aural perception skills, popular music composition and arrangement, the music industry, studio technology, stage technology, solo performance skills and group performance skills. Learning is also explored within the industry context of popular music. All modules interlink e.g. musicianship skills aids the understanding of composition and scoring as well as transcription or score reading for performance modules. By the end of year one students are showing evidence that they are developing the QAA benchmark criteria at threshold level. Production Route: Students explore music technology, composition, sound recording and production, the music industry, audio principles, sampling and synthesis and live sound. Learning is also explored within the industry context of music technology. All modules interlink e.g. Audio Principles, Sampling and Synthesis aids Sound Recording and Production. By the end of year one students are showing evidence that they are developing the QAA benchmark criteria at threshold level. Year 2 of the course builds upon the knowledge and skills gained within year one by allowing students to apply them within popular music industry contexts. Performance Route: Students now build upon solo and group performance skills within the session musician skills module where they develop and record solo improvisation work within the recording studio. Increasingly assignment tasks encourage a greater

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sense of autonomy allowing students to develop a deeper level of self-generated questioning and critical thinking. The Music Business and Society module allows students to explore the laws and contracts surrounding the creation and distribution of popular music. This leads to a self-generated music industry case study in year 3. Production Route: Students now build upon Sound Recording and Production by collaborating with Popular Music students and recording and producing their Session Musician Skills performance work. Increasingly assignment tasks encourage a greater sense of autonomy allowing students to develop a deeper level of self-generated questioning and critical thinking. The Music Business and Society module allows students to explore the laws and contracts surrounding the creation and distribution of popular music. This leads to a self-generated music industry case study in year 3. Year 3 of the course aims to reach the typical level for the QAA music benchmark statements for music (2008) taking the threshold statements into the honours degree. The third and final year is about the student working at a professional and commercial level producing performances or composed material which would be acceptable within the music industry. With this in mind all students take an employability skills for music module in which they take on industry placements or projects, applying previous skills and fulfilling their roles independently. This also allows students to explore and analyse their own career progression routes and provides the opportunity for those wishing to progress onto a PGCE course to gain valuable experience. Performance Route: The option to take a forty credit portfolio in either performance or composition enables the independent self-development and deeper level study demanded of a level 6 honours student. All creative work is also underpinned by written analysis and critical evaluation of the work which has been created or rehearsed. Students are asked to explain the approach and development of their portfolio analytically and critically. As with previous years students are encouraged to collaborate with production project portfolio students creatively. This could result in the development of a multi-media performance or composition, the creation of an album or the development of performance software/hardware (the possibilities are endless). Production Route: The forty credit portfolio in a range of music technology related areas enables the independent self-development and deeper level study demanded of a level 6 honours student. All creative work is also underpinned by written analysis and critical evaluation of the work which has been created or produced. Students are asked to explain the approach and development of their portfolio analytically and critically. As with previous years students are encouraged to collaborate with popular music portfolio students creatively. This could result in the development of a multi-media performance or composition, the creation of an album or the development of performance software/hardware.

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4.1 Aims and Indicative Content of Course

The BA (Hons) in Popular Music (Performance) is essentially a vocational degree. Students will gain knowledge and understanding of the music industry through research, analysis and critical evaluation whilst at the same time developing all the underpinning skills needed for a career in the music industry. The performance route provides students with assignments and tasks which are contextualised within a number of industry related roles such as performer, film composer, arranger, teacher, workshop leader, session musician, music agent or musician working within a therapeutic setting whilst the production route provides students with assignments and tasks which are contextualised within a number of industry related roles such as composer for game music, video or film, producer, sound engineer, events manager or studio manager. The course also has the aim of providing the opportunities to develop a host of transferrable and generic skills which will prepare the student for a future career. Apart from assignments, which develop both independence and teamwork, performance and production students are also asked to collaborate on a number of modules throughout the degree. This again provides the opportunity to develop transferrable skills through planning, negotiation, production and evaluation of assignment work, it also allows students to produce industry standard materials which may help them to launch future careers i.e. demo CDs, online instrument tutorials etc. The employability skills module, which includes an industry-linked project or placement also has been designed with the same benefits in mind. The music department currently offers placement opportunities with a growing list of industry partners, this will no doubt develop with the launch of the new degrees. All modules are mapped against the QAA benchmark statements for music and are designed in line with the regulations of Sheffield Hallam University. This ensures that a student reaching honours degree level has addressed the national expectations within their programme of study.

4.2 Teaching, Learning, Assessment and Feedback Strategies

All assignment work receives written feedback with a grade, in line with the Sheffield Hallam University assessment and grading criteria which has been mapped against the QAA benchmark statements for each year/level of the degree. Within year one formative assessments have been built into some of the more skill-based units such as Musicianship Skills 1. This was seen as important for two reasons:

i) Many students entering the first year of a degree are sometimes apprehensive about their level of skill compared to course expectation.

ii) The level of skill from student to student can differ greatly. Formative assessment acts as a diagnostic exercise for both tutors and students, gauging performance against expectation. Areas of strength and weakness can be identified early within the course and weaker areas can be addressed before the first summative assessments. The college has a number of strategies to support students with areas of weakness relating to musicianship skills. This includes a peer

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mentoring scheme using students who have previously taken theory-based units. The music department also offers an on-line resource which has been recently developed. This includes differentiated activities which students can access at home. There is an important ethos within the first year that students should be moving towards independence and developing their skills as autonomous learners. Within the second and third year of the course students begin to manage many aspects of their learning. Underpinning knowledge and skills are addressed in lectures but there is a greater emphasis upon guided workshops, rehearsals, collaborative project work with other students and independent research and study. There is an ‘open door’ policy regarding tutorial support, made easier by the lower student numbers of larger universities. Tutorial guidance is offered throughout all project work and the library offer a 1:1 study support service to all students for assignment proof reading. Students also experience peer review within performance modules as another strand of formative feedback. An important part of learning within the ‘threshold’ level of the course is the critical evaluation of both composition and performance work against related research linked to the context of each. Assessment takes a number of forms including exam, coursework, project work, placement, essays, portfolios, case studies, practical tasks, diaries and presentations. All work is marked with a large sample being double marked and then externally moderated by an appointed expert. .

4.3 Course Management, including the management of delivery with a

partner organisation (where applicable)

The course is managed by the HE Pathway Leader for Music and Music Technology, who also leads many of the modules, in connection with a team of teaching associates and instrumental staff. There is a Head of Department above this role and a Dean above this role. The most important part of the quality process is student feedback and this is collated through module questionnaires and regular course committee meetings. Course committee meetings include students, managers and senior managers which means that issues can be discussed at all levels and resolved quickly. SHU provides a collaborative course leader who attends course committee meetings and helps to manage any of the processes which are linked the SHU, such as RPL. Details of this can be found in the SHU operational handbook.

4.4 Employability, Placement, Work-based or Work-related Learning and

Personal and Professional Development Planning (PPDP)

The personal tutor, allocated to each student, is responsible for administering Personal Development Planning (PDP) for his/her tutees. The provision of PDP at undergraduate level is adapted to the 2004 QAA Code of Practice for the Assurance of Academic Quality and Standards in Higher Education, which provides students with ‘appropriate opportunities for personal and professional development’. Students meet with their personal tutor for a Review meeting 3 to 4 times each year, this meeting focuses on career progression and reviews and records the development needs and any further training students may require for their

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chosen employment route. This process has led to the setting up of specialist workshops and further mini placements to support the students in achieving their goals. Year 3 students studying for the employability skills unit will be expected to arrange their own placements within a field of the music industry or music education. However many links have already been made with local educational establishments, studios, charities, businesses and clubs (such as the YMCA). These will be made available to students each year.

4.5 Careers and Progression Routes (including title of relevant Hons Degree

top-up for Foundation Degrees, as applicable)

The BA (Hons) in Popular Music (Performance or Production) would prepare students for further study, a career in the music industry or career which uses the transferrable and generic skills which they have developed throughout the course: A good classification honours degree (2:1 or above) could leader to further study: Post Graduate Certificate of Education (Primary, secondary, Post-16) Master of Arts Degree Post Graduate Diploma Possible careers in the music industry: Performance Route: Composer (film, TV, adverts, music libraries, publishing company, examination board) Arranger Performer Session musician Instrumental tutor On-line instrumental tutor Events manager Therapeutic music worker Production Route: Composer (film, TV, adverts, computer games, video, mobile phones) Remix artist Events manager Sound engineer Studio manager Producer Trainer

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5 COURSE STRUCTURE

5.1 OVERVIEW OF COURSE STRUCTURE (Diagram format)

Music Degree Plan (all modules 20 credit unless otherwise stated)

Production MODULES

Year 1

Music Industry

and Society

Composition for

Popular Music 1

Ensemble

Performance 1

Studio and

Stage

Technology

Audio

Principles,

Synthesis and

Sampling

Music

Technology 1

Performance MODULES

Year 1

Music Industry

and Society

Composition for

Popular Music 1

Ensemble

Performance 1 (Statement to

add to module

description)

Studio and

Stage

Technology

Musicianship

Skills 1

Solo

Performance

Skills 1

Production MODULES

Year 2

Music, Business

and Society

Composition for

Popular Music 2

Ensemble

Performance 2

Recording and

Mixing

Techniques

Production

Project Music

Technology 2 (2nd sem. option

either seq. or

tech pathway)

Performance MODULES

Year 2

Music, Business

and Society

Composition for

Popular Music 2

Ensemble

Performance 2

Session Musician

Skills

Musicianship

Skills 2

Solo

Performance

Skills 2

(SD overseeing ins

tutors)

Production MODULES

Year 3

Music Industry

Case Study

Employability

Skills for

Musicians

Ensemble

Performance 3

Promotion and

Video

Production for

Music

Production Project Portfolio

(40 Credits)

Performance MODULES

Year 3

Music Industry

Case Study

Employability

Skills for Music

Ensemble

Performance 3

Advanced

Session

Musician

Skills

Project Portfolio:

Composition/Performance/Music

Related

(40 credits)

*PLEASE NOTE: There is no recruitment of Part time students, a P/T route only exists as a fall back option for fulltime students who may experience problems during their studies. The module diet for students in this position will be discussed and confirmed by the Course Leader in the first instance.

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5.2 Further information on Course Structure, including distinctive features

The course offers the opportunity for students from both the performance and production route to collaborate throughout each year whether recording performance work, controlling the sound desk at live events or collaborating on high level project work. This is designed to mirror the networking and collaboration found within the music industry and address the transferrable generic skills linked to team work, negotiation, group discussion and leadership.

6 ANY EXEMPTIONS TO UNIVERSITY ACADEMIC AWARDS FRAMEWORK,

ASSESSMENT REGULATIONS, ACADEMIC CALENDAR AND/OR ADDITIONAL REQUIREMENTS APPLICABLE TO THE COURSE

6.1 Details of any approved, course-specific variations, additional award

regulations or exemptions* from the University's ACADEMIC AWARDS FRAMEWORK (e.g. as may be required by an accrediting professional, statutory or regulatory body, including course duration)

Date Exemption Approved

N/A

6.2 Details of any approved, course-specific variations, additional award regulations, additional requirements (e.g. external examinations) or exemptions* from the University's STANDARD ASSESSMENT REGULATIONS (as may be required by an accrediting professional, statutory or regulatory body to gain an accredited award, e.g. requirements for a specific number of professional practice hours to be completed)


N/A

6.3 Details of any approved, course-specific variations, additional award regulations or exemptions* from the University's STANDARD UG or PG ACADEMIC CALENDAR (e.g. as may be required by an accrediting professional, statutory or regulatory body, e.g. weeks of study, maximum duration of course)


N/A

*PLEASE NOTE: any variations and/or exemptions detailed in Section 6 of the Course Specification are subject to University approval. Exemptions must be granted prior to validation.

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SECTION THREE

LEARNING OUTCOMES FOR ALL INTERMEDIATE AWARDS (BY LEVEL AND STAGE OF EACH AWARD)

LEARNING OUTCOMES FOR INTERMEDIATE AWARD OF Cert HE in Popular Music (Performance)

Knowledge and Understanding (Intellectual Skills):

1. Develop and apply an understanding of the relationship between music theory and practice and show the application of underpinning theoretical knowledge within a range of industry-linked contexts 2. develop and utilise a variety of research methods related to the contextual understanding of music and analyse, evaluate and communicate ideas through written work and presentation 3. Demonstrate the appropriate use of ICT to research, produce and present academic work

Subject-specific and/or Professional/Practical Skills:

6. Develop and begin to demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field 7. Develop and apply a range of technicality and a variety of musical language within industry- related contexts showing a strong sense of creative flair, imagination, interpretation and communication 8. Evidence the ability to recognise, analyse aurally and notate musical components using a range of technical vocabulary and appropriate notation skills 9. Develop and apply performance skills within an ensemble and as a solo artist working in collaboration with others and taking on leadership roles within group work


11.Develop the skills needed to produce, perform/present work which is of a good standard within the music industry 12. Develop and apply time management, planning, team work, negotiation and peer evaluation skills within solo and group music industry related activity and collaborative opportunities 13. Review performance and creative work individually and with peers in order to target and make planned and monitored progress

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14. Research material from a variety of sources for the purposes of academic study and the underpinning of practical skills

LEARNING OUTCOMES FOR INTERMEDIATE AWARD OF Cert HE in Popular Music (Production)


1. Show an understanding of the principles of sound and acoustics and apply this knowledge to a range of contexts such as sound design, music production, sound engineering and sampling 2. Research up to date software, hardware, skills and techniques including trends linked to music distribution and evaluate, synthesise and apply this knowledge within academic or creative work 3. Demonstrate the appropriate use of ICT to research, produce and present academic work


6. Use a range of music technology equipment and software to create and record material employing skills such as recording, composing, editing, analysing and synthesising sound 7. Create music using technology within an industry-related context for combination with other media such as film, digital animation, interactive web and mobile technology applications 8. Develop an individual voice within creative work showing imagination, flair and an ability to interpret and express mood through sound and music

Transferable/Key Skills 11. Develop and apply the skills to gather, develop, analyse, synthesise and critically comment on ideas and research using ICT where appropriate and presenting evidence and arguments in written and spoken form 12. Develop and apply the skills to work both independently and within a team showing skills related to negotiation, organisation, decision-making, planning, preparation and delivery 13. Develop and apply the skills to organise, analyse, interpret and synthesise research material from a variety of sources for the purposes of academic study and the underpinning of practical skills

20

LEARNING OUTCOMES FOR INTERMEDIATE AWARD OF Dip HE in Popular Music (Performance)


1. Demonstrate an understanding of the relationship between music theory and practice and show the application of underpinning theoretical knowledge within a range of industry-linked contexts 2. Employ a variety of research methods related to the contextual understanding of music and analyse, evaluate and communicate ideas through written work and presentation 3. Demonstrate the appropriate use of ICT to research, produce and present academic work 4. Demonstrate the ability to produce academic and creative work to a good standard showing rigour, flair, imagination and critical evaluation within a number of music industry contexts


6. Demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field 7. Demonstrate a range of technicality and a variety of musical language within industry- related contexts showing a strong sense of creative flair, imagination, interpretation and communication 8. Evidence the ability to recognise, analyse aurally and notate musical components using a range of technical vocabulary and appropriate notation skills 9. Demonstrate performance and improvisation skills within an ensemble and as a solo artist working in collaboration with others and taking on leadership roles within group work



14. Organise, analyse, interpret and synthesise research material from a variety of sources for the purposes of academic study and the underpinning of practical skills

21

LEARNING OUTCOMES FOR INTERMEDIATE AWARD OF Dip HE in Popular Music (Production)

Knowledge and Understanding (Intellectual Skills): 1. Show an understanding of the principles of sound and acoustics and apply this knowledge to a range of contexts such as sound design, music production, sound engineering and sampling 2. Research up to date software, hardware, skills and techniques including trends linked to music distribution and evaluate, synthesise and apply this knowledge within academic or creative work 3. Demonstrate the appropriate use of ICT to research, produce and present academic work 4. Demonstrate the ability to produce academic and creative work to a high standard showing rigour, flair, imagination and critical evaluation within a number of music industry contexts

Subject-specific and/or Professional/Practical Skills: 6. Use a range of music technology equipment and software to create and record material employing skills such as recording, composing, editing, analysing and synthesising sound 7. Create music using technology within an industry-related context for combination with other media such as film, digital animation, interactive web and mobile technology applications 8. Demonstrate an individual voice within creative work showing imagination, flair and an ability to interpret and express mood through sound and music 9. Demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field

Transferable/Key Skills 11. Demonstrate the ability to gather, develop, analyse, synthesise and critically comment on ideas and research using ICT where appropriate and presenting evidence and arguments in written and spoken form 12. Demonstrate the ability to work both independently and within a team showing skills related to negotiation, organisation, decision-making, planning, preparation and delivery 13. Organise, analyse, interpret and synthesise research material from a variety of sources for the purposes of academic study and the underpinning of practical skills

22

14. Develop the skills that will enable you to work professionally within music-industry organisations presenting self and work with integrity

LEARNING OUTCOMES FOR INTERMEDIATE AWARD OF Ordinary Degree in Popular Music (Performance)


1. Demonstrate an understanding of the relationship between music theory and practice and show the application of underpinning theoretical knowledge within a range of industry-linked contexts 2. Employ a variety of research methods related to the contextual understanding of music and analyse, evaluate and communicate ideas through written work and presentation 3. Demonstrate the appropriate use of ICT to research, produce and present academic work 4. Demonstrate the ability to produce academic and creative work to a high standard showing rigour, flair, imagination and critical evaluation within a number of music industry contexts



6. Demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field 7. Demonstrate a range of technicality and a variety of musical language within industry- related contexts showing a strong sense imagination, interpretation and communication 8. Evidence the ability to recognise, analyse aurally and notate musical components using a range of technical vocabulary and appropriate notation skills 9. Demonstrate performance and improvisation skills within an ensemble and as a solo artist working in collaboration with others and taking on roles within group work 10. Demonstrate original voice showing imaginative interpretation through the development of technique and

23

application of practical skills within professional contexts (i.e. stage and recording studio)




LEARNING OUTCOMES FOR INTERMEDIATE AWARD OF Ordinary Degree in Popular Music (Production)


1. Show an understanding of the principles of sound and acoustics and apply this knowledge to a range of contexts such as sound design, music production, sound engineering and sampling 2. Research up to date software, hardware, skills and techniques including trends linked to music distribution and evaluate, synthesise and apply this knowledge within academic or creative work 3. Demonstrate the appropriate use of ICT to research, produce and present academic work 4. Demonstrate the ability to produce academic and creative work to a high standard showing rigour, flair, imagination and critical evaluation within a number of music industry contexts 5. Reflect critically for a range of purposes including process and product evaluation, the use of music and technology within society and the function and use of a range of music technology and music technology-related forms of music

Subject-specific and/or

6. Use a range of music technology equipment and software to create and record material employing skills

24

Professional/Practical Skills

such as recording, composing, editing, analysing and synthesising sound 7. Create music using technology within an industry-related context for combination with other media such as film, digital animation, interactive web and mobile technology applications 8. Demonstrate an individual voice within creative work showing imagination, flair and an ability to interpret and express mood through sound and music 9. Demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field


10. Demonstrate the ability to gather, develop, analyse, synthesise and critically comment on ideas and research using ICT where appropriate and presenting evidence and arguments in written and spoken form 11. Demonstrate the ability to work both independently and within a team showing skills related to negotiation, organisation, decision-making, planning, preparation and delivery 12. Organise, analyse, interpret and synthesise research material from a variety of sources for the purposes of academic study and the underpinning of practical skills 13. Work with complex ideas and contexts, resolve problems and defend viewpoints through the employment of clear research methodologies, including primary sources

25

SECTION FOUR MAPPING OF COURSE LEARNING OUTCOMES TO CORE MODULES Complete this table to demonstrate how the design and structure of the course, as outlined in the Course Specification for each main award, will enable students to progress their learning and skills and achieve the course level learning outcomes. Only CORE Modules (ie. those that are required for the award) should be mapped. Delete columns as applicable for mapping of PG courses. COURSE LEVEL LEARNING OUTCOMES MAPPING TABLES: BA (Hons) Popular Music (Performance Route, including common Production Modules)

COURSE LEARNING OUTCOMES Knowledge and Understanding (Intellectual Skills)

CORE Modules Level 4 (Cert HE)

CORE Modules Level 5 (Dip HE)

CORE Modules Level 6 (Honours)

Music

In

dustr

y

Com

positio

n f

or

Pop 1

Music

ianship

1

Ensem

ble

Perf

orm

ance 1

Solo

Perf

orm

ance1

Stu

dio

& S

tage

Technolo

gy

Music

Busin

ess

& S

ocie

ty

Com

positio

n f

or

Pop 2

Music

ianship

2

Record

ing &

Mix

ing S

kill

s

(Option)

Ensem

ble

Perf

2

Solo

Perf

2

(Option)

Sessio

n

Music

ian S

kill

s

Music

Case

Stu

dy

Em

plo

ya

bili

ty

Skill

s for

Music

Ensem

ble

/Solo

Perf

orm

ance 3

Advance

d

Sessio

n M

.

Pro

ject P

ort

folio

1. Demonstrate an understanding of the relationship between music theory and practice and show the application of underpinning theoretical knowledge within a range of industry-linked contexts

2. Employ a variety of research methods related to the contextual understanding of music and analyse, evaluate and communicate ideas through written work and presentation

3. Demonstrate the appropriate use of ICT to research, produce and present academic work

26

4. Demonstrate the ability to produce academic and creative work to a high standard showing rigour, flair, imagination and critical evaluation within a number of music industry contexts


COURSE LEARNING OUTCOMES Subject specific and/or Professional/Practical Skills




Music

In

dustr

y

Com

positio

n f

or

Pop 1

Music

ianship

1

Ensem

ble

Perf

orm

ance 1

Solo

Perf

orm

ance1

Stu

dio

& S

tage

Technolo

gy

Music

Busin

ess

& S

ocie

ty

Com

positio

n f

or

Pop 2

Music

ianship

2

Sessio

n

Music

ian S

kill

s

Ensem

ble

Perf

orm

ance 2

Solo

Perf

orm

ance 2

Music

Case

Stu

dy

Em

plo

ya

bili

ty

Skill

s for

Music

Ensem

ble

Perf

orm

ance 3

Solo

Perf

orm

ance 3

Pro

ject P

ort

folio

6. Demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field

7. Demonstrate a range of technicality and a variety of musical language within industry- related contexts showing a strong sense of creative flair, imagination, interpretation and communication

8. Evidence the ability to recognise, analyse aurally and notate musical components using a range of technical vocabulary and appropriate notation skills

27

9. Demonstrate performance and improvisation skills within an ensemble and as a solo artist working in collaboration with others and taking on leadership roles within group work

10. Demonstrate original voice showing imaginative interpretation and flair through the development of technique and application of practical skills within professional contexts (i.e. stage, recording studio)

COURSE LEARNING OUTCOMES Transferable/Key Skills




Music

In

dustr

y

Com

positio

n f

or

Pop 1

Music

ianship

1

Ensem

ble

Perf

orm

ance 1

Solo

Perf

orm

ance1

Stu

dio

& S

tage

Technolo

gy

Music

Busin

ess &

Socie

ty

Com

positio

n f

or

Pop 2

Music

ianship

2

Sessio

n M

usic

ian

Skill

s

Ensem

ble

Perf

orm

ance 2

Solo

Perf

orm

ance

2

Music

Case S

tudy

Em

plo

ya

bili

ty

Skill

s for

Mu

sic

Ensem

ble

3

Advance

d S

essio

n

Music

ian

Pro

ject P

ort

folio

11.Develop the skills needed to produce, perform/present work which is deemed to be of a professional standard within the music industry

12. Demonstrate time management, planning, team work, negotiation and peer evaluation skills within solo and group music industry related activity and collaborative opportunities

13. Critically review performance and creative work individually and with peers

28

in order to target and make planned and monitored progress


15. Work with complex ideas and contexts, resolve problems and defend viewpoints through the employment of clear research methodologies, including primary sources

29

COURSE LEVEL LEARNING OUTCOMES MAPPING TABLES: BA (Hons) Popular Music (Additional Production Route Modules):

COURSE LEARNING OUTCOMES Knowledge and Understanding (Intellectual Skills)

CORE Modules Level 4

(Cert HE)



Music

Techn

olo

gy 1

Aud

io P

rincip

les

Liv

e S

ou

nd

Music

Techn

olo

gy 2

Pro

duction

Pro

ject

Liv

e S

ou

nd,

Events

&

Acoustics

Pro

mo

tio

n &

Vid

eo

Pro

duction

for

Music

Pro

duction

Pro

ject

Port

folio

1. Show an understanding of the principles of sound and acoustics and apply this knowledge to a range of contexts such as sound design, music production, sound engineering and sampling

2. Research up to date software, hardware, skills and techniques including trends linked to music distribution and evaluate, synthesise and apply this knowledge within academic or creative work

3. Demonstrate the appropriate use of ICT to research, produce and present academic work

4. Demonstrate the ability to produce academic and creative work to a high standard showing rigour, flair, imagination

30

and critical evaluation within a number of music industry contexts

5. Reflect critically for a range of purposes including process and product evaluation, the use of music and technology within society and the function and use of a range of music technology and music technology-related forms of music

COURSE LEARNING OUTCOMES Subject specific and/or Professional/Practical Skills


(Cert HE)


(Dip HE)


Music

Techn

olo

gy 1

Aud

io P

rincip

les

Music

Techn

olo

gy 2

Pro

duction

Pro

mo

tio

n &

Vid

eo P

roduction f

or

Music

Pro

duction

Pro

ject

Port

folio

6. Use a range of music technology equipment and software to create and record material employing skills such as recording, composing, editing, analysing and synthesising sound

7. Create music using technology within an industry-related context for combination with other media such as film, digital animation, interactive web and mobile technology applications

31

8. Demonstrate an individual voice within creative work showing imagination, flair and an ability to interpret and express mood through sound and music

9. Demonstrate the ability to inform creative practice with the critical analysis and evaluation of the work of self, others and innovative practitioners within the field

10. Apply critical listening skills at a professional level in a variety of contexts including live sound, recording, sampling, mixing and producing

COURSE LEARNING OUTCOMES Transferable/Key Skills


(Cert HE)


(Dip HE)

CORE Modules Level

(Honours)

Music

Techn

olo

gy 1

Aud

io P

rincip

les

Music

Techn

olo

gy 2

Pro

duction

Pro

mo

tio

n &

Vid

eo

Pro

duction

for

Music

Pro

duction

Pro

ject

Port

folio

11. Demonstrate the ability to gather, develop, analyse, synthesise and critically comment on ideas and research using ICT where appropriate and presenting evidence and arguments in written and spoken form

12. Demonstrate the ability to work both independently and within a team showing skills related to negotiation, organisation, decision-making, planning, preparation and delivery

32


14. Demonstrate the ability to work professionally within music-industry organisations presenting self and work with integrity

15. Work with complex ideas and contexts, resolve problems and defend viewpoints through the employment of clear research methodologies, including primary sources

33

SECTION FIVE

DETAILED COURSE STRUCTURE TABLE, INCORPORATING MODULES AND ASSESSMENT MAP FOR EACH LEVEL / STAGE OF AWARD

AWARD TITLE AND MODES BA (Hons) Popular Music (Performance) FT

Module

Code (if

existing

module)

Module Title Level Credits Module

Designation:

Core or

Elective

Year or

Semester of

Delivery

Assessment Tasks for

Module

Assessment

Type

(EX/CW/PR)

Task

Weightings

31-4790 Music Industry and Society 4 20 Core 2018/19 Industry Structure and

Operation Report

Music and Society:

Genre Study

Presentation

CW

CW

40%

60%

31-4791 Composition for Popular Music 1 4 20 Core 2018/19 Samples: Percussion

composition

(1 Min) & MIDI

arrangement/remix

(1 Min)

Song writing

CW

CW

40%

60%

31-4796 Musicianship Skills 1 4 20 Core 2018/19 Phase Test 1

Transcription Task

EX

CW

50%

50%

31-4797 Ensemble Performance 1 4 20 Core 2018/19 Semester 1 Evening

concert/Live lounge

daytime

Semester 2 Final

Showcase / themed

night

PR

PR

40%

60%

34

31-4798 Studio and Stage Technology 4 20 Core 2018/19 Studio and Stage

equipment report

Studio and Stage

Portfolio

CW

PR

35%

65%

31-4799 Solo Performance Skills 1 4 20 Core 2018/19 Solo Performance 1

Reflective Diary

Solo Performance 2

Reflective Diary

PR

PR

40%

60%

31-5479 Music, Business and Society 5 20 Core 2019/20 Music Business Area

Presentation

Socio-cultural or legal

case Essay

CW

CW

50%

50%

31-5485 Composition for Popular Music 2 5 20 Core 2019/20 Samples: Film/TV

Theme (1.5 Mins)

Boy/Girl Band Vocal

Composition

(1.5 Mins)

Solo Popular Music

Instrument Commission

CW

CW

40%

60%

31-5486 Musicianship Skills 2 5 20 Core 2019/20 Phase Test 1

Phase Test 2

EX

EX

40%

60%

31-5487 Session Musician Skills 5 20 Core 2019/20 Two group

performance with

solo improvisations 1

Written evaluation of the

pieces

Two group

performance with

solo improvisations 2

Presentation

PR

PR

50%

50%

35

31-5488 Ensemble Performance 2 5 20 Core 2019/20 Semester : Evening

concert and written

report

Semester 2: Evening

concert and written

report

PR (live

performance

and report)

PR (live

performance)

50%

50%

31-5489 Solo Performance Skills 2 5 20 Elective 2019/20 Solo Performance 1

Solo Performance 2

Performance

Management &

Evaluation Booklet

PR

PR

40%

60%

31-5483 Recording and Mixing Techniques 5 20 Elective 2019/20 Recording techniques,

group recording,

individual report

Mixing techniques

individual project

CW

CW

40%

60%

31-6805 Music Industry Case Study 6 20 Core 2020/21 Methodology

Presentation

Case Study

CW

(Individual

Presentation

with

Supporting

Documents)

CW (Written

Report)

25%

75%

31-6810 Ensemble Performance 3 6 20 Core 2020/21 Semester 1 evening

concert (including 3

‘soloist’ songs)

Semester 2 evening



PR

PR

40%

60%

36

31-6811 Advanced Session Musician Skills 6 20 Core 2020/21 Direct and improvise

substantially within a

group performance 1

Written submission

Direct and improvise

substantially within a

group performance 2

Presentation

PR

PR

50%

50%

31-6808 Employability Skills for Musicians 6 20 Core 2020/21 A project placement

with the delivery of

two 45 minute

sessions, including a

project report with

critical reflection and

evaluation

A project placement


four 45 minute


project report with


evaluation

PR

PR

40%

60%

31-6812 Project Portfolio: Composition /

Performance / Music Related

Project

6 40 Core 2020/21 Composition Portfolio

(40 Credits)

CW 100%

37

AWARD TITLE AND MODES BA (Hons) Popular Music (Production) FT

Module

Code (if

existing

module)

Module Title Level Credits Module

Designation:

Core or

Elective

Year or

Semester of

Delivery

Assessment Tasks for

Module

Assessment

Type

(EX/CW/PR)

Task

Weightings

31-4790 Music Industry and Society 4 20 Core 2018/19 Industry Structure and

Operation Report

Music and Society:

Genre Study

Presentation

CW

CW

40%

60%

31-4791 Composition for Popular Music 1 4 20 Core 2018/19 Samples: Percussion

composition

(1 Min) & MIDI

arrangement/remix

(1 Min)

Song writing

CW

CW

40%

60%

31-4797 Ensemble Performance 1 4 20 Core 2018/19 Semester 1 Evening

concert/Live lounge

daytime

Semester 2 Final

Showcase / themed

night

PR

PR

40%

60%

31-4798

Studio and Stage Technology 4 20 Core 2018/19 Studio and Stage

equipment report

Studio and Stage

Portfolio

CW

PR

35%

65%

38

31-4794 Audio Principles, Synthesis and

Sampling

4 20 Core 2018/19 Fundamentals of sound and audio report Synthesis and

sampling composition

CW CW

40% 60%

31-4792 Music Technology 1 4 20 Core 2018/19 Sequencing technologies report MIDI composition

CW CW

40% 60%

31-5479 Music, Business and Society 5 20 Core 2019/20 Music Business Area

Presentation

Socio-cultural or legal

case Essay

CW

CW

50%

50%

31-5485 Composition for Popular Music 2 5 20 Core 2019/20 Samples: Film/TV

Theme (1.5 Mins)

Boy/Girl Band Vocal

Composition

(1.5 Mins)

Solo Popular Music

Instrument Commission

CW

CW

40%

60%

31-5488 Ensemble Performance 2 5 20 Core 2019/20 Semester : Evening

concert and written

report

Semester 2: Evening

concert and written

report

PR (live

performance

and report)

PR (live

performance)

50%

50%

31-5483 Recording and Mixing Techniques 5 20 Elective 2019/20 Recording techniques,

group recording,

individual report

Mixing techniques

individual project

CW

CW

40%

60%

31-5482 Production Project 5 20 Core 2019/20 Case study of two producers

CW CW

40% 60%

39

Group production

project

31-5481 Music Technology 2 5 20 Core 2019/20 Digital Audio Applications Report Audio and MIDI Sequenced Composition and Synthesiser and Sampler Composition

CW CW

40% 60%

31-6805 Music Industry Case Study 6 20 Core 2020/21 Methodology

Presentation

Case Study

CW

(Individual

Presentation

with

Supporting

Documents)

CW (Written

Report)

25%

75%

31-6810 Ensemble Performance 3 6 20 Core 2020/21 Semester 1 evening



Semester 2 evening



PR

PR

40%

60%

31-6808 Employability Skills for Musicians 6 20 Core 2020/21 A project placement


two 45 minute


project report with


evaluation

PR

40%

40

A project placement with

the delivery of four 45

minute sessions,

including a project report

with critical reflection

and evaluation

PR

60%

31-6807 Promotion and Video Production

for Music

6 20 Core 2020/21 Video Production Promotional

campaign Report

CW (Video and Written Report) CW (Written

Report)

40% 60%

31-6809 Production Project Portfolio 6 40 Core 2020/21 Project Proposal Production Project

Portfolio

CW CW

(Recordings

Written

Report)

10% 90%

41

SECTION SIX

1 PROPOSED PHASING ARRANGEMENTS

List all courses that will be closed and replaced as a result of the validation proposals (subject to approval)

SI CODE COURSE TITLE AND MODES PROPOSED PHASING ARRANGEMENTS FOR ANY COURSES TO BE REPLACED BY THESE PROPOSALS NB: Provide a detailed phasing out / exit plan for each cohort of students that will be affected by the closure of courses. Include contingency arrangements to accommodate any trailing students who may not complete their course in line with the planned phasing out schedule.

DATE LAST COHORT SCHEDULED TO COMPLETE

Contingency Plans for Trailing Students

BA (Hons) Popular Music FT BA (Hons) Music Technology & Production FT

No phasing arrangemnts are needed. The current year of students 2017-2018 are the last intake of the Popular Music course. They will see the course through to completion in 2020 with at which point this version of the course will cease. The new SHU validated award will be offered to students from September 2016 at level 4 only.

July 2020

Any students needing to repeat a year or resit a module may be able to attend the same/similar module, where this is not available it may be possible to take an I.S.M. This would be explored on an individual basis.

2 HOW HAVE EXISTING STUDENTS BEEN CONSULTED ABOUT THE PROPOSED PHASING ARRANGEMENTS

DURING THE COURSE DESIGN AND PLANNING PROCESS? N/A

3 HAVE EXISTING STUDENTS BEEN NOTIFIED OF THE FINALISED PROPOSALS FOR PHASING ARRANGEMENTS

WHERE THESE WILL AFFECT THEM AND THEIR CURRENT COURSE (include dates when written notification

issued to students)? N/A

4 GIVE DETAILS OF ANY ADDITIONAL INFORMATION ON THE PROPOSED PHASING ARRANGEMENTS TO BE

CONSIDERED AT VALIDATION

N/A

42

APPENDIX 1 MODULE DESCRIPTORS BA (Hons) Popular Music (Performance Route) :

Level 4

Code Title Page

31-4791 Composition for Popular Music 1 48

31-4797 Ensemble Performance 1 51

31-4790 Music Industry and Society 54

31-4796 Musicianship Skills 1 57

31-4799 Solo Performance Skills 1 60

31-4798 Studio and Stage Technology 63

Level 5

Code Title Page



31-5479 Music, Business and Society 78

31-5486 Musicianship Skills 2 81

31-5487 Session Musician Skills 87

31-5489 Solo Performance Skills 2 90

Level 6

Code Title Page

31-6811 Advanced Session Musician Skills 99

31-6808 Employability Skills for Musicians 103


31-6805 Music Industry Case Study 108

31-6812 Project Portfolio: Composition/Performance/Music Related Project

111

43

BA (Hons) Popular Music (Production Route) : MODULE DESCRIPTORS

Level 4

Code Title Page

31-4794 Audio Principles, Synthesis and Sampling 66


31-4798 Studio and Stage Technology 63

31-4790 Music, Industry and Society 54

31-4792 Music Technology 1 69


Level 5

Code Title Page


31-5481 Music Technology 2 96

31-5479 Music, Business and Society 78

31-5482 Production Project 93

31-5483 Recording and Mixing Techniques 84


Level 6

Code Title Page

31-6808 Employability Skills for Musicians 102

31-6805 Music Industry Case Study 108


31-6809 Production Project Portfolio 115

31-6807 Promotion and Video Production for Music 118

44

MODULE DESCRIPTOR

TITLE Composition for Popular Music 1

MODULE CODE 31-4791

LEVEL Level 4

CREDITS 20

ECTS CREDITS VALUE 20

FACULTY

DEPARTMENT Music, Media and Performing Arts

SUBJECT GROUP Popular Music/Music

DATE APPROVED May 2016

MODULE AIM Within this module students will develop the foundations needed to study composition at a higher level. They will learn how to use MIDI software as an aid to composition and the realisation of material and develop the knowledge and skills needed to underpin successful popular music composition/arrangement. Students will be introduced to the characteristics of instruments and their combinations and begin to write idiomatically within assignment tasks. LEARNING OUTCOMES

LO Ref Learning Outcome

1 Develop the skills to use MIDI software as a compositional tool

2 Show an understanding of the relationship between theory and practice in the composition of music

3 Show understanding of instrumentation and idiomatic writing within composition and arrangement

INDICATIVE CONTENT Students will explore and develop understanding and skill related to: Scales, modes, tonality, harmony and harmonic progressions Instruments and their characteristics Instrumentation Motif and compositional design Form and structure Arrangement and remix techniques Compositional possibilities Song writing techniques Scoring of Popular Music LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lecture, practical MIDI classes and tutorials. Students will prepare three pieces of coursework which demonstrate the application of the indicative content for the module.One piece will demonstrate the use of MIDI software related to an arrangement or remix, the second the development of motif within a percussion composition and the third song writing skills. All compositions will include a 500 word written submission outlining the techniques used, creative development within the piece and the justification of artistic decisions made.

45

ASSESSMENT INFORMATION

Task No.

Description of Assessment Task Assessment Task Type Coursework (CW) Written Exam (EX) Practical (PR)

Word Count or Exam Duration

Task Weighting %

2 Samples: Percussion composition (1 Min) & MIDI arrangement/remix (1 Min)

CW 2 Min 500 word

40%

3 Song writing CW 3 Min 500 word

60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Bruce, C. (2006) The pop composer's handbook: a step-by-step guide to the composition of melody, harmony, rhythm and structure. London : Schott Music Ltd. Cheng, W. (2014) Sound play: video games and the musical imagination. Oxford: Oxford University Press. Citron, S. (2000) Song writing: a complete guide to the craft. New York: Limelight Editions. Gaines, J.M. (2014) Composing for moving pictures: the essential guide. Oxford: Oxford University Press. Jenkins, M. (2013) iPad music: in the studio and on stage. Abingdon: Focal Press. Phillips, W. (2014) A composer's guide to game music. Cambridge, Mass: MIT Press. Rooksby, R. (2007) Arranging songs: how to put the parts together. New York: Backbeat Books. Seabrook, J. (2015) The song machine : inside the hit factory. London: Jonathan Cape. Snoman, R. (2014) Dance music manual: tools, toys, and techniques. 3rd ed. Abingdon: Focal Press. Sweet, M. (2014) Writing interactive music for video games: a composer's guide. New Jersey: Pearson Education. West, A. (2016) The art of songwriting. London: Bloomsbury Academic. Zager, M. (2015) Writing music for commercials: television, radio, and new media. 3rd ed. Lanham, Maryland: Scarecrow Press Online: Cook, N. (ed.) (2009). The Cambridge companion to recorded music. Cambridge; Cambridge University Press. Available from Cambridge Companions Online http://dx.doi.org/10.1017/CCOL9780521865821 Hartenberger, R. (ed.)(2016) The Cambridge companion to percussion. Cambridge; Cambridge University Press. Available from Cambridge Companions Online http://dx.doi.org/10.1017/CBO9781316145074. MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH

PROJECTS

Will the assessment for this module require approval by Faculty Research Ethics Committee? If YES, please detail below how students will seek approval for their research

YES / NO

http://academic.shu.ac.uk/assessmentessentials/

http://dx.doi.org/10.1017/CCOL9780521865821

http://dx.doi.org/10.1017/CBO9781316145074

46

NO

NOTIONAL STUDY HOURS FOR THIS MODULE

Module Study Hours by Type (see KIS definitions)

Scheduled Learning and Teaching Activity No. of Hours KIS category

Lecture 30 Scheduled L&T

Seminar Scheduled L&T

Tutorial 6 Scheduled L&T

Project Supervision with tutor Scheduled L&T

Demonstration Scheduled L&T

Practical classes and workshops 12 Scheduled L&T

Supervised time in studio/workshop/laboratory Scheduled L&T

Fieldwork Scheduled L&T

External visits Scheduled L&T

Scheduled Learning and Teaching Activities sub-total 48

Guided Independent Study 152 Independent

Placement or Work-based Learning** Placement

TOTAL NUMBER OF NOTIONAL STUDY HOURS FOR

MODULE

200

Guidance Notes on Notional Study Hours and Key Information Sets Notional Study Hours The total number of hours associated with a module should be based on a minimum of 10 notional study hours per credit, e.g. a 20 credit module involves 200 notional study hours. This applies to UG and PG modules. Modules should only exceed the minimum number of notional study hours where this is necessary to meet an external requirement for course accreditation. Key Information Sets (KIS) For UG provision where a KIS is applicable, the information given above on notional study hours will be used to inform the Key Information Set to be published for an individual course. The information in the module descriptor must be accurate and align with information included in Student Handbooks and with the KIS information stored in SITS. Further guidance is available online at https://staff.shu.ac.uk/steer/kis/ Sandwich Years, Study Abroad and KIS ** Hours related to sandwich year placements and/or study year abroad should not be included in the notional study hours for an individual module. These hours will be identified and recorded separately, as part of the KIS for the individual course.

https://staff.shu.ac.uk/steer/kis/

47

MODULE DESCRIPTOR

TITLE Ensemble Performance 1

MODULE CODE 31-4797

LEVEL Level 4

CREDITS 20


FACULTY




MODULE AIM Within this module students will develop a foundation of knowledge, understanding and experience in the elements involved with managing ensemble performances in a variety of contexts. They will develop ensemble rehearsing and performing skills which are necessary for effective group music making. There will be a focus on developing teamwork, collaborative learning and fostering personal and interpersonal skills. An integral part of this experience is learning through peer review and peer feedback. LEARNING OUTCOMES


1 Perform the role of a musician in a group/band effectively within specific live musical contexts.

2 Demonstrate the skills to peer review and provide constructive feedback.

3 Manage and execute the rehearsal process for music performances.

INDICATIVE CONTENT Perform music from a variety of popular music genres Demonstrate rehearsing and performing techniques Develop personal and interpersonal attributes relevant to band rehearsing Manage thematic sets and expand repertoire Manage band rehearsals and performances Peer review and peer assess the contributions of band members LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lectures, practical classes and tutorials. Students will demonstrate their ability to manage rehearsals and work towards a number of live concerts. Workshops will be used to provide the basic underpinning concepts and techniques involved with performance. Filming and review of live performances will be used to highlight learning points, promote good practice and help develop evaluative skills. Discussion and peer review will help students develop their views and opinions and foster identification and development of personal and interpersonal skills such as the potential for continuing artistic and creative development. Rehearsal management will be student led encouraging personal development, teamwork, initiative and promotion of relevant generic skills. Peer learning and peer review will help develop assessment skills and evaluate the process and execution of group performance. ASSESSMENT INFORMATION

Task No.

Description of Assessment Task

Assessment Task Type Coursework (CW) Written Exam (EX) Practical (PR)


Task Weighting %

48

1 Semester 1 Evening concert/Live lounge daytime

PR Contribution to verbal peer review

15 mins

40%

2 Semester 2 Final Showcase / themed night

PR Contribution to verbal peer review

20 mins 60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class rehearsals and practical tasks. Tasks 1 and 2 will require a verbal or written contribution to the peer review process. LEARNING RESOURCES FOR THIS MODULE Books Bruser, M (1999) The Art of Practicing. Crown Publishing, USA. Inglis, I (2006) Performance and Popular Music: History, Place and Time. University of Northumbria, UK. Jackson, R (2005) Performance Practice: A dictionary-guide for musicians. Routledge, NY. Series on specific instruments such as Rockschool (Drums. Bass, Guitar) and Complete keyboard player Warwick, J (2016) Voicing Girlhood in Popular Music: Performance, Authority, Authenticity (Routledge Studies in Popluar Music). Routledge, Canada. Journals Sound on Sound Guitarist Magazine Online www.allmusic.com http://goldenpages.jpehs.co.uk/golden-pages/online-journals-for-musicians-musicologists-and-music-

theorists/ www.musiciansunion.org.uk www.voicecouncil.com www.vocalist.org.uk/music_magazines.html MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO








http://www.allmusic.com/

http://goldenpages.jpehs.co.uk/golden-pages/online-journals-for-musicians-musicologists-and-music-theorists/


http://www.musiciansunion.org.uk/

http://www.voicecouncil.com/

http://www.vocalist.org.uk/music_magazines.html

49










MODULE

200



50

MODULE DESCRIPTOR

TITLE Music Industry and Society

MODULE CODE 31-4790

LEVEL Level 4

CREDITS 20


FACULTY




MODULE AIM Within this module students will explore the structure and operation of the popular music industry and the development of popular music genres. This will be studied within the context of social, cultural, technological and economic factors. Students will have the opportunity to develop both written and presentation skills within this module. LEARNING OUTCOMES


1 Demonstrate understanding of the music industry’s structure and operation

2 Demonstrate understanding of Popular Music genres and their development

3 Explore the socio-cultural context of popular music genres

INDICATIVE CONTENT Areas of study will typically include: Profiling the creative industries Copyright and contracts Music industry structure and operation: recording, distribution, marketing, live performance The development of popular music genres from the start of the 20th Century The contextual factors of popular music genres since the start of the 20th Century Technological developments and their relationship with the popular music Industry LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will delivered through interactive lectures supported by tutorials and seminars. Lectures will typically be delivered in a lecture theatre with an emphasis on interactive engagement and developing effective note taking. Students will prepare two pieces of coursework that demonstrate the application of the indicative content for the module. They will complete a report discussing the structure and operation of the music industry and a presentation exploring the development of popular music genres. ASSESSMENT INFORMATION

Task No.



Task Weighting %

1 Industry structure and operation CW (Written Report)

2000 Words

40%

2 Music and society: genre study

CW (Individual Presentation with Supporting Documents)

10 Minutes and 2000 Words

60%

51

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, seminars and tutorials. Informal group discussion will be developed in lectures and student negotiated individual tutorials will be encouraged. LEARNING RESOURCES FOR THIS MODULE (hyperlink to Resource Lists Online) Books Anderton, C., Dubber, A. and James, M. (2013) Understanding the music industries. London: Sage. Borthwick, S. and Moy, R. (2004) Popular music genres: an introduction. Edinburgh: Edinburgh University Press. Byrne, D. (2012) How Music Works. Edinburgh, Cannongate. Dann, A., Underwood, J. and Batterbee, A. (2008) How to succeed in the music business. New edn. London: Omnibus. Harrison, A. (2014) Music: the business: the essential guide to the law and the deals. 6th edn. London: Virgin Publishing. Longhurst, B. and Bogdanovic, D. (2014) Popular music and society. 3rd edn. Cambridge: Polity Press. Passman, D.S. (2014) All you need to know about the music business. 8th edn. London: Penguin. Shuker, R. (2013) Understanding popular music culture. 4th edn. London: Routledge. Journals Popular Music: http://journals.cambridge.org/action/displayJournal?jid=PMU Online www.bemuso.com www.bpi.co.uk/ www.ifpi.org www.musicweek.com/ www.ppluk.com/ www.prsformusic.com/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO





Seminar 8 Scheduled L&T





http://journals.cambridge.org/action/displayJournal?jid=PMU

http://www.bemuso.com/

http://www.bpi.co.uk/

http://www.ifpi.org/

http://www.musicweek.com/

http://www.ppluk.com/

http://www.prsformusic.com/

52

Practical classes and workshops Scheduled L&T








MODULE

200



53

MODULE DESCRIPTOR

TITLE Musicianship Skills 1

MODULE CODE 31-4796

LEVEL Level 4

CREDITS 20


FACULTY




MODULE AIM The module is designed to strengthen all areas of the programme of study by developing the underpinning musicianship skills linked to both the written and aural understanding of music. Students will explore the theoretical skills to enable them to transcribe, analyse and understand the elements of music through a variety of approaches. LEARNING OUTCOMES


1 Explore concepts of tonality, melody, harmony, time signature and rhythm

2 Demonstrate understanding of tonality, melody, harmony, time signature and rhythm

3 Apply understanding of tonality, melody, harmony, time signature and rhythm with transcription

INDICATIVE CONTENT Students will progressively build their understanding, recognition and applied skills to the following musical elements: Tonality – Major, minor, modal, key signatures, the circle of fifths Melody – Interval recognition, melodic dictation Chords – Understanding and recognition of a variety of chord types, the identification of chord progressions Harmony – Chord types, chord inversions, the understanding of chords and cadences linked to key and style Time signatures & rhythm – Simple time and compound time time signatures and rhythms, rhythmic dictation Transcription – Dictation in contextual application. The recognition and notation of music through aural perception skills LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered through lecture, aural perception tasks, theoretical tasks and practical skills development using the keyboard to aid transcription and chord understanding. Students will be supporting in the Phase Test by being offered a formative phase test opportunity. The final assessment task will culminate in the application of all skills through the transcription of a given popular music track. ASSESSMENT INFORMATION

Task No.



Task Weighting %

1 Phase Test EX 2 Hours 50%

2 Transcription Task

CW 5 Hours 2000 word Equivalent

50%

54

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given formally following the practice phase test, and throughout the module during lectures, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Books Bowman, D. and Terry, P. (1993) Aural Matters: A Student’s Guide to Aural Perception at Advanced Level. London: Schott Music Ltd. Butterworth, A. (1999) Harmony in practice. London: Associated Board of the Royal Schools of Music. Corey, J.A. (2016) Audio Production and Critical Listening: Technical Ear Training. 2nd ed. London: Taylor & Francis Everest, F.A. (2007) Critical listening skills for audio professionals. Boston: Thomson. Harris, P. and Winterson, J. (2014) Rock & pop theory: the essential guide. London: Faber Music. Harrison, M. (1995) Contemporary music theory: level 1. Milwaukee: Hal Leonard. Harrison, M. (1995) Contemporary music theory: level 2. Milwaukee: Hal Leonard. Harrison, M. (2002) Contemporary music theory: level 3. Milwaukee: Hal Leonard. Hewitt, M. (2008) Music theory for computer musicians. Boston: Course Technology Inc. Machin, D. (2010) Analysing popular music : image, sound, text. London: Sage. Moore, A.F. (2012) Song means: analysing and interpreting recorded popular song. Farnham: Ashgate. Preston, N. (2015) Rockschool popular music theory guidebook grades 6-8. Twickenham: Rockschool. Sheldon, C. and Skinner, T. (2001) Popular music theory. Royal College of Music series grades 1-8. Croydon: Registry Publications. Talyor, E. (1989) The AB Guide to Music Theory Part i. Oxford: Oxford University Press Taylor, E. (1991) The AB Guide to Music Theory Part ii. London: Associated Board of the Royal Schools of Music Online: http://www.musictheory.net/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO






Tutorial Scheduled L&T


55

Project Supervision with tutor 8 Scheduled L&T










MODULE

200



56

MODULE DESCRIPTOR

TITLE Solo Performance Skills 1

MODULE CODE 31-4799

LEVEL Level 4

CREDITS 20


FACULTY




MODULE AIM Within this module students will develop the skills required and associated with their chosen instrument or voice.Technique will be underpinned by the practice of scales, modes and arpeggios, including their use within Popular Music improvisation. LEARNING OUTCOMES


1 Develop individual performance ability showing stylistic awareness in a variety of genres

2 Develop accuracy and effective communication within performance

3 Develop technical ability (linked to the chosen instrument)

4 Evaluate individual progression as a result of written reflection

INDICATIVE CONTENT Through negotiation with instrumental tutors students will prepare pieces for performance in a variety of Popular Music styles (this may include musical theatre repertoire for singers). Guest speakers will enhance delivery of the instrumental team and individual progression and evaluation will be addressed by masterclasses, peer evaluation and target setting activities. Areas of study will include: Individual or small group instrumental/vocal tuition A range of underpinning technical skills including scales, modes, arpeggios A programme of workshops and masterclasses linked to performance style and instrumental/vocal technique Peer and tutor evaluation of performance work LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered through individual and small group work, technique classes, workshops, masterclasses, guest speakers and peer assessment activities. There will be two solo assessments within the year which include the submission of a reflective diary, outlining planning, preparation and target setting in relation to each performance. Students must also evaluate their performance and set targets for future progress. ASSESSMENT INFORMATION

Task No.



Task Weighting %

1 Solo Performance 1 Reflective Diary

PR 6 Min 40%

2 Solo Performance 2 Reflective Diary

PR

10 Min

60%

57

FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during taugyt sessions, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Books Bruser, M. (1999) The art of practicing: a guide to making music from the heart. New York: Bell Tower. Clarke, E.F., Dibben, N. and Pitts, S. (2010) Music and mind in everyday life. Oxford: Oxford University Press. Corbett, I. (2015) Mic it!: microphones, microphone technique and their impact on the final mix. Abingdon: Focal Press. Gordon, S. (2006) Mastering the art of performance: a primer for musicians. Oxford: Oxford University Press Green, B. and Gallwey, W.T. (1987) The inner game of music. London: Pan. Greene, D. (2002) Performance success: performing your best under pressure. London: Routledge. Kenny, D.T. (2011) The psychology of music performance anxiety. Oxford: Oxford University Press. Series on specific instruments such as Rockschool (Drums. Bass, Guitar) and Complete keyboard player Lehmann ,A.C., Sloboda, J.A. and Woody, R.H. (2007) Psychology for musicians: understanding and acquiring the skills. Oxford: Oxford University Press. Peckham. A. (2010) The contemporary singer: elements of vocal technique. 2nd ed. Boston: Berklee. Purdy, S. (2016) Musical theatre song: a comprehensive course in selection, preparation, and presentation for the modern performer. London: Bloomsbury. Williamon, A. (ed.) (2004) Musical excellence: strategies and techniques to enhance performance. Oxford: Oxford University Press. Online Guitar Lessons: https://www.youtube.com/user/Pete130662/playlists MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO




Lecture Scheduled L&T






Supervised time in studio/workshop/laboratory 18 Scheduled L&T


https://www.youtube.com/user/Pete130662/playlists

58






MODULE

200



59

MODULE DESCRIPTOR

TITLE Studio and Stage Technology

MODULE CODE 31-4798

LEVEL Level 4

CREDITS 20


FACULTY




MODULE AIM Within this module students will develop an understanding of the technology underpinning music performance from the perspective of the sound engineer. They will learn how to setup and operate the equipment both in a recording studio and on stage at a basic level allowing the students to gain a broader awareness of the systems surrounding modern performance and how to use these most effectively. LEARNING OUTCOMES


1 Demonstrate an understanding of the purpose and operation of recording studio and stage equipment

2 Develop the skills to setup and use recording studio equipment effectively

3 Develop the skills to setup and use stage equipment effectively

INDICATIVE CONTENT Students will explore and develop understanding and skills related to: Modern recording studio setups and related equipment Modern PA setups and related equipment Microphone technique Frequency considerations Tracking and basic mixing Front of house and basic monitor mixing Signal chain and problem solving LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lectures, practical classes and tutorials. Lectures will typically be delivered in a mix of recording studio and live performance environments. Students will prepare one piece of coursework and complete a practical portfolio which demonstrate the application of the indicative content for the module. For the coursework assessment students show understanding of an overview of the equipment in a recording studio and stage in a written report. This then theoretically underpins the practical portfolio, which consists of a studio recording, recorded as a group and mixed individually, and a live mix and practical viva voce of a live performance.

60


Task No.



Task Weighting %

1 Studio and stage equipment report CW 2000 word 35%

2 Studio and stage portfolio: (studio recording and live sound check, mix and viva voce)

PR (recording and short report and live performance mix and viva voce)

2-4 Min 1000 word and 2 songs and 5 questions

65%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. Group and individual formative feedback will be given in practical workshops giving the students the opportunity to learn the fundamentals of best practise for studio recording and mixing and live sound. LEARNING RESOURCES FOR THIS MODULE Books Buick. P. (1996) Live Sound: PA for Performing Musicians. Kent: PC Publishing. Eargle, J. (2005) The Microphone Book: From Mono to Stereo to Surround. Oxford: Focal Press. Hodgson, J. (2010) Understanding Records: A field guide to recording practice. Continuum. Huber, D. M., & Runstein, R. E. (2014). Modern Recording Techniques. 8th edn. Burlington: Focal Press. White, P. (2000) Basic Live Sound. London: Sanctuary Publishing. White, P. (2015) The SOS Guide to Live Sound: optimizing your band's live-performance audio. Abingdon: Focal Press. (Sound On Sound Presents...). Journals Journal on the Art of Record Production: http://arpjournal.com Online www.musictech.net www.soundonsound.com http://tapeop.com/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO


http://arpjournal.com/

http://www.musictech.net/

http://www.soundonsound.com/

http://tapeop.com/

61

















MODULE

200



62

MODULE DESCRIPTOR

TITLE Audio Principles, Synthesis and Sampling

MODULE CODE 31-4794

LEVEL Level 4

CREDITS 20


FACULTY Humanities




MODULE AIM Within this module, students will learn the underpinning concepts of music technology with a focus on their practical application. An emphasis on how a greater understanding of these concepts makes for better creative output is central to this module. Students will also learn the fundamentals of sampling and synthesis and will demonstrate their application of these techniques by creating music. LEARNING OUTCOMES


1 Show an awareness of the basic principles behind the physics of sound and analogue and digital audio fundamentals, and their practical application

2 Demonstrate awareness of the basic concepts of synthesis and sampling

3 Apply creative synthesis and sampling techniques in the creation of music

INDICATIVE CONTENT Areas of study typically include: Physics of sound introduction Computer technology basics Analogue audio basics and applications Digital audio basics and applications Additive, subtractive and frequency modulation synthesis basics Sampler basics LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through interactive lectures, practical classes and tutorials. This unit has an emphasis on theory delivered in practical contexts. Lectures will typically be delivered in an informal computer room and will involve working though practical applied examples. Students will prepare two pieces of coursework which demonstrate the application of the indicative content for the module. They will complete a report discussing the theory and applications of the fundamentals of sound and audio technology. This then underpins the second assignment, which is a practical composition focusing on the use of synthesisers and samplers. ASSESSMENT INFORMATION

Task No.



Task Weighting %

1 Fundamentals of sound and audio report

CW (Written Report)

2500 words 40%

2 Synthesis and sampling composition CW (piece of music and report)

Three-five minutes and 1000 words

60%

63

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. Individual formative feedback will be given in practical composition workshops giving the students the opportunity to demonstrate and develop composition and sound creation techniques. LEARNING RESOURCES FOR THIS MODULE Audio Principles, Synthesis and Sampling Books Ballou, G (ed.) (2015) Handbook for sound engineers. 5th edn. Abingdon: Focal Press. Hosken, D. (2015) An introduction to music technology. 2nd edn. Abingdon: Focal Press. Moravcsik, M.J. (2002) Musical sound: an introduction to the physics of music. London: Kluwer Academic. Roads, C. (1996) The computer music tutorial. London; MIT Press. Rossing, T.D., Wheeler, P.A. and Moore, F.R. (2002) The science of sound. 3rd edn. London: Addison Wesley. Russ, M. (2009) Sound Synthesis and Sampling. 3rd edn. Oxford: Focal Press. Shepard, B. K. (2013) Refining Sound: A practical guide to synthesis and synthesizers. USA: Oxford University Press. Journals Computer Music Journal: www.computermusicjournal.org Audio Engineering Society: www.aes.org Online www.musicradar.com (Future Music magazine and Computer Music magazine) www.soundonsound.com Magazines Future Music magazine Computer Music magazine Sound on Sound MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO










http://www.computermusicjournal.org/

http://www.aes.org/

http://www.musicradar.com/


64









MODULE

200



65

MODULE DESCRIPTOR

TITLE Music Technology 1

MODULE CODE 31-4792

LEVEL Level 4

CREDITS 20


FACULTY Humanities




MODULE AIM Within this module, students will develop an understanding of the fundamentals of music technology. They will learn the underpinning concepts of MIDI and how to apply them to create expressive music drawing from a variety of musical styles. Students will also learn about a wide range of music production technologies and instruments, from professional standard software to the cutting edge in music technology innovation. LEARNING OUTCOMES


1 Demonstrate knowledge of and the ability to discuss the practical use of a wide range of music technologies

2 Apply music technology techniques in the creation of music

3 Show awareness of the concepts and techniques used in a musical composition

INDICATIVE CONTENT Areas of study will typically include: Electronic Instruments background MIDI fundamentals Use of Piano Roll and Grid as compositional tools MIDI continuous controllers and automation General sequencing techniques Exploration of different Digital Audio Workstations (DAWs) LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lectures, practical classes and tutorials. This unit has an emphasis on theory delivered in practical music related contexts. Lectures will typically be delivered in an informal computer room and will involve working toward the students developing their own creative use of best practise in sequencing. Students will prepare two pieces of coursework which demonstrate the application of the indicative content for the module. They will complete a report discussing DAW software, exploring the instruments used in the creation of music and the difference between sequencing and studio environments. Students will also complete a five minute piece of music in an electronic dance style that demonstrates an expressive use of MIDI technology, accompanied by a 1000 word report discussing the techniques used.


Task No.



Task Weighting %

66

1 Sequencing technologies report CW (Written Report)

2000 words 40%

2 MIDI composition CW (Composition and Written Report)

5 minutes and 1000 Words

60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. Individual formative feedback will be given in practical workshops giving the students the opportunity to demonstrate and develop sequencing techniques. LEARNING RESOURCES FOR THIS MODULE Books Ballou, G (ed.) (2015) Handbook for sound engineers. 5th edn. Abingdon: Focal Press. Cook, F.D. (2015) Pro tools 101: An introduction to pro tools 12 (Avid learning). Boston: Cengage Learning. Hosken, D. (2015) An introduction to music technology. 2nd edn. Abingdon: Focal Press. Huber, D.M. (2007) The MIDI manual: a practical guide to MIDI in the project studio. 3rd edn. London: Focal Press. Pejrolo, A. (2011) Creative sequencing techniques for music production: a practical guide to Pro Tools, Logic, Digital Performer, and Cubase. 2nd edn. Oxford: Focal. Snoman, R. (2013) Dance music manual. Routledge. Journals Computer Music Journal: www.computermusicjournal.org Audio Engineering Society: www.aes.org Online www.musicradar.com (link for both Future Music magazine and Computer Music magazine) www.soundonsound.com www.midi.org Magazines Future Music magazine Computer Music magazine Sound on Sound MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO






http://www.aes.org/



http://www.midi.org/

67














MODULE

200



68

MODULE DESCRIPTOR

TITLE Composition for Popular Music 2

MODULE CODE 31-5485

LEVEL Level 5

CREDITS 20


FACULTY




MODULE AIM Within this module students will build upon the foundations studied in Composition for Popular Music 1. They will complete a series of assignments which allow them to apply the knowledge and techniques of composition with a greater level of confidence and experimentation. There will be an emphasis on the study of compositional techniques in relation to mood, meaning and interpretation. All compositions will be context based giving students the opportunity to explore industry links and

develop specialist areas of interest in preparation for Composition for Popular Music 3. . LEARNING OUTCOMES


1 Apply an understanding of the selection of appropriate compositional techniques and instrumentation within film/TV music

2 Apply an understanding of vocal composition/arrangement techniques within popular music

3 Demonstrate form, structure and modulation within a solo popular music instrument commission

INDICATIVE CONTENT Students will explore, develop and apply a range of skills from the following areas: Creating mood and meaning within music Vocal ranges and techniques Countermelody Four-part harmony techniques The song writing industry Extended form Idiomatic writing for instruments Manipulating material LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lecture, practical classes and tutorial. Students will prepare three pieces of coursework which demonstrate the application of the indicative content for the module.The first piece will demonstrate the ability to choose appropriate compositional techniques, instrumentation and stylistic features in order to create a TV/film opening. The second will give students the opportunity to explore a range of vocal techniques within a girl or boy band song and the final composition will combine the development of form, idiomatic instrument writing and motivic development within a popular music instrument commission. All compositions will include a 500 word written submission outlining the techniques used, creative development within the piece and the justification of artistic decisions made. ASSESSMENT INFORMATION

Task No.


Assessment Task Type Coursework (CW) Written Exam (EX)


Task Weighting %

69

Practical (PR)

1 Samples: Film/TV Theme (1.5 Mins) Boy/Girl Band Vocal Composition (1.5 Mins)

CW 3 Min 500 word

40%

2 Solo Popular Music Instrument Commission

CW 5 Min 500 word

60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Cheng, W. (2014) Sound play: video games and the musical imagination. Oxford: Oxford University Press. Citron, S. (2000) Song writing: a complete guide to the craft. New York: Limelight Editions. Corozine, V. (2002) Mel Bay presents arranging music for the real world: classical and commercial aspects. Pacific, Mo.: Mel Bay. Davis, R. (2010) Complete guide to film scoring : the art and business of writing music for movies and TV. 2 nd ed. Boston, Mass.: Berklee. Gaines, J.M. (2014) Composing for moving pictures: the essential guide. Oxford: Oxford University Press. Holmes, T. and Pender, T.M. (2012) Electronic and experimental music: technology, music, and culture. 4th ed. New York: Routledge.. Jenkins, M. (2013) iPad music: in the studio and on stage. Abingdon: Focal Press. Massey, H. (2009) Behind the glass: top record producers tell how they craft the hits. San Francisco: Backbeat Books. Phillips, W. (2014) A composer's guide to game music. Cambridge, Mass: MIT Press. Rooksby, R. (2007) Arranging songs: how to put the parts together. New York: Backbeat Books. Seabrook, J. (2015) The song machine : inside the hit factory. London: Jonathan Cape. Snoman, R. (2014) Dance music manual: tools, toys, and techniques. 3rd ed. Abingdon: Focal Press. Swann, D. (2016) Essential guide to songwriting, producing and recording. Los Angeles: Musician's Institute Press. Sweet, M. (2014) Writing interactive music for video games: a composer's guide. New Jersey: Pearson Education. West, A. (2016) The art of songwriting. London: Bloomsbury Academic. Zager, M. (2015) Writing music for commercials: television, radio, and new media. 3rd ed. Lanham, Maryland: Scarecrow Online Cook, N. (ed.) (2009). The Cambridge companion to recorded music. Cambridge; Cambridge University Press. Available from Cambridge Companions Online http://dx.doi.org/10.1017/CCOL9780521865821 Hartenberger, R. (ed.)(2016) The Cambridge companion to percussion. Cambridge; Cambridge University Press. Available from Cambridge Companions Online http://dx.doi.org/10.1017/CBO9781316145074. MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO




70

NO

















MODULE

200



71

MODULE DESCRIPTOR


MODULE CODE 31-5488

LEVEL Level 5

CREDITS 20


FACULTY




MODULE AIM Within this module students will build upon the techniques and skills already acquired in Ensemble Performance 1. They will develop their group work musical skills and focus their attention on working as a band adding depth to their understanding, process and experiences of performance collaboration across a range of activities and styles. LEARNING OUTCOMES


1 Apply understanding of the role of a musician in a group or ensemble within specific live musical contexts.

2 Critically evaluate rehearsal process management and performance outcomes

3 Manage a professional rehearsal process for music performances.

INDICATIVE CONTENT Within the band rehearsal process and performances students will develop skill in the areas listed below: Perform music from a variety of popular music genres Rehearsal theory and practice: task functions, maintenance functions, group work roles, professional rehearsal attributes and communication Set development, segues and expanding repertoire. Professional management of band rehearsals and performances Critical evaluation of rehearsals and performances LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lectures, practical classes and tutorials. Students will demonstrate their advanced ability to manage rehearsals and work towards a number of live concerts. Workshops will be used to provide the underpinning concepts and techniques involved with performance. Filming and review of live performances will be used to highlight learning points, promote good practice and help develop critical reasoning skills. Discussion and peer review will help students develop their views and opinions and foster critical analysis, personal and interpersonal skills such as the potential for continuing artistic and creative development. Rehearsal management will be student led encouraging personal development, teamwork, initiative and promotion of relevant generic skills. Peer learning and peer review will help develop assessment skills and evaluate the process and execution of group performance. ASSESSMENT INFORMATION

Task No.




Task Weighting %

72

1 Semester : Evening concert and written report

PR (live performance and report)

15 mins and 800 words

50%

2 Semester 2: Evening concert and written report

PR (live performance)


50%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class rehearsals and practical tasks. Tasks 1 and 2 will require a verbal or written contribution to the peer assessment and review process. LEARNING RESOURCES FOR THIS MODULE Books Green, B. and Gallwey, W.T. (1987) The inner game of music. London: Pan. Green, L (2002) How popular musicians learn. London: Ashgate. Greene, D. (2002) Performance success: performing your best under pressure. London: Routledge. Kenny, D.T. (2011) The psychology of music performance anxiety. Oxford: Oxford University Press. Douglas, T (1976) Groupwork Practice. London: Routledge. Moore, A (2002) Rock: The Primary Text: Developing a musicology of rock. London: Ashgate. Online www.allmusic.com http://goldenpages.jpehs.co.uk/golden-pages/online-journals-for-musicians-musicologists-and-music-



YES / NO

NO
















73








MODULE

200



74

MODULE DESCRIPTOR

TITLE Music, Business and Society

MODULE CODE 31-5479

LEVEL Level 5

CREDITS 20


FACULTY




MODULE AIM Within this module students will explore in detail the operation and relationships of the various areas of the popular music industry global, national and local level. They will study cultural theory relating to popular music as well as learning about the legal frameworks that surround the music business. LEARNING OUTCOMES


1 Demonstrate a detailed understanding of the music industry’s structure and operation

2 Demonstrate an understanding of the legal framework of the music business and socio-cultural theories of popular music.

INDICATIVE CONTENT Areas of study will typically include: Detailed discussion of the operation of the areas of the music business Marketing in popular music Legal topics of the music business Audience theory Relationships between technology and society The gender gap in popular music LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will delivered through lectures supported by tutorials and seminars. Lectures will typically be delivered in a lecture theatre with an emphasis on interactive engagement. Students will prepare two pieces of coursework that demonstrate the application of the indicative content for the module. For the first assignment they will complete a report discussing in detail how the areas of the music business interrelate and will have a choice of two pathways for the second assignment: either an essay exploring socio-cultural theory or a case study discussing two legal cases that are important to the music industry. ASSESSMENT INFORMATION

Task No.



Task Weighting %

1 Music business area presentation

CW (Individual Presentation with Supporting Documents)

10 Minutes and 500 Words

50%

2 Written assignment CW (Written Report)

2500 Words

50%

75

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, seminars and tutorials. Informal group feedback will be a part of lectures and student negotiated individual tutorials will be encouraged. LEARNING RESOURCES FOR THIS MODULE Books Anderton, C., Dubber, A. and James, M. (2013) Understanding the music industries. London: Sage. Baskerville, D. (2016) Music business handbook and career guide. 11th edn. Los Angeles: Sage. Green, C. (ed.) (2015) Music Market 2015: recorded music in the UK: facts, figures and analysis. London: British Phonographic Industry. Grice, J. (2013) Sorrow might come in the end: legal cases in the music and entertainment industries. CreateSpace. Harrison, A. (2014) Music: the business: the essential guide to the law and the deals. 6th edn. London: Virgin Publishing. Hesmondhalgh, D. (2012) The Cultural Industries. 3rd edn. London, Los Angeles and New Delhi, SAGE. McLeod, K & DiCola P. (2011) Creative License: The Law and Culture of Digital Sampling. Durham, NC, Duke University Press. Longhurst, B. and Bogdanovic, D. (2014) Popular music and society. 3rd edn. Cambridge: Polity Press. Passman, D.S. (2014) All you need to know about the music business. 8th edn. London: Penguin. Shuker, R. (2016) Understanding popular music culture. 5th ed. London: Routledge. Shuker, R. (2012) Popular music culture: the key concepts. 3rd ed. London: Routledge. Witt, S. (2015) How music got free: what happens when an entire generation commits the same crime? London: Bodley Head. Journals Popular Music: http://journals.cambridge.org/action/displayJournal?jid=PMU International Association for the Study of Popular Music e-journal: http://iaspmjournal.net/ Online www.bemuso.com www.bpi.co.uk/ www.ifpi.org www.musicweek.com/ www.ppluk.com/ www.prsformusic.com/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO



http://iaspmjournal.net/





http://www.ppluk.com/

http://www.prsformusic.com/

76

















MODULE

200

Guidance Notes on Notional Study Hours and Key Information Sets Notional Study Hours The total number of hours associated with a module should be based on a minimum of 10 notional study hours per credit, e.g. a 20 credit module involves 200 notional study hours. This applies to UG and PG modules. Modules should only exceed the minimum number of notional study hours where this is necessary to meet an external requirement for course accreditation.

Key Information Sets (KIS) For UG provision where a KIS is applicable, the information given above on notional study hours will be used to inform the Key Information Set to be published for an individual course. The information in the module descriptor must be accurate and align with information included in Student Handbooks and with the KIS information stored in SITS. Further guidance is available online at https://staff.shu.ac.uk/steer/kis/ Sandwich Years, Study Abroad and KIS ** Hours related to sandwich year placements and/or study year abroad should not be included in the notional study hours for an individual module. These hours will be identified and recorded separately, as part of the KIS for the individual course.


77

MODULE DESCRIPTOR

TITLE Musicianship Skills 2

MODULE CODE 31-5486

LEVEL Level 5

CREDITS 20


FACULTY




MODULE AIM The module is designed to take the information and skills gained in Musicianship Skills 1 and enable students to apply them within context. Students will apply skills and knowledge within musical analysis and harmonisation exercises as well as comparing and contrasting the work of musical excerpts from an analytical and stylistic point of view. Appropriate musical vocabulary will also be applied in relation to stylistic context. LEARNING OUTCOMES


1 Apply musical vocabulary with stylistic awareness

2 Demonstrate the ability to analyse harmony and tonality within the context of written music

3 Apply harmonisation skills using chord symbols and four part harmony technique

4 Critically evaluate pieces of music in a variety of styles using appropriate vocabulary

INDICATIVE CONTENT Students will progressively build their understanding, recognition and applied skills to the following musical elements: Musical vocabulary in relation to a variety of popular music styles Musical analysis (expressed as chord symbols and Roman numerals) The harmonisation of a given melody in a variety of styles (expressed as chord symbols and Roman numerals) The aural analysis of a variety of popular music pieces using appropriate musical vocabulary LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered through lecture, aural perception tasks, theoretical tasks and practical skills development using the keyboard to aid understanding of chord construction. Students will be given formative feedback in a practice phase test enabling them to improve weaker areas before the summative phase tests, the second of which includes a practical element using the keyboard. ASSESSMENT INFORMATION

Task No.




Task Weighting %

1 Phase Test 1 EX 2 Hours 40%

2 Phase Test 2 EX

1 Hour 2000 word equivalent

60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes.

78

Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given after the practice phase test and throughout the year during lectures, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Books Bowman, D. and Terry, P. (1993) Aural Matters: A Student’s Guide to Aural Perception at Advanced Level. London: Schott Music Ltd. Butterworth, A. (1999) Harmony in practice. London: Associated Board of the Royal Schools of Music. Corey, J.A. (2016) Audio Production and Critical Listening: Technical Ear Training. 2nd ed. London: Taylor & Francis Everest, F.A. (2007) Critical listening skills for audio professionals. Boston: Thomson. Harris, P. and Winterson, J. (2014) Rock & pop theory: the essential guide. London: Faber Music. Harrison, M. (1995) Contemporary music theory: level 1. Milwaukee: Hal Leonard. Harrison, M. (1995) Contemporary music theory: level 2. Milwaukee: Hal Leonard. Harrison, M. (2002) Contemporary music theory: level 3. Milwaukee: Hal Leonard. Hewitt, M. (2008) Music theory for computer musicians. Boston: Course Technology Inc. Machin, D. (2010) Analysing popular music : image, sound, text. London: Sage. Moore, A.F. (2012) Song means: analysing and interpreting recorded popular song. Farnham: Ashgate. Preston, N. (2015) Rockschool popular music theory guidebook grades 6-8. Twickenham: Rockschool. Sheldon, C. and Skinner, T. (2001) Popular music theory. Royal College of Music series grades 1-8. Croydon: Registry Publications. Talyor, E. (1989) The AB Guide to Music Theory Part i. Oxford: Oxford University Press Taylor, E. (1991) The AB Guide to Music Theory Part ii. London: Associated Board of the Royal Schools of Music Online: http://www.musictheory.net/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH

PROJECTS


YES / NO

NO










79









MODULE

200



80

MODULE DESCRIPTOR

TITLE Recording and Mixing Techniques

MODULE CODE 31-5483

LEVEL Level 5

CREDITS 20


FACULTY




MODULE AIM Within this module, students will explore detailed concepts and techniques of recording and mixing in the studio, building on the fundamentals learned in the level 4 Sound Recording and Production module to cover both the recording and mixing processes and develop their own creative practice.Students will apply the concepts learned to demonstrate their abilities in working on negotiated projects of their own choice with the opportunity to collaborate with Popular Music students. LEARNING OUTCOMES


1 Demonstrate and apply a detailed knowledge of recording and mixing techniques

2 Demonstrate the ability to produce a complex music recording using a comprehensive range of studio engineering techniques

INDICATIVE CONTENT Areas of study will typically include: Control room and live room acoustics Creative microphone techniques Creative use of dynamic processing, equalisation, effects, panning and automation. The signal chain and device ordering Problem solving Experimental approaches to tracking and mixing Mastering techniques LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lectures, practical classes and tutorials. Lectures and workshops will typically be in a large professional standard recording studio and will involve practical demonstrations and exercises. Students will prepare two pieces of coursework which demonstrate the application of the indicative content for the module and allow for recording Popular Music students. The first assignment is a collection of stems demonstrating advanced recording techniques accompanied by a written report. The second assignment is a mixing project of two pieces of music demonstrating a range of mixing techniques accompanied by a written report. ASSESSMENT INFORMATION

Task No.



Task Weighting %

81

1 Recording techniques, group recording, individual report.

CW (Written Report and CD)

1000 words, stems and board mix

40%

2 Mixing techniques individual project CW (Written Report and CD)

1000 words and two mix downs

60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. Group and individual formative feedback will be given in practical workshops giving the students the opportunity to develop and evaluate their own creative practice. LEARNING RESOURCES FOR THIS MODULE Books Beinhorn, M . (2014) Unlocking Creativity: A Producer's Guide to Making Music and Art Hal Leonard Burgess, R.J. (2013) The Art of Music Production: the theory and practice. 4th edn. Oxford: Oxford University Press. Dowsett, P. (2016) Audio Production Tips: getting the sound right at the source. Abingdon: Focal Press. Hepworth-Sawyer, R. and Golding, C. (2010) What is Music Production? A producer's guide: the role, the people, the process. London: Focal Press. Massey, H. (2009) Behind the Glass: v. 2: Top Record Producers Tell How They Craft the Hits. San Francisco: Miller Freeman. Savona, A. (editor.) (2005) Console Confessions: the great music producers in their own words. San Francisco: Backbeat. Zager, M. (2011) Music production: a manual for producers, composers, arrangers, and students. 2nd edn. Oxford.: Scarecrow Press. Journals Journal on the Art of Record Production: http://arpjournal.com Online www.musicproducersforum.com www.musictech.net www.soundonsound.com http://tapeop.com/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO






http://www.musicproducersforum.com/



http://tapeop.com/

82














MODULE

200



83

MODULE DESCRIPTOR

TITLE Session Musician Skills

MODULE CODE 31-5487

LEVEL Level 5

CREDITS 20


FACULTY




MODULE AIM This module will give students the opportunity to develop further their creative performance skills as a professional musician. They will explore a variety of musical innovators, critically analysing the components of their improvisation and utilising these ideas within their own work. Students will be given the opportunity to develop improvisation techniques within the recording studio environment. LEARNING OUTCOMES


1 Demonstrate a consistent approach to studio recording as a session musician

2 Demonstrate an understanding of popular music improvisation contexts and innovators through analysis

3 Demonstrate an understanding of a range of solo improvisation scales and methods

4 Demonstrate and evaluate solo improvisation skills within small sections of pieces

INDICATIVE CONTENT Students will explore the work of a variety of popular music innovators, in the field of improvisation from the early twentieth century onward. Initial improvisation will focus on twelve bar blues structure but also include jazz and popular music repertoire. Students will study a range of improvisation methods and develop their use of these during practical workshops. They will also develop their professionalism in relation to studio recording by regularly recording their work (this unit links with Music Technology and Production: Production Project). Areas of study will include: Studio recording as a session musician Popular music improvisation contexts Popular music improvisation innovators Scales and modes Chords Improvisation methods Approaching improvisation Analysing improvisation Evaluating improvisation LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered through lectures, practical classes, workshops, project supervision with tutors and peer assessment activities. There will be a recorded assessment at the end of each semester which will also include a written/presented discussion outlining all the areas addressed in the indicative content for the unit in relation to the assessed work. Assessed work will be accompanied by a written submission/presentation in which students discuss their performance work in terms of context, musical analysis, approach, methods used, structure, creativity and professionalism within the recording studio.

84


Task No.




Task Weighting %

1 Two group performance with solo improvisations 1 Written evaluation of the pieces

PR c.10 Min 1000 Words

50%

2 Two group performance with solo improvisations 2 Presentation

PR c.10 Min 10 Min

50%


Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Books Corbett, J. (2016) A Listener's Guide to Free Improvisation. Chicago: University of Chicago Press. Crook, H. (1991) How to improvise : an approach to practising improvisation. [Rottenburg]: Advance Music. Damian, J. (2001) The guitarist's guide to composing and improvising. Boston: Berklee Press. Grigson, L. (1988) Practical jazz : a step-by-step guide to harmony and improvisation. London: Stainer& Bell. Trinity College London – Sessions skills series (Bass, keyboard , guitar, drums and vocals for grades 8) Rubin, D. (2015) Inside Rock Guitar: Four Decades of the Greatest Electric Rock Guitarists. Milwaukee: Hal Leonard Publishing. Stoloff, B. (2012) Vocal improvisation. Boston: Berklee Press. E-Book Journals Online: Online Guitar lessons https://www.youtube.com/user/Pete130662/playlists Music Improvisation http://www.asa3.org/ASA/education/teach/music.htm



http://www.asa3.org/ASA/education/teach/music.htm

85

MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO

















MODULE

200



86

MODULE DESCRIPTOR

TITLE Solo Performance Skills 2

MODULE CODE 31-5489

LEVEL Level 5

CREDITS 20


FACULTY




MODULE AIM This module will build upon the skills developed in Solo Performance Skills 1 by focussing upon the independence of students to organise their own practice regime, target setting, evaluation and refinement of work. Technique will be underpinned by the practice of scales, modes and arpeggios, including their use within popular music improvisation. LEARNING OUTCOMES


1 Demonstrate individual performance ability showing stylistic awareness in a variety of genres

2 Demonstrate interpretation of popular music pieces showing accuracy and effective communication

3 Demonstrate technical ability (linked to the chosen instrument)

4 Demonstrate the independent management and critical evaluation of performance practice

INDICATIVE CONTENT Students will record and monitor their own targets throughout the year including feedback received from their tutors and peers. They will critically evaluate performance role models in their chosen area to inform their practice. Students will receive individual and small group tuition on their chosen instrument or voice. They will choose and prepare pieces for performance in a variety of popular music styles (this may include musical theatre repertoire for singers). Guest speakers will enhance delivery of the instrumental team. Areas of study will include: Individual or small group instrumental/vocal tuition A range of underpinning technical skills including scales, modes, arpeggios A programme of workshops and masterclasses linked to performance style, instrumental/vocal technique and Stylistic interpretation Peer and tutor evaluation of performance work Independent practice routines, target setting and critical evaluation of performance LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered through individual and small group work, technique classes, workshops, masterclasses, guest speakers and peer assessment activities. There will be two solo assessments within the year and the submission of a performance management evaluation document which outlines all individual planning, preparation, practice and progress throughout the module. ASSESSMENT INFORMATION

Task No.



Task Weighting %

87

1 Solo Performance 1 PR 10 Min 40%

2 Solo Performance 2 Performance Management & Evaluation Booklet

PR

10 Min 1000 words

60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Books Bruser, M. (1999) The art of practicing: a guide to making music from the heart. New York: Bell Tower. Clarke, E.F., Dibben, N. and Pitts, S. (2010) Music and mind in everyday life. Oxford: Oxford University Press. Corbett, I. (2015) Mic it!: microphones, microphone technique and their impact on the final mix. Abingdon: Focal Press. Gordon, S. (2006) Mastering the art of performance: a primer for musicians. Oxford: Oxford University Press Green, B. and Gallwey, W.T. (1987) The inner game of music. London: Pan. Greene, D. (2002) Performance success: performing your best under pressure. London: Routledge. Kenny, D.T. (2011) The psychology of music performance anxiety. Oxford: Oxford University Press. Series on specific instruments such as Rockschool (Drums. Bass, Guitar) and Complete keyboard player Lehmann ,A.C., Sloboda, J.A. and Woody, R.H. (2007) Psychology for musicians: understanding and acquiring the skills. Oxford: Oxford University Press. Peckham. A. (2010) The contemporary singer: elements of vocal technique. 2nd ed. Boston: Berklee. Purdy, S. (2016) Musical theatre song: a comprehensive course in selection, preparation, and presentation for the modern performer. London: Bloomsbury. Williamon, A. (ed.) (2004) Musical excellence: strategies and techniques to enhance performance. Oxford: Oxford University Press. E-Book Journals Online:

Guitar Lessons https://www.youtube.com/user/Pete130662/playlists MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO



88




Lecture Scheduled L&T













MODULE

200



89

MODULE DESCRIPTOR

TITLE Production Project

MODULE CODE 31-5482

LEVEL Level 5

CREDITS 20


FACULTY




MODULE AIM Within this module, students will explore in detail a range of approaches to music production. They will apply comprehensive production skills and techniques in managing a production project in small groups, working in collaboration with Popular Music students to create a recording from a choice of songs. LEARNING OUTCOMES


1 Demonstrate a detailed awareness of different approaches to music production

2 Demonstrate the ability to coordinate a music project that successfully fulfils a production brief

INDICATIVE CONTENT Areas of study will typically include: Production approaches and producer types Project management People / artist management Coordination of the production process Production analysis Working to (a) specific reference track(s) LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lectures, practical classes and tutorials. Lectures will typically be delivered in a large professional standard recording studio allowing Students will prepare two pieces of coursework which demonstrate the application of the indicative content for the module. They will complete a case study exploring two notable music producers and a recreation of an exemplar track in a group production project, which is assessed individually. ASSESSMENT INFORMATION

Task No.



Task Weighting %

1 Case study of two producers CW (Written Report)

2000 words 40%

2 Group production project CW (piece of music and report)

Three-five minute and 1000 words

60%

90

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. Group and individual formative feedback will be given in lectures and practical workshops giving the students the opportunity to develop and evaluate creative production process. LEARNING RESOURCES FOR THIS MODULE Books Beinhorn, M . (2014) Unlocking Creativity: A Producer's Guide to Making Music and Art Hal Leonard Burgess, R.J. (2013) The Art of Music Production: the theory and practice. 4th edn. Oxford: Oxford University Press. Dowsett, P. (2016) Audio Production Tips: getting the sound right at the source. Abingdon: Focal Press. Hepworth-Sawyer, R. and Golding, C. (2010) What is Music Production? A producer's guide: the role, the people, the process. London: Focal Press. Massey, H. (2009) Behind the Glass: v. 2: Top Record Producers Tell How They Craft the Hits. San Francisco: Miller Freeman. Savona, A. (editor.) (2005) Console Confessions: the great music producers in their own words. San Francisco: Backbeat. Zager, M. (2011) Music production: a manual for producers, composers, arrangers, and students. 2nd edn. Oxford.: Scarecrow Press. Journals Journal on the Art of Record Production: http://arpjournal.com Online www.musicproducersforum.com www.musictech.net www.soundonsound.com http://tapeop.com/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO












http://tapeop.com/

91











MODULE

200



92

MODULE DESCRIPTOR

TITLE Music Technology 2

MODULE CODE 31-5481

LEVEL Level 5

CREDITS 20


FACULTY Humanities




MODULE AIM Within this module, students will develop a detailed awareness of music technology concepts and techniques. They will explore concepts and applications of digital audio transmission and storage and learn more advanced use of MIDI and virtual instruments. They will also learn the fundamentals of the programing environment Max for Live.

LEARNING OUTCOMES


1 Demonstrate detailed knowledge and concepts of digital audio and its applications

2 Apply detailed music technology concepts and techniques in the creation of music

INDICATIVE CONTENT Areas of study will typically include: Digital audio transmission and synchronisation Introduction to programming in Max MSP Detailed exploration of MIDI and OSC Techniques for using a DAW as a compositional tool Detailed sequencing techniques Additive, subtractive, wavetable, frequency modulation and granular synthesis Sampling capture and manipulation LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lectures, practical classes and tutorials. Lectures will typically be delivered in an informal computer room and will involve working toward the students developing evaluating and applying their own creative practise in sequencing. They will also learn the fundamentals of the programing environment Max and unpick musical devices to learn the underlying concepts. Students will prepare two pieces of coursework which demonstrate the application of the indicative content for the module. They will complete a report exploring the principles and practicalities of digital audio transmission, synchronisation and storage. Students will also be able to choose an optional pathway for the second assignment: either a sequenced composition that shows advanced use of audio and MIDI sequencing techniques, or a composition created in Ableton Live made up from a synthesiser and sampler programed using Max for Live. ASSESSMENT INFORMATION

Task No.

Description of Assessment Task Assessment Task Type


Task Weighting %

93

Coursework (CW) Written Exam (EX) Practical (PR)

1 Digital Audio Applications Report CW (Written Report)

2000 words 40%

2 Composition

CW (Composition and Written Report)

5 minutes and 1000 Words

60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Individual formative feedback will be given in practical workshops giving the students the opportunity to explore programming in Max for Live as well as being able to demonstrate, develop and evaluate advanced sequencing techniques. LEARNING RESOURCES FOR THIS MODULE Books Capriani, A and Giri, M (2013) Electronic Music and Sound Design: Theory and Practice with Max and Msp - Volume 1. 2nd edn. Contemponet Cook, F.D. (2013) Pro Tools 10 power!: the comprehensive guide. Boston: Cengage Learning. Dodge, C. and Jerse, T.A. (1997) Computer Music: synthesis, composition, and performance. 2nd edn. Thomson Learning. McGuire, S., & Van der Rest, N. (2016) The musical art of synthesis. Abingdon: Focal Press. Pohlmann, K.C. (2011) Principles of digital audio. 6th edn. London: McGraw-Hill. Roads, C. (1996) The Computer Music Tutorial. London; MIT Press. Roads, C. (2015) Composing electronic music: a new aesthetic. Oxford: Oxford University Press. Russ, M. (2009) Sound Synthesis and Sampling. 3rd edn. Oxford: Focal Press. Shepard, B. K. (2013) Refining Sound: A practical guide to synthesis and synthesizers. USA: Oxford University Press. Journals Computer Music Journal: www.computermusicjournal.org Audio Engineering Society: www.aes.org Online www.musicradar.com (Future Music magazine and Computer Music magazine) www.soundonsound.com www.midi.org MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

NO



http://www.aes.org/



http://www.midi.org/

94

















MODULE

200




95

MODULE DESCRIPTOR

TITLE Advanced Session Musician Skills

MODULE CODE 31-6811

LEVEL Level 6

CREDITS 20


FACULTY




MODULE AIM This module further develops the skills and techniques explored within the Session Musician Skills module. Within this module students will control all the creative aspects of their performed/recorded material. They will direct their group to support and enhance their solo improvisation structuring all aspects of their chosen musical material. LEARNING OUTCOMES


1 Demonstrate a professional and consistent approach to studio recording as a session musician

2 Analyse, evaluate and apply elements of Popular Music improvisation

3 Demonstrate the professional use of a range of solo improvisation scales and methods

4 Structure and direct music for performance within a recording studio session

INDICATIVE CONTENT Students will create work which is deemed to be of a professional standard and be able to produce performance consistently within a recording studio environment. They will analyse and critically evaluate existing improvisations at a deep level within this module and this must inform the creative approach to their own work. Students will address the following areas: Structuring band music Directing band music Soloing within band music Advanced improvisation techniques (goal note method, pandiatonicism) Individual rehearsal of scales, modes and methods Popular Music improvisation analysis Popular Music improvisation evaluation Professionalism within the recording studio LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered through lecture, practical classes, workshops, project supervision with tutor and peer assessment activities. There will be a recorded assessment at the end of each semester which will also include a written/presented discussion outlining all the areas addressed in the indicative content for the unit in relation to the assessed work. Assessed work includes a written submission/presentation in which students discuss their performance work in terms of context, musical analysis, approach, methods used, structure, creativity and professionalism within the recording studio.

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Task No.



Task Weighting %

1 Direct and improvise substantially within a group performance 1 Written submission

PR 6 Min 1000 Words

50%

2 Direct and improvise substantially within a group performance 2 Presentation

PR 6 Min 10 Min

50%


Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Books Corbett, J. (2016) A Listener's Guide to Free Improvisation. Chicago: University of Chicago Press. Crook, H. (1991) How to improvise : an approach to practising improvisation. [Rottenburg]: Advance Music. Damian, J. (2001) The guitarist's guide to composing and improvising. Boston: Berklee Press. Grigson, L. (1988) Practical jazz : a step-by-step guide to harmony and improvisation. London: Stainer& Bell. Trinity College London – Sessions skills series (Bass, keyboard , guitar, drums and vocals for grades 8) Rubin, D. (2015) Inside Rock Guitar: Four Decades of the Greatest Electric Rock Guitarists. Milwaukee: Hal Leonard Publishing. Stoloff, B. (2012) Vocal improvisation. Boston: Berklee Press. Online:

Online Guitar Lessons https://www.youtube.com/user/Pete130662/playlists Musical Imporvisaional http://www.asa3.org/ASA/education/teach/music.htm MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH

PROJECTS


YES / NO

NO



http://www.asa3.org/ASA/education/teach/music.htm

97

















MODULE

200




98

MODULE DESCRIPTOR

TITLE Employability Skills for Musicians

MODULE CODE 31-6808

LEVEL Level 6

CREDITS 20


FACULTY




MODULE AIM This module aims to provide students with the insight into music/music technology project delivery within the music industry. It provides the skills, knowledge and understanding to work within it. Projects will usually take the form of workshop delivery within a community-based or educational setting but may also be a commission to create a project i.e. to create the music for a promotional video. They may form partnerships with FE colleges, universities, schools, youth clubs, prisons,hospitals, music centres, arts companies or multi-media related businesses. The module will also introduce students to education theory and planning as well as arts funding applications and self-employment. LEARNING OUTCOMES


1 Critically evaluate the role of music within a variety of educational and community contexts

2 Critically discuss the planning and delivery of the chosen project in relation to client group analysis

3 Identify and apply the skills of professional music planning and project delivery

4 Evaluate and reflect critically upon all project work undertaken

INDICATIVE CONTENT Students will follow a programme of study in preparation for their placements related to the following areas: Self-employment Arts grants and funding applications Music industry contexts Music Curriculum (School, College & University) Professional bodies (Ofsted, QAA, Arts Council England, Equity, Musicians’ Union) Client group analysis Educational theory Educational planning Educational delivery Critical reflection and evaluation LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered through lectures, practical classes, workshops, project supervision with tutor and peer assessment activities. As part of their project students will experience the planning, management and delivery of their material over a two session delivery (5-10 hour project) followed by a four session delivery (10-20 hour project) developing a range of transferrable skills. All project work will be negotiated and supported within 1:1 tutorial. Students will be expected to negotiate their own projects (two sessions for the first project and four for the second). At least 45 minutes from each project will be videoed for assessment purposes with direct tutor observation wherever possible. Reflective analysis will be shared within the group to provide peer feedback and support. Students who are unable to fulfil the project delivery part of the assessment due to exceptional circumstances will be given the option to create an online tutoring resource for use within an educational VLE. The

99

course is validated by Sheffield Hallam University and opportunities to work with their students will be offered when available. ASSESSMENT INFORMATION

Task No.



Task Weighting %

1 A project placement with the delivery of two 45 minute sessions, including a project report with critical reflection and evaluation

PR

1.5 hours (c.1000 Words)

40%

2 A project placement with the delivery of four 45 minute sessions, including project report with critical reflection and evaluation

PR

3 hours (c.2000 Words)

60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. LEARNING RESOURCES FOR THIS MODULE Books Roberts, H. (2012) Oops! Helping children learn accidentally. Wales, Independent Thinking Press Bates, B. (2016) Learning theories simplified...and how to apply them to teaching. London: Sage. Green, L. (2002) How popular musicians learn: a way ahead for music education. Aldershot: Ashgate. Mills, J. (2005) Music in the school. Oxford: Oxford University Press. Price, J. and Savage, J. (2012) Teaching secondary music. London: SAGE. Stakelum, M. (2013) Developing the musician: contemporary perspectives on teaching and learning. Farnham: Ashgate. Green,L. (2014) Hear, Listen, Play!: How to Free Your Students' Aural, Improvisation, and Performance Skills. Oxford: Oxford University Press. Sweet, B. (2016) Growing musicians: teaching music in middle school and beyond. Oxford: Oxford University Press. Jellison, J. (2015) Including everyone: creating music classrooms where all children learn. Oxford: Oxford University Press. Abril, C.R. and Gault, B.M. (eds.) (2016) Teaching general music: approaches, issues, and viewpoints. Oxford: Oxford University Press Higgins, L. (2012) Community music: in theory and in practice. Oxford: Oxford University Press. Moser, P. and McKay, G (eds.) 2005 Community Music: A Handbook. Lyme Regis: Russell House Publishing. Leak, G. (2003) Performance making: a manual for music workshops. Redfern, NSW: Currency Press. Online Help Musicians UK https://www.helpmusicians.org.uk/emerging-musicians/funding-wizard


https://www.helpmusicians.org.uk/emerging-musicians/funding-wizard

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YES

Any placement projects proposed which need ethics approval will be referred to the College’s ethics committee. This will be discussed and suported on an individual basis. Ethics Panels will be held in each curriculum department following submission of research proposals and ethics

paperwork. NOTIONAL STUDY HOURS FOR THIS MODULE
















MODULE

200



101

MODULE DESCRIPTOR


MODULE CODE 31-6810

LEVEL Level 6

CREDITS 20


FACULTY




MODULE AIM Within this module students will build upon the techniques and skills already acquired in Ensemble Performance 2. This module is focused on further progressing the individual’s commitment and contribution to the band whilst showcasing their high standard of performance technique and musicianship skills. LEARNING OUTCOMES


1 Demonstrate understanding of the technical and interpretative demands of musical performance at an advanced level

2 Demonstrate technical control and stylistic considerations, performing accurately and coherently as part of an ensemble

3 Provide leadership and musical arrangements for the band leading towards a concert programme which includes a variety of styles and idioms.

INDICATIVE CONTENT Within the band rehearsal process and performances students will develop professional skills in the following areas: Perform music from a variety of popular music genres at an advanced level / standard Organise and manage the rehearsals for a band performance to a professional standard. Set development, running orders, line-ups, changes, stage continuity and stage presence. Show artistic leadership in devising and arranging the band music Perform the role of a soloist / musician in the ensemble to a level 6 (grade 8) standard. Critically evaluate the process and execution of both performances LEARNING, TEACHING AND ASSESSMENT STRATEGY Students will learn through workshops and directed activities. Discussion and group work will help individuals develop ways of organising and managing other personnel in ensemble situations. Students will demonstrate their advanced ability to manage rehearsals and work towards a number of professional live concerts. Filming and review of live performances will be used to highlight learning points, promote good practice and help develop critical reasoning skills. Rehearsal management will be student led encouraging personal development, teamwork, initiative and promotion of relevant generic skills. Peer learning and peer review will help develop evaluative and assessment skills. ASSESSMENT INFORMATION

Task No.




Task Weighting %

102

1 Semester 1 evening concert (including 3 ‘soloist’ songs)

PR (live performance and written evaluation)

15 mins 40%

2 Semester 2 evening concert (including 4 ‘soloist’ songs)

PR (live performance and written evaluation)

20 mins 60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class rehearsals and practical tasks. Peer review and feedback is also utilised on this module. LEARNING RESOURCES FOR THIS MODULE Books Douglas, T (1976) Groupwork Practice. London: Routledge. Green, L (2002) How popular musicians learn. London: Ashgate. Kenny, D.T. (2011) The psychology of music performance anxiety. Oxford: Oxford University Press. Lehmann ,A.C., Sloboda, J.A. and Woody, R.H. (2007) Psychology for musicians: understanding and acquiring the skills. Oxford: Oxford University Press. Purdy, S. (2016) Musical theatre song: a comprehensive course in selection, preparation, and presentation for the modern performer. London: Bloomsbury. Rubin, D. (2015) Inside Rock Guitar: Four Decades of the Greatest Electric Rock Guitarists. Milwaukee: Hal Leonard Publishing. Stoloff, B. (2012) Vocal improvisation. Boston: Berklee Press. Williamon, A. (ed.) (2004) Musical excellence: strategies and techniques to enhance performance. Oxford: Oxford University Press. Online www.allmusic.com http://goldenpages.jpehs.co.uk/golden-pages/online-journals-for-musicians-musicologists-and-music-



YES / NO

NO












103












MODULE

200



104

MODULE DESCRIPTOR

TITLE Music Industry Case Study

MODULE CODE 31-6805

LEVEL Level 6

CREDITS 20


FACULTY




MODULE AIM Within this module students will choose and investigate a particular activity, business, organisation or group of people related to the music industry. Through primary research students will critically evaluate the practical issues of their research area, discussing the arguments posed by devising suitable research questions. They will apply cultural theory in their analysis and have the opportunity to discuss the detailed practical operation of an area and skills necessary for a role in order to explore potential employment opportunities. LEARNING OUTCOMES


1 Demonstrate a critical understanding of the socio-cultural context of a specific area of the music industry and explore key issues relevant to its operation.

2 Design and implement a primary research methodology and show coherent analysis

INDICATIVE CONTENT Areas of study will typically include: Project planning and management Research and case study methodologies Music industry social, political and socio-cultural contexts Employment opportunities within relevant sectors of the creative Industries LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will delivered through interactive lectures which are supported by tutorials and seminars. Lectures will be delivered in an informal style focusing on case study methodology and factors raised by students around socio-cultural theory and industry operation. This module has a strong emphasis on independent study requiring the students to arrange interviews or placement opportunities relevant to their case study. Learning outcomes will be assessed through one 10 minute presentation with supporting documents and one 3000 word written report. The presentation covers the student’s research questions, methodology and deadlines and their case study will discuss the contextual analysis of their data.


Task No.



Task Weighting %

1 Methodology Presentation

CW (Individual Presentation

10 Minutes and

25%

105

with Supporting Documents)

500 Words

2 Case Study CW (Written Report)

3500 Words

75%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, seminars and tutorials and will include a case study proposal that needs to negotiated with the module tutor. LEARNING RESOURCES FOR THIS MODULE Books Anderton, C., Dubber, A. and James, M. (2013) Understanding the music industries. London: Sage. Anderson, T.J. (2014) Popular music in a digital music economy: problems and practices for an emerging service industry. London: Routledge. Bell, J. and Waters, S. (2014) Doing your research project: a guide for first-time researchers. 6th edn. Hesmondhalgh, D. (2013) The cultural industries. 3rd edition. Los Angeles: SAGE. Maidenhead: Open University Press. Green, C. (ed.) (2015) Music Market 2015: recorded music in the UK: facts, figures and analysis. London: British Phonographic Industry. Shuker, R. (2013) Understanding popular music culture. 4th edn. London: Routledge. Simons, H. (2009) Case study research in practice. London: Sage. Thomas, G. (2011) How to do your case study: a guide for students and researchers. London: Sage. Yin, R.K. (2009) Case study research: design and methods. 4th edn. London: Sage. Journals Popular Music: http://journals.cambridge.org/action/displayJournal?jid=PMU International Association for the Study of Popular Music e-journal: http://iaspmjournal.net/ Online www.bemuso.com www.bpi.co.uk/ www.ifpi.org www.musicweek.com/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES

Any projects proposed which need ethics approval will be referred to the College’s ethics committee. This will be discussed and suported on an individual basis. Ethics Panels will be held in each curriculum department following submission of research proposals and ethics paperwork









http://iaspmjournal.net/





106











MODULE

200



107

MODULE DESCRIPTOR

TITLE Project Portfolio: Composition/Performance/Music Related Project

MODULE CODE 31-6812

LEVEL Level 6

CREDITS 40 credit


FACULTY




MODULE AIM This module will allow students to explore and develop their creative skills independently, encouraging the confidence needed for a career within the music industry. Students will produce work which is deemed to be of a professional standard following the codes of practice outlined by such bodies as the Musicians’ Union, Equity and The Guild of International Songwriters & Composers. Within the final project portfolio students will be able to develop their chosen portfolio skills at an advanced level, and are strongly encouraged to collaborate with students completing the Music Technology and Production portfolio as this will create opportunities to develop such music industry skills as negotiation, teamwork, networking and applying practical and creative music skills within a multi-media context. LEARNING OUTCOMES


1 Demonstrate a professional approach to the planning of a portfolio which shows strong industry-related themes and collaboration

2 Demonstrate a professional standard of presentation within your submission

3 Demonstrate a professional level of individual voice, creativity, flair, secure technique and confidence within your work

4 Demonstrate the use of research and critical listening in the planning, justification and application of techniques

INDICATIVE CONTENT Students should typically explore, experiment and utilise independently a range of skills from the list below within their portfolio: Industry links Music for media Collaboration Team work and negotiation The song writing industry Professional standards Thinking outside the box: Sound design and creativity Self- organisation Self-promotion LEARNING, TEACHING AND ASSESSMENT STRATEGY The module is focused around the planning, development and completion of a project portfolio. A project portfolio may consist of any of the following music-related activities with includes: Composition, solo performance, film music, song writing, creating a TV show, creating a radio show, organising an event, creating a multi-media performance, creating a musical theatre performance, devising within the community, creating an albumn (the possibilities are endless). All project work that is created should be of a professional

108

standard and where possible either link to a music industry setting or be distributed within the public domain via internet upload, public performance or competition entry. Work should demonstrate the application of a range of areas listed within the indicative content showing individual style, experimentation and creative flair. Typically portfolios should be made up of any combination from the list below and may use any proportion of the total time of the portfolio which will be thirty minutes. All portfolios will include a written submission outlining background research, critical listening, techniques employed, role-models within their chosen field and the justification of artistic decisions made alongside links to professional standards and the music industry where appropriate. Where possible students are encouraged to form collaborative links with Music Technology and Production students e.g. a popular music student might write a number of songs which may be recorded and produced by a student taking the Production Project Portfolio. This type of independent creation and collaboration is again intended to mirror the professional world and provide students with the opportunity to develop generic and graduate skills as set out in the QAA benchmark statements for Music (2008). Students will be expected to share planning with their tutor before commencing project work and to complete portfolios alongside tutor supervision. ASSESSMENT INFORMATION

Task No.



Task Weighting %

1 Portfolio (40 Credits) CW 30 Min 1,500 words

100%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout project supervision and tutorials. LEARNING RESOURCES FOR THIS MODULE Bruce, C. (2006) The pop composer's handbook: a step-by-step guide to the composition of melody, harmony, rhythm and structure. London : Schott Music Ltd. Cheng, W. (2014) Sound play: video games and the musical imagination. Oxford: Oxford University Press. Citron, S. (2000) Song writing: a complete guide to the craft. New York: Limelight Editions. Corbett, I. (2015) Mic it!: microphones, microphone technique and their impact on the final mix. Abingdon: Focal Press. Davis, R. (2010) Complete guide to film scoring : the art and business of writing music for movies and TV. 2 nd ed. Boston, Mass.: Berklee. Gaines, J.M. (2014) Composing for moving pictures: the essential guide. Oxford: Oxford University Press. Holmes, T. and Pender, T.M. (2012) Electronic and experimental music: technology, music, and culture. 4th ed. New York: Routledge.. Jenkins, M. (2013) iPad music: in the studio and on stage. Abingdon: Focal Press. Massey, H. (2009) Behind the glass: top record producers tell how they craft the hits. San Francisco: Backbeat Books. Neumeyer, D. (ed.) (2015) The Oxford handbook of film music studies. Oxford: Oxford University Press. Phillips, W. (2014) A composer's guide to game music. Cambridge, Mass: MIT Press.


109

Purdy, S. (2016) Musical theatre song: a comprehensive course in selection, preparation, and presentation for the modern performer. London: Bloomsbury. Seabrook, J. (2015) The song machine : inside the hit factory. London: Jonathan Cape. Snoman, R. (2014) Dance music manual: tools, toys, and techniques. 3rd ed. Abingdon: Focal Press. Swann, D. (2016) Essential guide to songwriting, producing and recording. Los Angeles: Musician's Institute Press. Sweet, M. (2014) Writing interactive music for video games: a composer's guide. New Jersey: Pearson Education. Tan, S. et al (eds.) (2013) The psychology of music in multimedia. Oxford: Oxford University Press. Rowman & Littlefield. Zager, M. (2015) Writing music for commercials: television, radio, and new media. 3rd ed. Lanham, Maryland: Scarecrow Press E-Book Journals Online Cook, N. (ed.) (2009). The Cambridge companion to recorded music. Cambridge; Cambridge University Press. Available from Cambridge Companions Online http://dx.doi.org/10.1017/CCOL9780521865821 Hartenberger, R. (ed.)(2016) The Cambridge companion to percussion. Cambridge; Cambridge University Press. Available from Cambridge Companions Online http://dx.doi.org/10.1017/CBO9781316145074. MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES

Any projects proposed which need ethics approval will be referred to the College’s ethics committee. This will be discussed and suported on an individual basis. Ethics Panels will be held in each curriculum department following submission of research proposals and ethics paperwork


















110


MODULE

200

Guidance Notes on Notional Study Hours and Key Information Sets Notional Study Hours The total number of hours associated with a module should be based on a minimum of 10 notional study hours per credit, e.g. a 20 credit module involves 200 notional study hours. This applies to UG and PG modules. Modules should only exceed the minimum number of notional study hours where this is necessary to meet an external requirement for course accreditation. Key Information Sets (KIS) For UG provision where a KIS is applicable, the information given above on notional study hours will be used to inform the Key Information Set to be published for an individual course. The information in the module descriptor must be accurate and align with information included in Student Handbooks and with the KIS information stored in SITS. Further guidance is available online at https://staff.shu.ac.uk/steer/kis/

Sandwich Years, Study Abroad and KIS ** Hours related to sandwich year placements and/or study year abroad should not be included in the notional study hours for an individual module. These hours will be identified and recorded separately, as part of the KIS for the individual course.


111

MODULE DESCRIPTOR

TITLE Production Project Portfolio

MODULE CODE 31-6809

LEVEL Level 6

CREDITS 40


FACULTY Humanities




MODULE AIM This module is a large individual production project. Students will work individually devising, managing, implementing and evaluating their own project. They will explore a variety of approaches, techniques and theories relevant to music production, allowing the potential integration with other modules and forming a broad and comprehensive study. This module extends previous areas of study to a professional level and includes advanced concepts, theory and practice of the whole process of music production. There is also the continued opportunity of collaboration with Popular Music students and external musicians. LEARNING OUTCOMES


1 Demonstrate a critical awareness of a wide range of approaches to music production

2 Demonstrate the ability to use recording technology and equipment at a professional level to produce a portfolio of work

3 Demonstrate the ability to project manage the people and resources necessary to produce a large and varied production portfolio

4 Demonstrate the ability to critically evaluate creative practice and project implementation

INDICATIVE CONTENT Project management Negotiation of areas for independent development, sessions could typically include: Advanced production skills and techniques Advanced recording techniques Application of surround sound Sound design and audio post production Advanced mixing techniques Advanced mastering techniques LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be orientated to self-directed learning, supported mainly through individual tutorials. Specialised lectures and practical studio classes will be arranged as directed by student portfolio aims and outcomes that will be negotiated with the subject tutor. Learning outcomes will be assessed through a 1000 word written project proposal and a 20 minute portfolio accompanied by a 3000 word written report critically analysing the techniques used.

112


Task No.



Task Weighting %

1 Production Proposal CW (Written Report)

1000 words 10%

2 Production Portfolio CW (Recordings Written Report)


90%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Individual formative feedback will be given throughout as well as during lectures, seminars and tutorials. This includes the proposal aims and outcomes that negotiated with the module tutor prior to the submission of the proposal. LEARNING RESOURCES FOR THIS MODULE Books Beinhorn, M . (2014) Unlocking Creativity: A Producer's Guide to Making Music and Art Hal Leonard Burgess, R.J. (2013) The Art of Music Production: the theory and practice. 4th edn. Oxford: Oxford University Press. Cousins, M. and Hepworth-Sawyer, R. (2013) Practical Mastering: a guide to mastering in the modern studio. Abingdon: Focal Press. Dowsett, P. (2016) Audio Production Tips: getting the sound right at the source. Abingdon: Focal Press. Eargle, J. (2005) The Microphone Book: From Mono to Stereo to Surround. Oxford: Focal Press Hepworth-Sawyer, R. and Golding, C. (2010) What is Music Production? A producer's guide: the role, the people, the process. London: Focal Press. Massey, H. (2009) Behind the Glass: v. 2: Top Record Producers Tell How They Craft the Hits. San Francisco: Miller Freeman. Savona, A. (editor.) (2005) Console Confessions: the great music producers in their own words. San Francisco: Backbeat. Zager, M. (2011) Music production: a manual for producers, composers, arrangers, and students. 2nd edn. Oxford.: Scarecrow Press. E-Book Lock, D. (2007) Project management [E-book]. 9th edn. Available at: http://www.dawsonera.com/depp/athens?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780754686347 London: Gower. Journals Journal on the Art of Record Production: http://arpjournal.com Online www.musicproducersforum.com www.musictech.net www.soundonsound.com http://tapeop.com/


http://www.dawsonera.com/depp/athens?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9780754686347






http://tapeop.com/

113



YES / NO

NO

















MODULE

400



114

MODULE DESCRIPTOR

TITLE Promotion and Video Production for Music

MODULE CODE 31-6807

LEVEL Level 6

CREDITS 20


FACULTY




MODULE AIM Within this module, students will learn music industry promotion and marketing techniques as well learning the fundamentals of video production for music and music technology. These skills will be applied in the creation of a video and a promotional campaign for a music or music technology product or service. This gives the student the opportunity to develop video material for their creative portfolio, with the potential for collaboration with the Popular Music students, in preparation for finding work in the creative industries. LEARNING OUTCOMES


1 Show and apply an awareness of music industry marketing and promotion

2 Demonstrate knowledge of basic video production techniques

3 Demonstrate the ability to produce promotional video content for the music industry.

INDICATIVE CONTENT Areas of study will typically include: Marketing and promotion for the music industry Traditional promotional media and social media Market research Creating promotional media Camera basics Video file basis Screen basics Video editing Colour correction and grading basics Working in a professional client - product scenario LEARNING, TEACHING AND ASSESSMENT STRATEGY This module will be delivered and supported through lectures, practical classes and tutorials and has an emphasis on marketing, promotion and video production concepts and techniques delivered in practical music related contexts. Lectures will typically be delivered in an informal computer room and will involve the students developing their own creative use of promotion and video production best practise. Collaboration with the Popular Music students will be encouraged to work in a professional client - product scenario. Students will prepare two pieces of coursework which demonstrate the application of the indicative content for the module. They will complete a promotional video for a music technology or music based venture and submit with a written report. They will then use that video production to build a promotional campaign and write a report critically evaluating their campaign.

115


Task No.



Task Weighting %

1 Video production CW (Video and Written Report)

30s-3min and 1000 words

40%

2 Promotional campaign report CW (Written Report)

2500 words 60%

Please list assessment tasks in the order they will be completed by students. The last task listed will be classed as the final task for external reporting purposes. Further guidance on assessment design is available online at Assessment Essentials FEEDBACK TO STUDENTS Each assignment will receive written tutor feedback in line with the criteria set out in the assignment brief. Formative feedback will be given throughout during lectures, class tasks and practical tasks. Individual formative feedback will be given in practical workshops giving the students the opportunity to demonstrate and develop their own promotion and video production creative practise. Peer review also will be emphasised due to the collaborative nature of this unit. LEARNING RESOURCES FOR THIS MODULE Books Adobe Creative Team. (2012) Adobe Premiere Pro CS6 Classroom in a Book: The Official Training Workbook from Adobe Systems. Adobe Press. Chang, J. (2012) FilmCraft: Editing. Ilex Press. Dancyger, K. (2011) The Technique of Film and Video Editing: History, Theory, and Practice 5th edn. Focal Press. Grainge, P., Johnson, C (2015) Promotional Screen Industries. Routledge. Gordon, S. (2008) The future of the music business: how to succeed with the new digital technologies: a guide for artists and entrepreneurs. 2nd edn. Milwaukee, Wis.: Hal Leonard Books. Harrington, R., Carman, R., Greenberg, J., (2011) An Editor’s Guide to Premiere Pro. Peachpit Press. Hurkman, Alexis Van (2011) Color Correction Handbook: Peachpit Press. Millerson, Gerald. Lighting for TV and Film (1999) Routledge. Meerman Scott, D (2013) The New Rules of Marketing & PR: How to Use Social Media, Online Video, Mobile Applications, Blogs, News Releases, and Viral Marketing to Reach Buyers Directly. John Wiley & Sons; 4th Edition. Rosenberg, John. 2011. The Healthy Edit: Creative Editing Techniques for Perfecting Your Movie. Focal Press. E-Book Scott, D.M. (2013) The new rules of marketing & PR: how to use social media, online video, mobile applications, blogs, news releases, & viral marketing to reach buyers directly [E-book]. 4th edn. New York: John Wiley & Sons. Available at: http://www.dawsonera.com/depp/athens?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781118711200 Journals Journal of Film and Video: www.press.uillinois.edu/journals/jfv.html




http://www.press.uillinois.edu/journals/jfv.html

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Online www.creativecow.net http://creatoracademy.withgoogle.com www.videocopilot.net/ MODULES INCLUDING RESEARCH PROJECTS AND/OR TEACHING-RELATED RESEARCH PROJECTS


YES / NO

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MODULE

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http://www.creativecow.net/

http://creatoracademy.withgoogle.com/

http://www.videocopilot.net/
